Saxophone Series, 2013
Edition. Composed by
The Royal Conservatory.
Saxophone Series, 2013
Edition. Book/CD. 44/20
pages. The Frederick
Harris Music Company
#WS1. Published by The
Frederick Harris Music
Company (FH.WS1).
ISBN
978-1-55440-550-3.
Unparalleled in scope,
this groundbreaking
series for E_Alto and
B_Tenor offers a single
collection of Repertoire
and supporting materials
written or arranged
specifically for
saxophone. With
Repertoire spanning from
the Baroque to
contemporary eras,
Recordings, Etudes,
Technique, and Orchestral
Excerpts, this
comprehensive series
serves as a balanced and
organized pedagogical
resource from the
beginner to advanced
levels of study. Nine
progressive volumes of
Repertoire expose
students to original
works and arrangements of
diverse styles from W.A.
Mozart to Violet Archer,
with selected works by
notable jazz artist Paul
Desmon (Take Five), and
living composer Phil
Woods. Each level
provides opportunities to
explore Baroque,
Classical, Romantic, and
contemporary works, with
original, unaccompanied
selections from Levels 5
through 8 that use
extended techniques such
as multiphonics, key
clicks, and bisbigliando.
Earlier works pre-dating
the origin of the
saxophone have been
carefully arranged with
consideration of the
unique quality of the
instrument. Exposure to
these works help to
develop musicianship and
an understanding of
tonality, creating
well-rounded and
versatile performers.
Selections written for
both E_Alto and B_Tenor
include piano
accompaniments that
function with both
instruments. Eb
Saxophone:
Rhythmi
c Repertoire: What Is
Beauty but a Breath? -
Thomas Greaves, arr.
Kathleen Wood Great
Scott - Lennie
Niehaus Cielito Lindo
- Quirino Mendoza y
Cortes Horseshoe
Shuffle - Beverley
Calland Here Comes the
Parade! - Nova
Pon Theme and
Variations - Aleksandr
Glazunov, arr. Mark
Mrozinski Galloping
Across the Prairies -
Sean Clarke Lyrical
Repertoire: Ave Verum
Corpus, K 618 - Wolfgang
Amadeus Mozart, arr.
Jason Gray Moonglow -
Pam Wedgwood Calm as
the Night (Still wie die
Nacht), op. 326, no. 27 -
Carl Bohm, arr. Christine
Donkin Gymnopedie No.
2 - Erik Satie, arr.
Jason Noble
Bb
Saxophone:
Rhythmi
c Repertoire: The
Sidewalks of New York -
Charles B. Lawlor, arr.
Forrest Kinney Sweet
Betsy from Pike -
American folk song, arr.
Christine
Donkin Minuet in D
minor, BWV Anh. 132 -
attr. Johann Sebastian
Bach, arr. Jason
Noble Lyrical
Repertoire: A Joyous
Tune - Sigurd
Rascher Londonderry
Air - Irish folk song,
arr. Forrest
Kinney Good News!
(Nouvelle agreable!) -
18th-century French
carol, arr. Akiko and
Forrest Kinney.
Hortus Musicae Piano seul University Of York Music Press
Piano SKU: BT.MUSM570364459 Composed by Robert Saxton. Classical. Book On...(+)
Piano
SKU:
BT.MUSM570364459
Composed by Robert
Saxton. Classical. Book
Only. 24 pages.
University of York Music
Press #MUSM570364459.
Published by University
of York Music Press
(BT.MUSM570364459).
English.
Robert
Saxton 's Hortus Musicae
, Book 1 was commissioned
by Ian Richie for the
2013 City of London
Festival with funds
provided by the John S.
Cohen Foundation. The
first performance was
given by Clare Hammond on
June 24th 2013 at the
church of St Mary Le Bow.
