| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| a due Trompette [Conducteur] Deutscher Verlag für Musik
Trumpet(s) solo SKU: BR.DV-32027 Trumpet Music of the 17th and 18th Ce...(+)
Trumpet(s) solo SKU:
BR.DV-32027
Trumpet Music of the
17th and 18th
Centuries. Composed
by Kurt (Hrsg.) Janetzky.
Edited by Kurt Janetzky.
Solo instruments;
Softcover. Deutscher
Verlag. Z.T. mit Pauken
und B.c. Baroque period.
Score. 24 pages.
Deutscher Verlag fur
Musik #DV 32027.
Published by Deutscher
Verlag fur Musik
(BR.DV-32027). ISBN
9790200425192. 9 x 12
inches. Bicinia -
unaccompanied duos - have
been known to us from the
fifteenth century
onwards. So quite early
on it was customary tu
practise this type of
musical exercise, which
later, especially during
the Romantic period,
achieved great popularity
as the duo or duett.
Equal numbers of this
sort of instrumental duo
were composed for nearly
all wind and string
instruments. On the other
hand, only a small amount
of compositions for two
trumpets have come down
to us. In order to play
any music which
progresses beyond pure
fanfare on a natural
(valueless) trumpet, it
is necessary to make use
of the clarion register
(the top third of the
natural harmonic). And if
such a melody is to be
accompanied by a second
part, only the few
natural notes lying below
it are left, or else this
high register itself,
which calls for great
virtuosity on the part of
the trumpeter. As well as
this, we must remember
the fact that
trumpet-playing was only
allowed for the
trumpeters of a royal
court, army, staff, or
for the field-trumpeter
of a prince, plus a few
council, city, and church
musicians, who were bound
by strict guild and
corporation rules. Thus
in spite of the
preference for its
festive sound, the spread
and handing down of
trumpet music was almost
reduced to nothing under
these circumstances. As
well as this, pride of
place and profession
rivalry and envy amongst
musicians contributed in
large part. In England
the situation was
somewhat freer. Here
pretty little trumpet
duos originated,
including, amongst
others, those written by
Handel for his
master-trumpeter Valentin
Snow and the Royal
Sergeant-trumpeters of
the Shore family. An
especially happy
exception was the diocese
of Olmiitz. Here there
was a capable group of
musicians of the chapel
royal with the
brilliantly talented
group of trumpeters and
the field-trumpeter Pavel
Vajvanovsky, who also
composed himself. These
trumpeters in the service
of his prince-bishop
played many sacred and
secular pieces, all for
several instruments. It
was for them also that
Heinrich Ignaz Franz
Biber wrote the 12 double
trumpet sonatas we
present here. On the
other hand, the
representatives of the
authorities in Germany
ensured strict
observation of all edicts
and regulations. Even the
celebrated Bach-trumpeter
and towm-piper Gottfried
Reiche was never allowed
to be portrayed with a
proper trumpet due to the
priveleges of court and
field trumpeters. In
order to represent him as
one of the greatest
masters of his time and
art, however, the painter
placed an instrument
similar to a
corno-di-caccia in his
hand, together with a
sheet with a small piece
for virtuoso clarion.
When we try in spite of
these difficulties and
adverse circumstances to
gather a collection of
musically valuable and
characteristic examples
of popular pieces for two
trumpets from the
seventeenth and
eighteenth centuries, it
is in the first, place in
order to acquaint modern
trumpeters with something
of the wealth of music,
which can also be well
played on a modern
trumpet with valves. The
originally used trumpets
correspond to modern ones
in the keys of C and D,
but this does not mean
that many of the pieces
cannot be transposed to a
more comfortable
register. On top of this,
we have tried to give a
picture of the baroque
court and field
trumpeter, as well as of
the mysterious clarion
trumpeter, with the help
of musically popular
material. The origin of
most of the pieces used
is no longer clearly
discernable. In most
cases we possess second-
or third-hand copies
which have been handed
down, and show signs of
frequent use. A few cases
where modernization of
the second part obviously
did not take place until
the invention of stops,
have been re-shaped into
their supposed original
form. A series of further
dynamic details were
left, and marked as
optional suggestions in
brackets. Kurt
Janetzky
z.T. mit
Pauken und B.c. $16.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Symphony No. 3 The Song of the Night Op. 27 [Conducteur] PWM (Polskie Wydawnictwo Muzyczne)
Solo Vocal, Mixed Choir and Orchestra SKU: BT.PWM5363020 For Tenor Sol...(+)
Solo Vocal, Mixed Choir
and Orchestra SKU:
BT.PWM5363020 For
Tenor Solo, Mixed Choir,
Organ and Orchestra.
Composed by Karol
Szymanowski. Classical.
Score Only. Composed
1985. 92 pages. Polskie
Wydawnictwo Muzyczne
#PWM5363020. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM5363020).
The Third
Symphony occupies an
special place in the
evolutionary process of
Szymanowskis style. The
Symphony The Song of the
Night, Op. 27, is a
setting of the poem of
the same title, from the
second divan of Mawlana
Jalal-ad-din Rumi, for
tenor solo, mixed choir
and orchestra. It was
completed in the summer
1916. Szymanowskis
interest in oriental
music at this period is
not so much , as far as
the Third Symphony is
concerned, an attempt at
some formal stylisation
of eastern music, but
rather an indication of
his search for some mode
of expression which would
best reflect the
conflicts of his
aesthetic and artistic
ideas. It was the direct
contact made with the art
of the Grecian and Arabic
worlds during his travel
to Sicily and North
Africa in 1911 and 1914
that provided the
external stimulus for
this interest. The Third
Symphony can be classed
with those symphonies for
chorus and solo voices so
often favoured by the
neo-romantic and
expressionist composers.
It is written in a free
ternary form, the
thematic material being
the basic unifying
structural element, which
imparts a conciseness to
the form, and retaining
the function despite the
significant changes that
occur in the melodic
character of the music.
The texture is
polymelodic, and a score
reveals a masterly
interweaving of the
multiplicity of parts,
melodic lines and
patterns of sound. This
symphony is consummation
of all Szymanowskis
mastery in
instrumentation and
colour, and a superb
study of orchestral
polyphony. Here,
Szymanowski liberates
himself from the rigid
relations of the
functional harmonic
system. In the place of
tonal progressions, he
shifts chromatically from
one sound lane to
another, of which the
smallest units are chords
made up of tritones and
seconds, using only a
free intervallic
structure, far more
remote in Szymanowski
from the dominant
centralistic harmony then
Debussy. In style, the
Third Symphony belongs to
the neo-romantic period,
if this can be broadly
defined as including
modernistic and
expressionistic trends,
and to musical
impressionism. (based on
the Preface to the
''Works'' by Teresa Chyli
ska, PWM 1985). $47.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Concerto Violon Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone,
Bassoon 1, Bassoon 2,
Celesta, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion, Piccolo,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Viola, Violin 1 and more.
SKU: PR.41641366L
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L). UPC:
680160585755. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $180.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 50 Essential Bebop Licks You Must Know DVD Guitare [DVD] EMedia
| | |
| Alfred's Teach Your Child to Play Piano, Book 2 Piano seul [Partition + CD] Alfred Publishing
(The Easiest Piano Method Ever!). By Christine H. Barden, Gayle Kowalchyk and E....(+)
(The Easiest Piano Method
Ever!). By Christine H.
Barden, Gayle Kowalchyk
and E. L. Lancaster. For
Piano. Book; CD;
Method/Instruction; Piano
Method. Elementary. 96
pages. Published by
Alfred Music Publishing
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Ultimate Harmonica Songbook Harmonica Hal Leonard
The Complete Resource For Every Harmonic Player!. By Various. Harmonica. Count...(+)
The Complete Resource For
Every Harmonic Player!.
By
Various. Harmonica.
Country,
Blues, Pop. Softcover.
226
pages. Published by Hal
Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Reflections: Nine Hymn Arrangements Celebrating 150 Years of Organ Music in Salt Lake City Orgue - Intermédiaire MorningStar Music Publishers
Composed by Franklin D. Ashdown, Neil Harmon, Clay Christiansen, Richard Elliott...(+)
Composed by Franklin D.
Ashdown, Neil Harmon,
Clay Christiansen,
Richard Elliott, Andrew
Unsworth, Bonnie , Linda
Margetts, James C. Kasen,
Rulon Christiansen. Hymn
Setting. Memorial, 21st
Century, Children,
Community/Fellowship,
Hope/Assurance, Prayer.
Published by MorningStar
Music Publishers
(MN.10-217).
