Composed by Thomas Keesecker. Offertories, Preludes. Passion/Palm Sunday, Lent...(+)
Composed by Thomas
Keesecker.
Offertories, Preludes.
Passion/Palm Sunday,
Lent,
Holy Week, 21st Century.
MorningStar Music
Publishers
#MSM-15-847. Published by
MorningStar Music
Publishers
By Camilla De Rossi; Catterina Benedetta Grazianini. Edited by Barbara Jackson. ...(+)
By Camilla De Rossi;
Catterina Benedetta
Grazianini. Edited by
Barbara Jackson. Text by:
Camilla de Rossi;
Cardinal Benedettoo
Pamphili. Voices and
basso continuo. Arias.
Arias From Oratorios By
Women Composers Of The
18th Century, Volume 3.
Arias from oratorios.
Baroque. Level: Adult.
Sheet music. 73 pages.
Published by ClarNan
Editions.
For pianoforte. Composed by Gyorgy Ligeti (1923-2006). This edition: Saddle stit...(+)
For pianoforte. Composed
by Gyorgy Ligeti
(1923-2006). This
edition: Saddle
stitching. Sheet music.
Edition Schott. 20th
Century and Hungarian.
Collection (softcover).
Composed 1951-1953. 37
pages. Duration 23'.
Schott Music #ED7718.
Published by Schott Music
Composed
by Theodore Beck. 20th
Century. Choral score.
MorningStar Music
Publishers #60-9006A.
Published by MorningStar
Music Publishers
(MN.60-9006A).
UPC:
688670006913.
English.
Classic
German chorale, JESU,
MEINE FREUDE. From
opening fanfarish
Introduction through
congregational stanzas
contrasted with lyrical
choral settings,
magnificently underscores
and compliments text and
tune. Performance
possible with one
trumpet. Two alternative
chorale harmonizations
included for greater
variety of congregational
singing.
Piano SKU: BT.ESZ-01490700 Edizione critica in due volumi. By Paul...(+)
Piano
SKU:
BT.ESZ-01490700
Edizione critica in
due volumi. By Paul
Kenyon. By Ercole
Pasquini. Set of Books.
Composed 2016. Edizioni
Suvini Zerboni #ESZ
01490700. Published by
Edizioni Suvini Zerboni
(BT.ESZ-01490700).
Italian-English.
Ercole Pasquini (1550
ca-ante 1620), working
for many years in
Ferrara, then
Frescobaldi’s
predecessor as organist
of the Cappella Giulia,
leaves a considerable
corpus of keyboard music
that identify him as a
link between Frescobaldi
and Naples. It is half a
century since the first
critical edition of
Ercole Pasquinis keyboard
music was published
(CEKM, vol. 12). This new
edition (in two volumes)
appears in the light of
subsequent scholarship.
It offers new solutions
for some troublesome
passages. It includes a
number of pieces that
were not included in the
previous edition, but
which do seem to have
been attributed to
Pasquini, as well as
unattributed pieces which
maywell have been by him.
It also takes account of
a source (ms. Naples 48,
dated ca.1600) which has
come to light in the
intervening years. This
manuscript includes a
copy of a Canzona by
Pasquini that is older
and generally superior to
the other surviving
copies of this piece. The
preface contains detailed
discussion of the
composers biography, the
provenance of the
sources, and the
performance implications
of the notation. Both
preface and commentary
are in English and
Italian.
Attivo
per molti anni in
Ferrara, poi predecessore
di Frescobaldi come
organista della Cappella
Giulia, Ercole Pasquini
(1550 ca-ante 1620)
lascia un consistente
corpus di musica per
tastiera che si pone come
punto di raccordo tra
Frescobaldi
el’ambiente
napoletano.Dopo mezzo
secolo dalla
pubblicazione della prima
edizione critica della
sua musica per tastiera
(CEKM, vol. 12), il
volume che qui si
presenta (primo di due)
appare alla luce degli
studi più recenti e
offre nuove soluzioni per
alcuni
passaggiproblematici.
