Bläserquintett Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor EMB (Editio Musica Budapest)
Wind Quintet SKU: BT.EMBZ14152 Composed by Endre Szervánszky. Book Onl...(+)
Wind Quintet
SKU:
BT.EMBZ14152
Composed
by Endre Szervánszky.
Book Only. Composed 1997.
128 pages. Editio Musica
Budapest #EMBZ14152.
Published by Editio
Musica Budapest
(BT.EMBZ14152).
First published
in 1957, this work has
been reprinted multiple
times and appears now as
both a full score as well
as the individual parts
that comprise it. Endre
Szervanszky (1911-1977)
created this work during
a creative period when
the basic starting point
for musical invention was
Hungarian folk song.
However, the demanding
and expert reshaping of
this musical material
also characterized his
musical creations. This
quintet for winds has
also earned recognition
from instrumental
musicians with its
sophistication,
intensity, superb
instrumental arrangement,
and classical
four-movement
structure.This
publication is printed on
high-quality,
age-resistant paper that
is producedin an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
ISBN
9790006495511. 33 x 26 cm
inches. Text Language:
French. Preface:
Philippi, Daniela. Text:
Favart, Charles
Simon.
For his
ParisCythere assiegee,
Gluck drew on his
eponymous opera comique
from 1759, transforming
it into an opera-ballet.
The libretto which was
expanded by Charles Simon
Favart was adapted: Gluck
added recitative
passages, reworked
individual sections and
also added his own
compositions, modifying
them in parts. By March
1775, the compositional
work had progressed
sufficiently for Gluck to
leave behind a copy of
the score as he departed
from Paris. However, he
was unable to supervise
rehearsals or be present
at the premiere (1 August
1775) or any of the
subsequent 21
performances. Due to
these particular
circumstances, three
versions of the work are
to be distinguished: the
original version, the
performed version and the
printed
version.
This
edition ofCythere
assiegeecontains the
original version of the
main part and is printed
here for the first time.
The reconstruction which
was necessary in order to
determine the original
form of this opera draws
on all orchestral parts,
the printed score and
with regard to a large
gap in Act III, pages
were taken from the score
copy. The four-part
appendix includes the
changes made to this
score copy, sections that
deviate from the printed
score as well as the
final version of Act III,
also from the printed
score. The last part of
the appendix also
presents a Divertissement
in six movements by
Berton, which is only
available as a rare
contemporary set of
printed parts.
The
Foreword offers detailed
information regarding the
work's genesis, subject
matter, preparations for
performance and print,
premiere, reception, and
this edition. Selected
pages from significant
musical sources, the
libretto of the premiere
performance, and images
illuminating the
performance context, have
been added as
facsimiles.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
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.
Symphonic poem after a
poem by Henri
Cazalis. Composed by
Camille Saint-Saens.
Edited by Hugh MacDonald.
This edition: urtext
edition. Stapled.
Barenreiter Urtext. After
a poem by Henri Cazalis.
Score. Opus 40.
Baerenreiter Verlag
#BA08834_00. Published by
Baerenreiter Verlag
(BA.BA08834).
ISBN
9790006567195. 32.5 x
25.5 cm inches. Preface:
Hugh
Macdonald.
Saint-Sa
ëns was a great
admirer of the symphonic
poems by Franz Liszt. His
own symphonic poem
“Danse
macabre†reflects
not only his affinity to
medieval superstitions
but also constitutes a
tribute to Liszt’s
“Totentanzâ€.<
br> “Danse
macabre†is based
on the eponymous song
Saint-Saëns composed
in 1872 after Henri
Cazalis’ poem. At
its premiere, the work
was not well-received; in
fact it was booed,
possibly due to the
“diabolicâ€
solo violin playing on an
E-string that was tuned
down to E-flat, which the
audience might have
misinterpreted as being
out of tune. However
within ten years the work
had become so popular
that Saint-Saëns
quoted some of its
musical themes in
“The Carnival of
the Animalsâ€. Since
the composer’s
death, “Danse
macabre†is among
the works most often
mentioned in connection
with the theatrical face
of death found in popular
mortuary cult.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding