Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Double Bass SKU: BT.MUSM570367320 Composed by Sadie Harrison. Book Only. ...(+)
Double Bass
SKU:
BT.MUSM570367320
Composed by Sadie
Harrison. Book Only. 12
pages. University of York
Music Press
#MUSM570367320. Published
by University of York
Music Press
(BT.MUSM570367320).
English.
Sadie
Harrison's Ha
llristningsomra det
for solo Double Bass.
Composed and published
2016. Duration c. 10
minutes The area of
Tanumshede is situated on
the south western coast
of Sweden.
Archaeologically, it is
renowned for its unique
series of Bronze Age rock
carvings dating from
between c. 1800 to 500
BCE. Incised into over
600 panels, the
petroglyphs were
originally situated along
a 25 mile stretch of
fjord coastline and as
such there are many
depictions of Hjortspring
boats and seafaring
activities. There are
also scenes of hunting,
agricultural and
livestock farming and
warring, with many
armoured figures carrying
swords, axes and shields.
Whilst it is possible
tointerpret most carvings
as images of quotidian
life, the meaning of some
panels is less clear. It
is likely that several
scenes depict ritual acts
overseen by gods, often
surrounded by abstract
symbols - crosses, dots
and ‘cups’,
the significance of which
is now unknown. As well
as being a source of
information about
Scandinavian Bronze Age
weapons, vehicles, tools,
ships, even hairstyles,
the carvings have also
been the subject of
debates about gender. The
society depicted on the
rocks seems
overwhelmingly
patriarchal, making the
rare carvings of probable
female figures
particularly important.
The most famous of these
is known as The Grieving
Woman, apparently weeping
over a dead warrior from
a ship. Her grief,
‘heavy as
rocks’ is heard in
the opening movement of
the piece, echoing
through the remaining
movements and giving the
work its dark, melancholy
character. The Woman
returns in the final
movement as a ghost, her
footsteps coming closer
and closer as her
‘lover’s&rsqu
o; ship is rebuilt over
and over again. Movement
III is gentler in tone, a
song for the Woman and
her lover - depicted as a
couple rolling a giant
sun surrounded by farm
animals. Movement II
represents the enigmatic
Juggler or Calendar Man
who holds 29 spheres in
his hand - perhaps
juggling the fate of The
Grieving Woman.
Featuring 43 Fiddlers
and 188 of Their
Tunes. Perfect
binding. Folk. Book. 212
pages. Mel Bay
Publications, Inc #30091.
Published by Mel Bay
Publications, Inc
(MB.30091).
ISBN
9781513466378. 8.75 x
11.75
inches.
Appalachian
fiddle music, based on
the musical traditions of
the people who settled in
the mountainous regions
of the southeastern
United States, is
widely-known and played
throughout North America
and parts of Europe
because of its complex
rhythms, its catchy
melodies, and its
often-ancient-sounding
stylistic qualities. The
authors explore the lives
and music of 43 of the
classic Appalachian
fiddlers who were active
during the first half of
the 20th century. Some of
them were recorded
commercially in the
1920s, such as Gid
Tanner, Fiddlin? John
Carson, and Charlie
Bowman. Some were
recorded by folklorists
from the Library of
Congress, such as William
Stepp, Emmett Lundy, and
Marion Reece. Others were
recorded informally by
family members and
visitors, such as John
Salyer, Emma Lee
Dickerson, and Manco
Sneed. All of them played
throughout most of their
lives and influenced the
growth and stylistic
elements of fiddle music
in their regions. Each
fiddler has been given a
chapter with a biography,
several tune
transcriptions, and tune
histories. To show the
richness of the music,
the authors make a
special effort to show
the musical elements in
detail, but also
acknowledge that nothing
can take the place of
listening. Many of the
classic recordings used
in this book can be found
on the web, allowing you
to hear and read the
music together.
SKU: HP.9088 Timothy Dudley-Smith. Books about Music. Hope Publishing Com...(+)
SKU: HP.9088
Timothy Dudley-Smith.
Books about Music. Hope
Publishing Company #9088.
Published by Hope
Publishing Company
(HP.9088).
UPC:
763628190880. Scotty Gray
& David
Music.
Biography of
Timothy Dudley-Smith
Timothy Dudley-Smith is
the greatest hymn writer
of the late twentieth and
early twenty-first
centuries. Gray and Music
have demonstrated his
superb qualities as a
poet and as an
inspiration to
contemporary Christianity
throughout the world. In
this admirable account of
his work, they have set
it in context, relating
the preoccupations of his
life to the political and
social world in which he
lives; and they have
added commentaries on
many of the hymns that
explains their
extraordinary ability to
stir the heart and
satisfy the mind. This
will be the definitive
account for many
years.--J. R. Watson,
Emeritus Professor of
English, University of
Durham, UK, Co-Editor of
the Canterbury Dictionary
of Hymnology.