Comprende altresì una
serie di pezzi non
inclusi nella precedente
edizioni, ma ascritti a
Pasquini, così come
pezzi non attribuiti, ma
probabilmente da lui
composti. Si tiene conto
anche di una fonte (ms.
Napoli 48, databile ca
1600),venuta alla luce in
anni recenti,
particolarmente
autorevole nella
trasmissione di una
Canzona. La prefazione
contiene la presentazione
dettagliata della
biografia del
compositore, la
provenienza delle fonti e
le questioni notazionali
in rapporto
all’esecuzione.
Prefazione e commento
sono in italiano e in
inglese.
By Edward MacDowell. Edited by Maurice Hinson. For Piano. Piano Solo. Masterwork...(+)
By Edward MacDowell.
Edited by Maurice Hinson.
For Piano. Piano Solo.
Masterwork. Level:
Intermediate / Early
Advanced (grade 4/5/6/6
). 24 pages. Published by
Alfred Publishing.
Pavane Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Pour une Infante Defunte. By Maurice Ravel. Trans. Owen Goldsmith. For String Or...(+)
Pour une Infante Defunte.
By Maurice Ravel. Trans.
Owen Goldsmith. For
String Orchestra. String
Orchestra. Belwin Concert
String Orchestra.
Conductor Score and
Parts. 136 pages.
Duration 5:24. Published
by Alfred Publishing.
Level: 3.5 (grade
3.5).
Composed by Jacques-Francois Ibert (1890-1962). Edited by Wesley Roberts. For Pi...(+)
Composed by
Jacques-Francois Ibert
(1890-1962). Edited by
Wesley Roberts. For
Piano. Book; Masterworks;
Piano Collection; Solo.
Alfred Masterwork
Edition. 20th Century;
Impressionistic;
Masterwork. Advanced. 40
pages. Published by
Alfred Music
By Jean Sibelius. Edited by Maurice Hinson. For Piano. Piano Solo. 0. Masterwork...(+)
By Jean Sibelius. Edited
by Maurice Hinson. For
Piano. Piano Solo. 0.
Masterwork. Level: Early
Advanced (grade 6 ).
Sheet. 8 pages. Published
by Alfred Publishing.
Chamber Music Clarinet, Flute, Piano SKU: PR.114417610 Based on themes...(+)
Chamber Music Clarinet,
Flute, Piano
SKU:
PR.114417610
Based
on themes from Puccini's
Madama Butterfly.
Composed by Michael
Webster. Sws each. See
the notes on Madama
Butterfly on page two and
the notes on Sonata
Cho-Cho-San on page three
of the full score.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 1997. 44+8+12
pages. Duration 24
minutes, 28 seconds.
Theodore Presser Company
#114-41761. Published by
Theodore Presser Company
(PR.114417610).
ISBN
9781491107904. UPC:
680160636051. 9x12
inches.
SONATA
CHO-CHO-SAN(Based on
themes from
Puccini’s Madama
Butterfly)In the spirit
of the great 19th-century
opera fantasies for
woodwinds, Michael
Webster has created a
concert trio on the many
great arias from
Puccini's Madama
Butterfly. However, as
its name implies, Sonata
Cho-Cho-San is not the
typical virtuosic
operatic potpourri.
Rather, it follows the
plot, resembling a sonata
mirroring Puccini's use
of recurring and
developing themes.
Webster makes the most of
the winds as versatile
performers - equally
suited to deliver
Puccini's beautiful vocal
writing, and to ornament
and embroider the
poignant themes in
symphonic style. For
advanced
performers.______________
_________________________
Text from the scanned
back cover:Born in 1944,
Michael Webster made his
New York recital debutat
Town Hall in 1968 with
his eminent father,
Beveridge Webster, as
pianist. In the same
year, he won the Young
Concert Artists
International Competition
and succeeded his
teacher, Stanley Hasty,
as Principal Clarinet in
the Rochester
Philharmonic, a position
he held for twenty years.