$22.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Hear the City Filled with Singing Chorale SATB - Facile GIA Publications
SATB choir, congregation, organ accompaniment, trumpet 1 in B-flat, trumpet 1 in...(+)
SATB choir, congregation,
organ accompaniment,
trumpet 1 in B-flat,
trumpet 1 in C, trumpet 2
in B-flat, trumpet 2 in
C, trombone 1, trombone
2, timpani, organ - Early
intermediate SKU:
GI.G-8981
Concertato on
TALLEY. Composed by
Sally Ann Morris. Easter
6 C. Choral. Tune Name:
Talley. Sacred. Octavo.
16 pages. GIA
Publications #8981.
Published by GIA
Publications (GI.G-8981).
English. Text by Mary
Louise Bringle. The
compelling union of a
jubilant Sally Ann Morris
original tune with a
triumphant text by Mary
Louise Bringle makes this
concertato a must-have
for your Eastertide
celebrations. The brisk
tempo, shifting meters,
and intricate harmonic
textures build the
intensity of the piece to
a dramatic end. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Choral Warm-Up: Accompanied Canons for Choirs Chorale [CD] GIA Publications
(Conductor's Edition with CD). By James Jordan and Roger Ames. Music Education. ...(+)
(Conductor's Edition with
CD). By James Jordan and
Roger Ames. Music
Education. Sacred. 80
pages. Published by GIA
Publications
$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Orchestre d'harmonie [Conducteur] Theodore Presser Co.
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band
SKU: PR.416413660
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Perfect. Contemporary.
Full score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366.
Published by Theodore
Presser Company
(PR.416413660). ISBN
9781598063578. UPC:
680160601899. 9x12
inches. Trained as
a violinist in his native
Tehran, composer Behzad
Ranjbaran eagerly drew
inspiration from the
traditional Persian
kamancheh and its
delicate, lyrical sound
when creating his
profoundly luscious and
brilliant Concerto for
Violin and Orchestra.
This work was completed
in 1994 and premiered in
England by Joshua Bell,
who also gave the first
American and Canadian
performances. The
Concerto for Violin and
Orchestra is the
recipient of the Rudolf
Nissim Award from ASCAP,
and it was supported in
part by a grant from The
National Endowment for
the Arts. The solo part
with a piano reduction as
well as a large score are
available on custom
print. For advanced
players. Duration:
31'. From my early
years studying violin at
the Tehran Music
Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| with ego amplitudes Violon et Piano Breitkopf & Härtel
Violin, piano SKU: BR.EB-9250 Composed by Nicolaus A. Huber. Solo instrum...(+)
Violin, piano SKU:
BR.EB-9250 Composed
by Nicolaus A. Huber.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere: Toronto,
November 17, 2016Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez) New
music (post-2000); Music
post-1945. Performance
score. Composed 2016. 12
pages. Duration 12'.
Breitkopf and Haertel #EB
9250. Published by
Breitkopf and Haertel
(BR.EB-9250). ISBN
9790004185506. 10 x 12.5
inches. Whereas
Nono considered the world
to be only fragmentarily
analyzable, so-called
consumer capitalism
increasingly intrudes
upon ego structures, by
fragmenting them to the
point of: assumed
insufficiency, i.e., was
consumption a form of
infiltration?, or: in
television you can see
models licking face cream
because it's so rich etc.
(retranslated), as
Meredith Haaf cited in
her book review (SZ /
23.05.2016 Alexandra
Kleeman: You Too Can Have
A Body Like Mine) , and
to the point of similar
perfection-senselessness.
Music doesn't do things
by halves. Even when
events or notes are
puffed up, they can
retain elegance and
significance. Other ego
amplitudes are of
violinistic nature or are
favourite memories -
Paganini's Capricci,
Stockhausen's Studie I,
Steve Reich, the tone C
and similar things. The
craziest egos are
quantums, because at no
time are they identical
with themselves. They can
entangle and superpose,
are nonlocal, etc.
Although the sound
character in this Duo is
fairly open, I believe I
succeeded in making
probability waves of
harmonic stopovers
perceptible. This means
hearing without analyzing
and without constantly
measuring. Nonlocality -
without messenger
particles - means no
harmonic steps, but with
the capacity to interact.
(Nicolaus A. Huber, May
2016)
World
premiere: Toronto,
November 17, 2016 Written
for the Duo Wapiti
(Genevieve Liboiron,
Daniel Anez). $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hymns of the Nativity v. 1 2 Violons, Piano [Conducteur] - Facile Latham Music Enterprises
Violin Duet and Piano with optional Viola and Cello - Grade 2.5 SKU: AP.36-52...(+)
Violin Duet and Piano
with optional Viola and
Cello - Grade 2.5 SKU:
AP.36-52711356
Composed by Catherine
McMichael. Duet or Duo;
Performance Music
Ensemble; String - Violin
Duet. Ludwig Masters.