The title, less 'literal'
in Latin than in the
vernacular, refers to the
idea of an
allegorical/metaphysical
garden (reference to a
'real', or existing,
garden might be implied
by Hortus Musicus) with
various facets. The
titles of the individual
pieces/movements, with
their respective garden
image, are as follows: 1)
Hortus Somniorum: a
fleeting vision of a
'magical' garden 2)
Hortus Temporis: a
reflection of/on the
floralclock described by
Andrew Marvell
(1621-1678) in his
[metaphysical] poem The
Garden: How well the
skilful gardener drew Of
flowers and herbs this
dial new Where from above
the milder sun Does
through a fragrant zodiac
run; And, as it works,
the industrious bee
Computes its time as well
as we. How could such
sweet and wholesome hours
Be reckoned but with
herbs and flowers! 3)
Hortus Cantus: A garden
in which nature 'sings'
(praises), in the manner
of a 'chorale prelude'
and ending with the
cantus firmus transformed
into bells. 4) Hortus
Infinitatis: A
meditative/formal garden
representing Time
suspended, in the form of
a palindromic prolation
canon combined with a
harmonic ground
(chaconne). 5) Saltatio
Hortensis: A (summer)
garden of dancing,
celebratory nature. Its
essence (and that of the
entire cycle, both
metaphorically and
structurally/formally) is
summed up in words spoken
by Miranda in WH Auden's
1944 Tempest
[Shakespeare]-inspired
poem The Sea And The
Mirror; So, to remember
our changing garden, we
Are linked as children in
a circle dancing.
Duration: 15 minutes.
String Quartet No.
3. Composed by
Shulamit Ran. Sws.
Contemporary. Full score.
With Standard notation.
Composed March 9 2013. 32
pages. Duration 23
minutes. Theodore Presser
Company #114-41690S.
Published by Theodore
Presser Company
(PR.11441690S).
UPC:
680160626021. 9 x 12
inches.
Ran's third
string quartet was
written for the Pacifica
Quartet, who are
featuring it in numerous
performances from May
2014 through February
2016, across the country
and abroad. Their blog
page dedicated to the
work also features the
composer's notes, for
more indepth insight.
...impassioned solos
emerge from ominous
quiet, and high arpeggios
in the violins quiver
alongside the earthy
cello. Ms. Ran skillfully
deploys these extremes of
color, volume and pitch,
yet the overall somewhat
chilly impression is one
of poise. -- Zachary
Woolfe, The New York
Times. My third string
quartet was composed at
the invitation of the
Pacifica
Quartet, whose
music-making I have come
to know closely and
admire hugely as resident
artists at the University
of Chicago. Already
in our early
conversations Pacifica
proposed that this
quartet might, in some
manner, refer to the
visual arts as a point of
germination. Probing
further, I found out that
the quartet members had
special interest in art
created during the
earlier part of the 20th
century, perhaps between
the two world wars.Â
It was my good fortune to
have met, a short while
later, while in residence
at the American Academy
in Rome in the fall of
2011, art conservationist
Albert Albano who steered
me to the work of Felix
Nussbaum (1904-1944), a
German-Jewish painter
who, like so many others,
perished in the Holocaust
at a young age, and who
left some powerful,
deeply moving art that
spoke to the life that
was unraveling around
him. The title of my
string quartet takes its
inspiration from a major
exhibit devoted to art by
German artists of the
period of the Weimar
Republic (1919-1933)
titled “Glitter and
Doom: German Portraits
from the 1920sâ€,
first shown at New
York’s
Metropolitan Museum of
Art in 2006-07.Â
Nussbaum would have been
a bit too young to be
included in this
exhibit. His most
noteworthy art was
created in the last very
few years of his short
life. The
exhibit’s
evocative title, however,
suggested to me the idea
of “Glitter, Doom,
Shards, Memory†as
a way of framing a
possible musical
composition that would be
an homage to his life and
art, and to that of so
many others like him
during that era.
 Knowing that their
days were numbered, yet
intent on leaving a mark,
a legacy, a memory, their
art is triumph of the
human spirit over
annihilation. Parallel
to my wish to compose a
string quartet that,
typically for this genre,
would exist as
“pure musicâ€,
independent of a
narrative, was my desire
to effect an awareness in
my listener of matters
which are, to me, of
great human concern.
 To my mind there is
no contradiction between
the two goals. Â As in
several other works
composed since 1969, this
is my way of saying
‘do not
forget’, something
that, I believe, can be
done through music with
special power and
poignancy. Â Â The
individual titles of the
quartet’s four
movements give an
indication of some of the
emotional strands this
work explores. 1)
“That which
happened†(das was
geschah) – is how
the poet Paul Celan
referred to the Shoah
– the Holocaust.
 These simple words
served for me, in the
first movement, as a
metaphor for the way in
which an
“ordinaryâ€
life, with its daily flow
and its sense of sweet
normalcy, was shockingly,
inhumanely, inexplicably
shattered. 2)
“Menace†is a
shorter movement,
mimicking a Scherzo.
 It is also
machine-like, incessant,
with an occasional,
recurring, waltz-like
little tune –
perhaps the chilling
grimace we recognize from
the executioner’s
guillotine mask. Â Like
the death machine it
alludes to, it gathers
momentum as it goes, and
is
unstoppable. 3) â
If I must perish - do
not let my paintings
dieâ€; these words
are by Felix Nussbaum
who, knowing what was
ahead, nonetheless
continued painting till
his death in Auschwitz in
1944. Â If the heart of
the first movement is the
shuddering interruption
of life as we know it,
the third movement tries
to capture something of
what I can only imagine
to be the conflicting
states of mind that would
have made it possible,
and essential, to
continue to live and
practice one’s art
– bearing witness
to the events.
 Creating must have
been, for Nussbaum and
for so many others, a way
of maintaining sanity,
both a struggle and a
catharsis – an act
of defiance and salvation
all at the same
time. 4)
“Shards,
Memory†is a direct
reference to my
quartet’s title.
 Only shards are left.
 And memory.  The
memory is of things large
and small, of unspeakable
tragedy, but also of the
song and the dance, the
smile, the hopes. All
things human. Â As we
remember, in the face of
death’s silence,
we restore dignity to
those who are
gone.—Shulamit
Ran .
Keyboard (NOTEN+CD) - very easy to intermediate SKU: HL.49033180 The m...(+)
Keyboard (NOTEN+CD) -
very easy to intermediate
SKU: HL.49033180
The modern
Keyboardschool.
Composed by Bye. This
edition: Ring/Spiral
binding. Sheet music with
CD. Edition Schott.
Edition with CD. 104
pages. Schott Music #ED
9591. Published by Schott
Music (HL.49033180).
ISBN 9783795756352.
German.
Diese
Keyboardschule richtet
sich an alle Lehrer und
Schuler, die das Keyboard
mit Begleitautomatik als
vollwertiges Instrument
spielen lernen mochten.
Die Lerninhalte sind
textlich und grafisch
ubersichtlich
aufbereitet, und die
zahlreichen beliebten
Stucke motivieren zum
Spielen und Uben. Die
Vorteile dieser Schule:
Fingered-Chord-Methode:
Die linke Hand wird
konsequent fur die
Begleitung eingesetzt.
Sounds, Style,
Sync-Start, Intro,
Fill-In, Ending usw:
Diese Schule stellt
endlich auch
Keyboard-Techniken
heraus. Die Spielstucke
sind fur den
Gruppenunterricht
geeignet. Leicht
verstandliche Erklarungen
von Musiktheorie und
musikalischem Grundwissen
Test zur Lernkontrolle am
Ende eines jeden
KapitelsNeu:
vergrossertes Rastral zur
besseren LesbarkeitMit
neuen, didaktisch
aufbereiteten
InfoboxenMehr Praxis geht
nicht!
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet
SKU:
PR.16400222S
Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S).
UPC:
680160037841.
This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher.
Book 1. By Christian Heinrich Hohmann. Arranged by Louis Bostelmann. (Violin). ...(+)
Book 1. By Christian
Heinrich Hohmann.
Arranged by Louis
Bostelmann. (Violin).
String Method. Size 9x12
inches. 64 pages.
Published by G. Schirmer,
Inc.
Saxophone Sextet SKU: SU.90920031 Composed by Julius Hemphill. Woodwinds,...(+)
Saxophone Sextet
SKU:
SU.90920031
Composed
by Julius Hemphill.
Woodwinds, Saxophone,
Woodwinds, Woodwind
Ensemble. Saxophone
Sextet. Score & Parts.
Subito Music Corporation
#90920031. Published by
Subito Music Corporation
(SU.90920031).
Book 1
contains scores and parts
to 10 compositions by
jazz master and leader of
the World Saxophone
Quartet, Julius Hemphill.
Newly engraved edition.
Edited by Marty
Ehrlich.Julius Hemphill
formed his Saxophone
Sextet in 1989, composing
new music for concert
performances and his
celebrated dance and
theatre collaborations.
The wide history of
African-American music is
heard in these pieces,
all shaped by Hemphill's
rich imagination and
compositional acumen. The
instrumentation is three
altos with soprano
doubles, two tenors, and
baritone sax. The two
volumes presented here
mirror each other in the
range of musical worlds
Hemphill evoked as he
explores the rich harmony
and counterpoint possible
with the six- saxophone
choir. Also available:
Book 2 (Cat. #90920032)
Book 1 - CONTENTS 1.
Otis' Groove 2. Opening
3. The Moat and the
Bridge 4. Sweet D 5.
Anchorman 6. At Dr.
King's table/Ascension 7.
Flush 8. Mirrors 9.
Headlines 10. Spiritual
Chairs Saxophone Sextet
Composed: 1992 Published
by: Subito Music
Publishing.
Performed by The Rolling Stones. Fakebook for voice and C instrument. With vocal...(+)
Performed by The Rolling
Stones. Fakebook for
voice and C instrument.
With vocal melody, chord
names, color photos,
discography, selected
riffs (guitar tab) and
introductory text. 431
pages. Published by
Alfred Publishing.
Keyboard - very easy to easy SKU: HL.49015277 Musik verstehen und sofo...(+)
Keyboard - very easy to
easy
SKU:
HL.49015277
Musik
verstehen und sofort
spielen. Composed by
Axel Benthien. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Vorbereitung auf
mehrstimmiges Spiel
(linke Hand) -
Improvisation -
Rhythmisch-melodische
Lebendigkeit. Classical.
64 pages. Schott Music
#ED 7282. Published by
Schott Music
(HL.49015277).
ISBN
9783795750626.
German.
Der Neue
Weg wendet sich an alle,
die das Keyboardspiel in
methodisch durchdachten
Unterrichtseinheiten
anhand popularer Songs
und nutzlicher Tipps
durch Unterricht oder
Selbststudium mit Erfolg
erlernen wollen: an
Anfanger jeder
Altersstufe, aber auch
z.B. Blaser, Sanger oder
Gitarristen, die
musikalische Insider
werden wollen und uber
das Keyboardspiel einen
Einstieg in
Improvisation,
Komposition,
Harmonielehre usw.
suchen. Gerade am
Keyboard, mit seinem
ubersichtlichen,
regelmassigen Aufbau der
Tastatur, lassen sich
Tonleitern, Akkorde und
harmonische Verbindungen
einleuchtender und
systematischer aufzeigen
als an irgendeinem
anderen Instrument.
Musiker mit
Vorkenntnissen konnen mit
Band 2 oder 3 einsteigen.