Webster has performed
with the Chamber Music
Society of Lincoln
Center, the 92nd Street
Y, with the Tokyo,
Cleveland, Muir, Ying,
Enso, and Dover String
Quartets, and with the
festivals of Marlboro,
Santa Fe, Norfolk,
Chamber Music Northwest,
Angel Fire, Steamboat
Springs, Park City,
Sitka, Kapalua, Bowdoin,
Orcas Island,
Skaneateles, La Musica di
Asolo, Stratford,
Victoria, and Domaine
Forget.As soloist he has
appeared with many
orchestras, including the
Philadelphia Orchestra
under Aaron Copland and
the Boston Pops under
John Williams. His
travels have taken him as
performer and teacher to
most of the 50 states, as
well as Canada,
Mexico,Puerto Rico,
Central and South
America, Europe, Japan,
China, Australia, and New
Zealand. Webster was
Acting Principal Clarinet
of the San Francisco
Symphony, and has served
on the clarinet and/or
conducting faculties of
New England Conservatory,
Boston University,
University of Michigan,
and the Eastman School,
from which he earned his
three degrees. Currently
he is Professor of Music
at Rice
University’s
Shepherd School of Music
and Artistic Director of
the Houston Youth
Symphony, which has won
multiple first prizes in
national performance
competitions.With his
wife, flutist Leone
Buyse, and pianist Robert
Moeling, he plays in the
Webster Trio, which has
recorded his arrangements
on Tour de France and
World Wide Webster for
Crystal Records.
Otherarrangements were
recorded for Nami and
Camerata Tokyo in Japan
with pianist Chizuko
Sawa. Webster has also
recorded for Albany,
Arabesque, Beaumont,
Bridge, Centaur, CRI, and
New World. He has played
at many ClarinetFests for
the International
Clarinet Association and
written a column entitled
“TeachingClarinetâ
€ in The Clarinet
Magazine since 1998.
Michael Webster is a
Buffet artist-clinician,
performing on Buffet
clarinets
exclusively.
Chamber Music & Piano Accompaniment 1 Bb Clarinet 1 Piano - Grade 4 SKU: FL.F...(+)
Chamber Music & Piano
Accompaniment 1 Bb
Clarinet 1 Piano - Grade
4
SKU:
FL.FX072392-3
Composed by Patrice
Bernard. Original
Composition. Classical,
Educational, Baroque.
Score and Set of Parts.
FLEX Editions
#FX072392-3. Published by
FLEX Editions
(FL.FX072392-3).
Built in the
seventeenth century,
somptuous parties were
organized in the
Luxembourg Palace and its
beautiful gardens. This
piece evokes this period
in the Baroque style of
Antonio Vivaldi. -
Patrice BERNARD ;
Instruments: 1 Bb
Clarinet 1 Piano;
Difficuly Level: Grade 4;
Duration: 2 mn 50 s;
Musical Style: Classical,
Educational, Baroque;
Category: Original
Composition; Composer:
Patrice BERNARD;.
by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels....(+)
by Stacy Phillips. For
fiddle. All styles,
fiddle tunes. Level:
Multiple Levels. Book.
Solos. Size 8.75x11.75.
268 pages. Published by
Mel Bay Pub., Inc.
Composed by Basque Carol.
Arranged by Christopher
Thomas. 12 pages.
Duration 2 minutes, 37
seconds. Carl Fischer
Music #CM9734. Published
by Carl Fischer Music
(CF.CM9734).
ISBN
9781491161142. UPC:
680160919734. Key: A
minor. English. Basque
Carol.
A Basque
Carol (also known as
Gabriel's Message) holds
a special place in
Western music. The carol
originates from Basque
country around the 13th
century, based on the
Latin hymn, Angelus ad
Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in Chaucer's
Canterbury Tales: Playing
so sweetly that the
chamber rang; / and
Angelus ad virginem he
sang. . .. Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the song's
lasting popularity. I
would also attribute A
Basque Carol's continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as his wings
as drifted snow, his eyes
as flame. I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I've added an
obligato line for a solo
recorder (solo flute or
violin work just as
well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino. I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you're a choir, a string
orchestra, or a combined
ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!. A
Basque Carol (also known
as Gabriel’s
Message) holds a special
place in Western music.