Christmas. Score. 60
pages. Latham Music
Enterprises #36-52711356.
Published by Latham Music
Enterprises
(AP.36-52711356). ISBN
9781628762853. UPC:
679360709917.
English. This
collection of Christmas
hymn arrangements is a
wonderful educational,
worship or concert
resource for teachers,
church musicians, or
anyone who enjoys playing
hymns, playing with
friends, and celebrating
the birth of Jesus with
music. Presented in
2 volumes, the Violin 1
part is lower to middle
intermediate level and is
where the melody is
always most clearly
presented and most
prominent, while the
Violin 2 part is for the
more adept player, full
of harmonic and the
occasional
obbligato-style
accompaniment.
Written for two
violins and piano
(optional), both a viola
and cello part are
include to substitue for
the Violin 2.
Volume 1 includes:
1. Angels We Have Heard
on High, 2. Away in a
Manger, 3. Hark! The
Herald Angels Sing, 4.
The Holly and the Ivy/The
First Noel, 5. Joy to the
World, 6. O Come All Ye
Faithful, 7. Once in
Royal David's City, 8.
Silent Night.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $21.95 - Voir plus => Acheter | | |
| Quatre peces per a piano for Piano Piano seul Periferia Music
Piano SKU: AY.PN3099PM Composed by F. Taverna-Bech. Keyboards - Piano. Sh...(+)
Piano SKU:
AY.PN3099PM Composed
by F. Taverna-Bech.
Keyboards - Piano. Sheet
music. Duration 10'.
Periferia Publishing
#PN3099PM. Published by
Periferia Publishing
(AY.PN3099PM). ISBN
9790543573550. This
four pieces group can be
considered as a study of
style. Somehow, one
wonders the capacity to
assimilate some musical
languages that that
appeared at the beginning
of the XX century, in a
very permissive tone
concept. The music in
each of them is explicit
enough to expose this
purpose. Stravinski
should be, then,
understood as an approach
to the personal features
of Stavinski and
polytonality from an
ironic and portrait
perspective. The Nocturne
is inspired on the spirit
of the pieces of the
Mikrokosmos of Bartok, at
the same time that counts
on the poetical
contributions of the
composer John Field for
his contributions to the
nocturne pianist genre.
The Song for Anna seeks
protection in the bright
and transparent harmonies
of Ravel, and the popular
song Au claire de la lune
is developed in a
pentatonical scale and
reminds of the harmonical
treatment. $20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Vision of Canopus Orgue Theodore Presser Co.
Chamber Music Solo Organ SKU: PR.113400290 Composed by Iain Hamilton. Wit...(+)
Chamber Music Solo Organ
SKU: PR.113400290
Composed by Iain
Hamilton. With Standard
notation. Theodore
Presser Company
#113-40029. Published by
Theodore Presser Company
(PR.113400290). UPC:
680160003761. Canop
us is an ancient city
lying on the
Mediterranean east of
Alexandria famed for its
extravagant revels. This
work is subdivided into
the following
sections-Dusk: Sunset;
Midnight Revels: Depths
of Night: Dawn;
Sunrise-concluding with
brilliant fanfare-like
figurations leading to a
majestic coda in which
all the harmonic elements
on which the piece is
built are combined. For
college, professional.
Medium difficult. $5.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fantasia Elegiaco for Clarinet Choir Ensemble de Clarinettes Metropolis Music Publishers
Clarinet Choir SKU: IS.CC6317EM Composed by Hans Aerts. Woodwinds - Clari...(+)
Clarinet Choir SKU:
IS.CC6317EM Composed
by Hans Aerts. Woodwinds
- Clarinet. Kansai
Clarinet Society.
Metropolis Music
Publishers #CC6317EM.
Published by Metropolis
Music Publishers
(IS.CC6317EM). ISBN
9790365063178. Hans
Aerts (°1958) studied
at the conservatory of
Antwerp (clarinet), the
conservatory of Brussels
(counterpoint and fugue)
and the Lemmens Institute
in Leuven (composition).
His oeuvre consists of
over 100 pieces for just
about any instrumental
line up. Many of these
pieces are specifically
written to be used in
music education. In his
work Hans Aerts seeks to
create a clear form and
an alluring melodical and
harmonical style. Hans
Aerts lives and works in
Turnhout (Belgium), where
he is associated with the
city’s musical
academy. $24.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Aubade for Wind Quintet Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor Metropolis Music Publishers
Wind Quintet SKU: IS.CM6527EM Composed by Hans Aerts. Ensembles - Chamber...(+)
Wind Quintet SKU:
IS.CM6527EM Composed
by Hans Aerts. Ensembles
- Chamber Music.