Book with Online Audio and Video Alto Sax The Best Step-by-Step Guide to Start...(+)
Book with Online Audio
and Video
Alto Sax
The Best Step-by-Step
Guide to
Start Playing. Do It
Yourself.
Instruction, Method.
Softcover
Media Online. 128 pages.
Published by Hal Leonard
Chorus a cappella SKU: BR.CHB-5234-02 Composed by Fanny Cecile Mendelssoh...(+)
Chorus a cappella
SKU:
BR.CHB-5234-02
Composed by Fanny Cecile
Mendelssohn. Edited by
Gottfried Heinz and J.
Draheim. Choir; stapled.
Chor-Bibliothek (Choral
Library). Fanny Hensel's
choral works not only
stand up to comparison
with any of the rich and
varied choral works of
the Romantic era - they
also rank among the best.
Very likely to become
hits! (Musica). Song;
Romantic. Choral score. 4
pages. Breitkopf and
Haertel #ChB 5234-02.
Published by Breitkopf
and Haertel
(BR.CHB-5234-02).
ISBN
9790004411537. 7.5 x 10.5
inches.
German.
Madame
Hensel, Mendelssohn's
sister, whose eyes speak
intelligence and
profundity''. This diary
entry made by Robert
Schumann in June 1843
succinctly but fittingly
characterizes Fanny
Hensel, without a doubt
the most significant
woman composer of the
19th century. Born in
Hamburg on 14 November
1805, she was the eldest
sister of Felix
Mendelssohn Bartholdy and
the granddaughter of the
philosopher Moses
Mendelssohn. In 1829 she
married the Prussian
court painter and
occasional poet Wilhelm
Hensel (1794-1861). After
her sudden death in
Berlin on 14 May 1847 as
a result of a stroke, the
music journalist Ludwig
Rellstab poignantly wrote
that she shared the
brotherhood ef talent
with her famous
sibling.Fanny Hensel was
given the same excellent
and comprehensive musical
training as her
precocious brother,
including composition
lessons with Goethe's
friend Carl Friedrich
Zelter. Felix and Fanny
not only loved each other
tenderly, but they also
maintained an intensive,
life-long exchange of
ideas which proved
musically profitable to
both of them. However, it
was only in 1846 that
Mendelssohn gave up his
resistance to Fanny's
publication plans. And
so, just shortly before
her death, she was able
to publish a carefully
selected sample of her
songs and piano
pieces.Not only these
pieces, but also a few
orchestral and
chamber-music works (e.g.
the String Quartet in E
flat major, KM 2255) and,
in particular, choral
music occupy an important
position in her oeuvre.
Most of her choral works
were written in 1846, and
she was able to rehearse
them with the chorus she
conducted at the famous
Sunday Concerts in the
Mendelssohn home. She had
six of these choral songs
published in a revised
version under the title
Gartenlieder Op. 3 by the
Berlin music publisher
Bote & Bock. The title of
the Gartenlieder brings
to mind Mendelssohn's
well-known Lieder im
Freien zu singen (Opera
41, 48, 59; ChB
4763-4780), published
before 1846. But, as far
as the quality of their
melodic writing, the
compositional technique,
and the choice of texts
are concerned, as well as
the perfect balance
between folk-like
simplicity and polished
design, they are as
outstanding as the works
of her
brother.
Fanny
Hensel's choral works not
only stand up to
comparison with any of
the rich and varied
choral works of the
Romantic era - they also
rank among the best. Very
likely to become hits!
(Musica).
Ten Years of Popular Hits Arranged for EASY PIANO. Arranged by Dan Coates. For P...(+)
Ten Years of Popular Hits
Arranged for EASY PIANO.
Arranged by Dan Coates.
For Piano. Piano - Easy
Piano Collection. Decade
by Decade. Nostalgia;
Pop. Level: Easy Piano.
Book. 144 pages.
Published by Alfred
Publishing.
For voice, piano and guitar chords. Format: piano/vocal/chords songbook. With vo...(+)
For voice, piano and
guitar chords. Format:
piano/vocal/chords
songbook. With vocal
melody, piano
accompaniment, lyrics,
chord names and guitar
chord diagrams. Wedding.
318 pages.