The carol originates from
Basque country around the
13th century, based on
the Latin hymn, Angelus
ad Virginem (likely of
Franciscan origin). The
tune quickly spread
throughout Europe,
finding popularity in
Britain where it was even
referenced in
Chaucer’s
Canterbury Tales:Â
“Playing so sweetly
that the chamber rang; /
and Angelus ad virginem
he sang. .
.â€.Interestingly,
the melody we know and
love today is derived
from the original Basque
version. In my view, this
tune is a perfect example
of melody-crafting. It is
at once hauntingly
beautiful, yet warm and
joyous. Its contours are
complex, dramatic, yet
singable. I believe this
melodic accessibility is
the key to the
song’s lasting
popularity. I would also
attribute A Basque
Carol’s continued
popularity to its elegant
translation into English
(by Sabine Baring-Gould,
who rediscovered the
original Basque tune).
Translations often risk
sounding unimaginative,
coarse, and blunt. This
translation is strikingly
different. It was graced
with an especially poetic
translation including
lines such as “his
wings as drifted snow,
his eyes as
flame.â€I am very
excited to offer a new
perspective on this
classic carol, joining
the tradition of
composers preserving and
reimagining a priceless
medieval melody. My first
goal was to create a
flowing, richly-textured,
even cinematic string
accompaniment for the
choir. This approach was
very much inspired by the
dense, string-writing
style of English composer
Ralph Vaughan Williams.
My second goal was to
make the arrangement
flexible enough to be
performed with only
choir, only strings, or
(best of all) both
ensembles combined. To
further complement this
approach, I’ve
added an obligato line
for a solo recorder (solo
flute or violin work just
as well). If you listen
carefully, you will hear
a quote from my other
favorite holiday carol,
Jesu Bambino.I hope you
enjoy performing A Basque
Carol. I especially hope
that you sense the
ancient magic cast into
this tune, hearing the
ineffable qualities that
have compelled us to
sustain it for nearly a
millennium. Whether
you’re a choir, a
string orchestra, or a
combined ensemble, this
arrangement of A Basque
Carol will surely be a
haunting and lovely
addition to your next
holiday program!
Voice(s) and orchestra (solos: STTBarB - orch: picc.2.cor ang.2.B-clar.2.sarruso...(+)
Voice(s) and orchestra
(solos: STTBarB - orch:
picc.2.cor
ang.2.B-clar.2.sarrusopho
ne - 4.2.3.1 -
timp.perc(6) - 2pp - cel
- str)
SKU:
BR.PB-5716
Comedie
musicale en 1 acte -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Voice; Softbound.
Partitur-Bibliothek
(Score Library). Opera;
Music theatre;
Late-romantic; Early
modern. Sheet Music.
Duration 60'. Breitkopf
and Haertel #PB 5716.
Published by Breitkopf
and Haertel (BR.PB-5716).
ISBN 9790004216538.
10.5 x 14
inches.
Text by
Franc-NohainPlace and
time: The plot takes
place in Toledo, in the
18th centuryCharacters:
Concepcion, Torquemada's
wife (Soprano) -
Gonzalve, bachelier
(Tenor) - Torquemada,
clockmaker (Trial
(Tenor)) - Ramiro,
muleteer (Baryton-Martin)
- Don Inigo Gomez, banker
(Bassbuffo)Maurice Ravel
gives free rein to his
enthusiasm for Spain in
this one-hour comedy
(L'Heure!). Dances such
as Jota, Habanera,
Seguidilla and Malaguena
shimmer through, and in
places Bizet's dramatic
Carmen is travestied with
admiration. Based on
first editions and the
autographs, Jean-Francois
Monnard presents in
L'Heure espagnole a
meticulous Urtext that
corrects in detail all
previous shortcomings,
and, especially in the
vocal parts, resolves the
discrepancies between the
piano vocal score
published in 1908 and the
full score published
three years later. The
appendix to the full
score and piano vocal
score includes a new
German/English prose
translation of the
libretto.