Band 3: Sieben neue
Akkorde, die sich
aufgrund des bisherigen,
langsamen
Schwierigkeitsgradanstieg
es leicht und sicher
erlernen lassen und die
verstarkte Einbeziehung
der linken Hand in
selbstandige
Begleitfunktionen helfen,
das polyphone Spiel
beider Hande
vorzubereiten. Das Spiel
mit Doppelgriffen und
einer Anzahl neuer
rhythmischer Strukturen,
die ausnahmslos sehr
bekannten Melodien
entnommen sind, macht das
Musizieren und Lernen in
diesem Band zum Erlebnis.
Die Kenntnis der
Intervalle, Ubungen zum
raschen Erkennen der
Tonabstande und das
Transponieren bilden die
Grundlage fur die in Band
4 vorgesehene Einfuhrung
in die Harmonielehre.
Keyboard (NOTEN+CD) - very easy to easy SKU: HL.49032315 Musik versteh...(+)
Keyboard (NOTEN+CD) -
very easy to easy
SKU:
HL.49032315
Musik
verstehen und sofort
spielen. Composed by
Axel Benthien. This
edition: Saddle
stitching. Sheet music
with CD. Edition Schott.
Vorbereitung auf
mehrstimmiges Spiel
(linke Hand) -
Improvisation -
Rhythmisch-melodische
Lebendigkeit. Edition
with CD. 64 pages. Schott
Music #ED 7282-50.
Published by Schott Music
(HL.49032315).
ISBN
9783795756345.
9.0x12.0x0.215 inches.
German.
Der Neue
Weg wendet sich an alle,
die das Keyboardspiel in
methodisch durchdachten
Unterrichtseinheiten
anhand popularer Songs
und nutzlicher Tipps
durch Unterricht oder
Selbststudium mit Erfolg
erlernen wollen: an
Anfanger jeder
Altersstufe, aber auch
z.B. Blaser, Sanger oder
Gitarristen, die
musikalische Insider
werden wollen und uber
das Keyboardspiel einen
Einstieg in
Improvisation,
Komposition,
Harmonielehre usw.
suchen. Gerade am
Keyboard, mit seinem
ubersichtlichen,
regelmassigen Aufbau der
Tastatur, lassen sich
Tonleitern, Akkorde und
harmonische Verbindungen
einleuchtender und
systematischer aufzeigen
als an irgendeinem
anderen Instrument.
Musiker mit
Vorkenntnissen konnen mit
Band 2 oder 3 einsteigen.
Band 3: Sieben neue
Akkorde, die sich
aufgrund des bisherigen,
langsamen
Schwierigkeitsgradanstieg
es leicht und sicher
erlernen lassen und die
verstarkte Einbeziehung
der linken Hand in
selbstandige
Begleitfunktionen helfen,
das polyphone Spiel
beider Hande
vorzubereiten. Das Spiel
mit Doppelgriffen und
einer Anzahl neuer
rhythmischer Strukturen,
die ausnahmslos sehr
bekannten Melodien
entnommen sind, macht das
Musizieren und Lernen in
diesem Band zum Erlebnis.
Die Kenntnis der
Intervalle, Ubungen zum
raschen Erkennen der
Tonabstande und das
Transponieren bilden die
Grundlage fur die in Band
4 vorgesehene Einfuhrung
in die Harmonielehre.
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1216305-401 Angesa...(+)
Concert Band/Harmonie -
very easy, easy
SKU:
BT.DHP-1216305-401
Angesagte Popnummern
für den großen
Auftritt. Arranged by
Marc Jeanbourquin. Yamaha
Bläser Klasse. Pop &
Rock. Book Only. Composed
2021. 24 pages. De Haske
Publications #DHP
1216305-401. Published by
De Haske Publications
(BT.DHP-1216305-401).
ISBN 9789043161459.
German.
Die Reihe
der Ausgaben für
Bläserklassen aus dem
Hause De Haske wird mit
BläserKlasse
Chart-Hits
fortgesetzt: Hier
dürfen sich die
Bläserklassen-Schül
er auf einige der
angesagtesten Popnummern
der letzten fünf Jahre
freuen.Die Liste der
Originalinterpreten liest
sich wie ein Who‘s
who des aktuellen
Popbusiness, mit Namen
wie Taylor Swift, Sia,
Camila Cabello oder auch
George Ezra. Der
Schweizer Arrangeur Marc
Jeanbourquin hat dafür
gesorgt, dass
dieChart-Hits authentisch
klingen und dennoch genau
auf den Lernfortschritt
von Band 1 und 2 der
Bläserklassenmethode
ESSENTIAL ELEMENTS
abgestimmt sind. Aber
natürlich werden die
fetzigen Arrangements
auch unabhängig
davonNachwuchs-Blasorches
ter begeistern, und das
Publikum sowieso.
Bühne frei!
Inter-Pop Ensemble de cuivres [Conducteur et Parties séparées] - Débutant De Haske Publications
Brass Band - Grade 1.5 SKU: BT.DHP-1023167-030 Composed by Kees Vlak. Fle...(+)
Brass Band - Grade 1.5
SKU:
BT.DHP-1023167-030
Composed by Kees Vlak.
Flexible 4 Series.
Original Light Music. Set
(Score & Parts). Composed
2002. De Haske
Publications #DHP
1023167-030. Published by
De Haske Publications
(BT.DHP-1023167-030).
Five movements
in techno-pop style. The
work begins with Rock
March with a few pithy
chords over a driving
percussion accompaniment.
Feeling Free is a slow
ballad. Rockarab is
devoted to ‘the
ship of the
desert’, the
camel. Little Chi Yan is
a very charming, romantic
song for a sweet little
girl. In Disco Lights, we
hear the stirring sounds
of drums and bass guitar
while the lights flash in
the crowded discotheque.
Inter-Pop
ist die Fortsetzung von
Pre-Pop von Kees
Vlak. Auch dieses Werk in
fünf Sätzen ist im
Techno-Pop-Stil
geschrieben. Auf einen
rockigen Marsch folgt
eine langsame Ballade -
auf einen dem
Wüstenschiff, dem
Kamel, gewidmeten Satz
ein romantisches Lied an
ein junges Mädchen.
Zum Abschluss dieses
schillernden Stückes
dominieren aufpeitschende
Schlagzeug- und
Bassgitarrenklänge,
die in die flirrende,
glitzernde Atmosphäre
einer Diskothek
entführen.
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 â 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Gounod had
no qualms about arranging
well-known works by
earlier masters after his
own fashion. Thus in 1852
he added a melody with
its own operatic climax
to the famous arpeggios
of the C-major Prelude
BWV 846 from Bach's
Well-Tempered Clavier. He
first published
instrumental versions of
it under the title
�M�ditationï¿
½, then tried fitting
various texts to the
melody until in 1859 he
arrived at the definitive
vocal version using the
text of the Ave Maria.
Already by the 1890s it
was claimed that
�[we] have heard
this sweet melody
innumerable times from
the best lady
singers�, and its
popularity has continued
to the present day.
Reason enough, then, for
Henle Verlag to publish
an Urtext edition of this
worldwide hit, based on
the sources and with
appropriate critical
commentary. In 1859, at
the same time as the
original edition for high
voice, editions for
middle and low voice,
presumably commissioned
by the publishers, were
also issued. Following
this model, the Henle
Urtext edition of
�Ave Maria� is
also offered in two
transpositions for the
lower register.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the workÂ
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisionsÂ
most beautiful music
engravingÂ
page-turns, fold-out
pages, and cues where you
need themÂ
excellent print
quality and
bindingÂ
largest Urtext
catalogue
world-wideÂ
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Composed by Various. World's Favorite (Ashley). Classical. Softcover. 160 pages....(+)
Composed by Various.
World's Favorite
(Ashley). Classical.
Softcover. 160 pages.
Ashley Mark Publishing
Company #AS10008.
Published by Ashley Mark
Publishing Company