Metropolis Music
Publishers #CM6527EM.
Published by Metropolis
Music Publishers
(IS.CM6527EM). ISBN
9790365065271. Hans
Aerts (°1958) studied
at the conservatory of
Antwerp (clarinet), the
conservatory of Brussels
(counterpoint and fugue)
and the Lemmens Institute
in Leuven (composition).
His oeuvre consists of
over 100 pieces for just
about any instrumental
line up. Many of these
pieces are specifically
written to be used in
music education. In his
work Hans Aerts seeks to
create a clear form and
an alluring melodical and
harmonical style. Hans
Aerts lives and works in
Turnhout (Belgium), where
he is associated with the
city’s musical
academy. $22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| El Toro Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
Concert Band - Grade 1.5 SKU: AP.44971S Composed by Chris M. Bernotas. Co...(+)
Concert Band - Grade 1.5
SKU: AP.44971S
Composed by Chris M.
Bernotas. Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble; Single Titles.
Sound Innovations for
Concert Band. Latin;
Light Concert;
Multicultural. Score. 16
pages. Alfred Music
#00-44971S. Published by
Alfred Music (AP.44971S).
UPC: 038081517544.
English. Each year
in July in the city of
Pamplona, Spain, hundreds
of people participate in
the running of the bulls,
which precedes the daily
bullfights during the
Fiesta de San Fermin. El
Toro (The Bull) is an
exciting piece with a
Spanish flair that has
moments of harmonic
tension and drama with
strong melodies and
countermelodies. An
exciting way to explore
3/4 time,
tension-and-release, and
hemiolas, students can
imagine the adrenaline of
the run and the
celebrations of the
fiesta as they perform
this tune. ¡Olé!
(2:20) (Correlates to
Sound Innovations, Book
2, Level 3.) This title
is available in MakeMusic
Cloud. $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| El Toro Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
Composed by Chris M. Bernotas. Concert Band. Concert Band; Part(s); Score. Sound...(+)
Composed by Chris M.
Bernotas. Concert Band.
Concert Band; Part(s);
Score. Sound Innovations
for Band. Latin. Grade
1.5. 254 pages. Published
by Alfred Music
$52.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clawhammer Style Banjo Centerstream Publications
Book Banjo SKU: HL.118 Banjo. Instructional and Bluegrass. Instructional ...(+)
Book Banjo SKU:
HL.118 Banjo.
Instructional and
Bluegrass. Instructional
book. With banjo
tablature, introductory
text, instructional
photos and instructional
text. 208 pages.
Published by Centerstream
Publications (HL.118).
ISBN 9780931759338.
UPC: 073999255065. 9x12
inches. Clawhammer
Style Banjo - A Complete
Guide For Beginning And
Advanced Banjo Players|
From Ken Perlman, here is
a brilliant teaching
guide that is destined to
become the handbook on
how to play the banjo.
The style is easy to
learn, and covers the
instruction itself, basic
right and left-hand
positions, simple chords,
and fundamental
clawhammer techniques;
the brush, the
'bumm-titty' strum,
pull-offs, and slides.
For the advanced player,
there is instruction on
more complicated picking,
double thumbing, quick
slides, fretted
pull-offs, harmonics,
improvisation, and more.
The book includes more
than 40 fun-to-play banjo
tunes. (1)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| With Every Breath I Take (from City of Angels) - ShowTrax CD CD Chorale Hal Leonard
Choral (ShowTrax CD) SKU: HL.121555 Composed by Cy Coleman and David Zipp...(+)
Choral (ShowTrax CD)
SKU: HL.121555
Composed by Cy Coleman
and David Zippel.
Arranged by Paris
Rutherford. Jazz Chorals.
Broadway, Musicals, Vocal
Jazz. CD only. Published
by Hal Leonard
(HL.121555). UPC:
884088924935. 5x5
inches. This
haunting ballad from the
musical City of
Angels opens with
solo piano, setting the
emotional tone for the
arrangement. Through a
rich harmonization and
expressive lyrics, the
listener is drawn into a
dreamlike state
remembering love lost and
then finally love
returned. A stunning
selection for vocal jazz
groups! Duration: ca.
3:20. $26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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