Voice(s) and orchestra (solos: STTBarB - orch: picc.2.cor ang.2.B-clar.2.sarruso...(+)
Voice(s) and orchestra
(solos: STTBarB - orch:
picc.2.cor
ang.2.B-clar.2.sarrusopho
ne - 4.2.3.1 -
timp.perc(6) - 2pp - cel
- str)
SKU:
BR.EB-9425
Comedie
musicale en 1 acte -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Voice; Softbound. Edition
Breitkopf. Opera; Music
theatre; Late-romantic;
Early modern. Sheet
Music. Duration 60'.
Breitkopf and Haertel #EB
9425. Published by
Breitkopf and Haertel
(BR.EB-9425).
ISBN
9790004189023. 9 x 12
inches.
Text by
Franc-NohainPlace and
time: The plot takes
place in Toledo, in the
18th centuryCharacters:
Concepcion, Torquemada's
wife (Soprano) -
Gonzalve, bachelier
(Tenor) - Torquemada,
clockmaker (Trial
(Tenor)) - Ramiro,
muleteer (Baryton-Martin)
- Don Inigo Gomez, banker
(Bassbuffo)Maurice Ravel
gives free rein to his
enthusiasm for Spain in
this one-hour comedy
(L'Heure!). Dances such
as Jota, Habanera,
Seguidilla and Malaguena
shimmer through, and in
places Bizet's dramatic
Carmen is travestied with
admiration. Based on
first editions and the
autographs, Jean-Francois
Monnard presents in
L'Heure espagnole a
meticulous Urtext that
corrects in detail all
previous shortcomings,
and, especially in the
vocal parts, resolves the
discrepancies between the
piano vocal score
published in 1908 and the
full score published
three years later. The
appendix to the full
score and piano vocal
score includes a new
German/English prose
translation of the
libretto.
Woodwinds (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) SK...(+)
Woodwinds (2(picc).2(cor
ang).2.2 - 2.1.0.0 - hp-
str (6 db are required))
SKU: BR.OB-5540-30
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library).
An homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Violoncello (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) ...(+)
Violoncello
(2(picc).2(cor ang).2.2 -
2.1.0.0 - hp- str (6 db
are required))
SKU:
BR.OB-5540-23
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
An homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Double bass (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) ...(+)
Double bass
(2(picc).2(cor ang).2.2 -
2.1.0.0 - hp- str (6 db
are required))
SKU:
BR.OB-5540-27
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
An homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Viola (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) SKU: B...(+)
Viola (2(picc).2(cor
ang).2.2 - 2.1.0.0 - hp-
str (6 db are required))
SKU: BR.OB-5540-19
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
An homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Violin 1 (2(picc).2(cor ang).2.2 - 2.1.0.0 - hp- str (6 db are required)) SKU...(+)
Violin 1 (2(picc).2(cor
ang).2.2 - 2.1.0.0 - hp-
str (6 db are required))
SKU: BR.OB-5540-15
Suite d'Orchestre -
Urtext. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
An homage to Francois
Couperin, but most
notably to the French
music of the late 18th
century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.
Ravel's
multi-layered homage in
Breitkopf UrtextIn his
homage Le Tombeau de
Couperin, Ravel is less
specifically interested
in Couperin than in
French music of the late
18th century. In his
preface, editor
Jean-Francois Monnard
explains how Ravel paid a
moving and intensely
personal tribute to the
events of World War I
with his multi-layered
work. The orchestral
version goes back to the
original, eponymous piano
suite (1914-17). Then, in
1919, the composer
selected four pieces from
this source, orchestrated
them with all of his
grace and artistry; the
result provides a
charming contrast to the
pseudo-Baroque musical
idiom, and places the
pieces in a new and
effective sequence. The
work quickly gained great
popularity immediately
after the concertant
world premiere, when the
three dance movements of
the orchestral suite were
included in a ballet
production.The
underpinnings of
Monnard's edition are
provided by the most
important sources. The
preface features a great
deal of information on
the interpretation and
performance history of
the work. This is the
fifth major Ravel work
now available in print
from Breitkopf
Urtext.
An homage
to Francois Couperin, but
most notably to the
French music of the late
18th century. In his
multi-layered work Ravel
assimilates the events of
World War I in a moving
and intensely personal
way.