Composed
by Giovanni Benedetto
Platti. Edited by Leo
Langer. Arranged by Paul
Horn. Sacred vocal music,
Masses, Latin. Choral
Score. 28 pages. Duration
25 minutes. Carus Verlag
#CV 40.677/05. Published
by Carus Verlag
(CA.4067705).
ISBN
9790007109301. Key: F
major. Language:
Latin.
The first
edition of a Missa in F
by Giovanni Platti (ca.
1690-1763) is a rarity.
Platti served at the
Court of the Counts of
Schonborn-Wiesentheid,
and during his more than
40 years of service at
the Court he worked for
more than five masters
and each of them knew how
to make use of his
musical abilities. Thus,
in addition to his
position as a virtuoso
oboist, singer and
violinist, he was also
entrusted with the
musical education of
musicians. The Missa in F
major is primarily a
composition for choir; it
is very singable, its
construction is
transparent and it is
accompanied by only four
strings and an organ.
Score available
separately - see item
CA.4067700.
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...
Violin - advanced to difficult SKU: HL.49019054 Violin and Piano. ...(+)
Violin - advanced to
difficult
SKU:
HL.49019054
Violin
and Piano. Composed
by Johanna Senfter.
Edited by Wolfgang
Birtel. Arranged by
Friedemann Eichhorn. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover. Op.
100. 48 pages. Schott
Music #VLB122. Published
by Schott Music
(HL.49019054).
ISBN
9790001147828.
On
11 August 2011 it is
fifty years since the
death of the composer
Johanna Senfter from
Oppenheim who actually
was a trained violinist
for she had studied with
renowned violinists at
the Hoch Conservatory in
Frankfurt. No wonder that
she dealt with the solo
violin repertoire her
whole life long. Concert
works with orchestral
accompaniment as well as
chamber music works were
the results of her
compositional endeavours,
and she attended to both
the large and the small
form. Apart from sonatas
deeply rooted in the
Romantic tradition,
Johanna Senfter also
wrote '5 Stucke' Op. 100
for violin with piano
accompaniment. They are
five miniatures which
combine to form a kind of
sonatina, while
nevertheless being quite
equal to its big sister,
the sonata, as regards
playing and compositional
technique. A musically
demanding, yet rewarding
work by the Reger
pupil.
Solo Violin - Grade 1 SKU: FL.FX074104 Composed by Sarah Labrousse-Baert....(+)
Solo Violin - Grade 1
SKU: FL.FX074104
Composed by Sarah
Labrousse-Baert. Original
Composition, Method.
Educational. Book,
Method. FLEX Editions
#FX074104. Published by
FLEX Editions
(FL.FX074104).
This violin
method for beginners
completes the Method for
the Violin Beginners
inspired by Auer and the
88 Popular Melodies for
the Young Violinist,
already published by FLEX
Editions, with simple and
efficient exercices,
tested and validated with
many young violonists. ;
Instruments: Solo Violin;
Difficuly Level: Grade
1.
Unison voices, Adults with children, piano accompaniment, C instrument SKU: G...(+)
Unison voices, Adults
with children, piano
accompaniment, C
instrument
SKU:
GI.G-005774
Composed
by James E Clemens.
Epiphany, Holy Family,
Children. Sacred. Octavo.
GIA Publications #005774.
Published by GIA
Publications
(GI.G-005774).
UPC:
641151057743.
English.
Versatile
composer James Clemens
has written this alluring
choir piece for your
children‚ ensemble.
The C instrument part is
accessible for your grade
school flutist or
violinist. This is a fine
addition to your youth
repertoire. Your
children‚ choir
will enjoy this sweet
original composition and
it is sure to become a
standard in your
Christmas repertoire
library.
Piano Accompaniment, Violin (Score and Solo Part) - intermediate SKU: HL.4904...(+)
Piano Accompaniment,
Violin (Score and Solo
Part) - intermediate
SKU: HL.49046044
Violin and Piano
Reduction. Composed
by Johann Sebastian Bach.
Edited by Wolfgang
Birtel. Arranged by
Ulrike Dierick. This
edition: Saddle
stitching. Sheet music.
String Solo. Baroque,
Classical. Softcover. 60
pages. Schott Music
#VLB212. Published by
Schott Music
(HL.49046044).
ISBN
9790001163033. UPC:
888680925796. 9x12
inches.
This
edition of the Violin
Concerto in A minor is
tailored to today's
common style of violin
playing as well as
historically informed
performance practice.
In the appendix
of the solo part, the
version of the Bach
Complete Edition is also
printed allowing the
violinist to create their
own interpretation.
(Violin and Piano). Composed by Theo Loevendie (1930-). For Piano, Violin. Peerm...(+)
(Violin and Piano).
Composed by Theo
Loevendie (1930-). For
Piano, Violin. Peermusic
Classical. Softcover. 36
pages. Peermusic
#61974-602. Published by
Peermusic
Violin and piano - difficult SKU: HL.49017923 For Violin and Piano...(+)
Violin and piano -
difficult
SKU:
HL.49017923
For
Violin and Piano.
Composed by Sir Peter
Maxwell Davies. This
edition: Saddle
stitching. Sheet music.
String. Composed 2008. 36
pages. Duration 15'.
Schott Music #ED13223.
Published by Schott Music
(HL.49017923).
ISBN
9790220131141. UPC:
884088567217.
9.0x12.0x0.125
inches.
Sir Peter
Maxwell Davies is
universally acknowledged
as one of the foremost
composers of our time and
as he reaches his 75th
birthday in 2009 he
remains prolific.The
sonata for violin and
piano was written for the
virtuoso violinist, Ilya
Gringolts and first
performed at the St
Magnus Festival in Orkney
in 2008. The work is
principally concerned
with Italian architecture
and the music takes both
performers and audience
across an imaginary
walkway over Rome as
proposed by the architect
Giuseppe Rebecchini.
Starting at the 17th
Century Chiesa Nuova the
exceptional journey
passes Renaissance
churches, exhibition
spaces, the river Tiber,
glass facades, sculptures
and even a prison where a
Lazio folk tune can be
heard echoing from behind
the walls. The journey
ends 15 minutes later at
Gianicolo, an area where
one can take in
breathtaking views over
the whole city.
(A Workbook for Examinations). By Paul Harris. For Violin. This edition: US ...(+)
(A Workbook for
Examinations).
By Paul Harris. For
Violin.
This edition: US Edition.
Book; Method/Instruction;
String - Violin Studies
or
Collection; Technique
Musicianship. Faber
Edition.
Elementary; Grade 2.
Published
by Faber Music
Violin-solo, piano (Violin solo, Piano) SKU: BA.BA09099-92 First Versi...(+)
Violin-solo, piano
(Violin solo, Piano)
SKU: BA.BA09099-92
First Version
1844. Composed by
Felix Bartholdy
Mendelssohn. Edited by R.
Larry Todd. This edition:
urtext edition. Stapled.
Barenreiter Urtext. Early
version 1844. Piano
reduction, Part. Opus 64.
Duration 12 hours.
Baerenreiter Verlag
#BA09099_92. Published by
Baerenreiter Verlag
(BA.BA09099-92).
ISBN
9790006565733. 31 x 24.3
cm inches. Key: E minor.
Preface: Larry R.
Todd.
Mendelssohn's
Violin Concerto op. 64,
is a key work of the 19th
century, adhering to the
classical style of
Beethoven while pointing
the way to the romantic
ethos of Brahms. It has
long been known that
Mendelssohn performed the
work with three soloists
in succession: Ferdinand
David, who worked closely
with the composer during
its composition and
played it at the
premiere; the 'child
prodigy' Joseph Joachim;
and Hubert Leonard, a
young Belgian virtuoso
about whom little is
known.
As proof
sheets for the Violin
Concerto in E minor were
long considered lost, it
could be described as
somewhat of a sensation
when proofs for the solo
violin part resurfaced
together with a letter
from Mendelssohn to
Leonard.
The
letter informs us that
the composer invited
Leonard to his home in
Frankfurt in order to
make his acquaintance. It
was already known that
Mendelssohn had given
proof sheets to David;
now we know that he also
gave some to
Leonard.
The
recently discovered
proofs reveal how Leonard
played the concerto with
Mendelssohn on that
memorable evening in
February 1845. Besides
containing bowing marks
and fingering, they also
show how Leonard executed
shifts of position and
where he employed open
strings. Furthermore
modifications made to
dynamic markings and
additional legato bowing
are shown.
It is
safe to assume that all
of this was done with
Mendelssohn's approval.
That the young violinist
made a positive
impression on the
composer is confirmed in
the latter's
correspondence following
their joint performance.
Mendelssohn is full of
praise for Leonard's
playing and offers to
lend his support in
finding employment in
Germany.
This
revised edition of the
Mendelssohn Violin
Concerto (only the
orchestral parts remain
unchanged) includes a
separate booklet on
performance practice.
The editor, Clive
Brown, is an acknowledged
expert on Romantic
performance
practice.
- New
source situation owing to
recently rediscovered
proofs - Revised
Urtext edition - With
a separate booklet on
performance practice
(Eng/Ger).
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Trumpet SKU: AP.47779 International Edition. This edition: Interna...(+)
Trumpet
SKU:
AP.47779
International
Edition. This
edition: International.
Brass - B-flat Cornet
(Trumpet) Method or
Collection (Suzuki);
MakeMusic Cloud;
Method/Instruction;
Suzuki. Suzuki Trumpet
School. Book. 28 pages.
Alfred Music #00-47779.
Published by Alfred Music
(AP.47779).
ISBN
9781470641580. UPC:
038081547756.
English.
Teach
trumpet with the Suzuki
Trumpet School. The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Trumpet School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and works with their
Suzuki teacher to develop
their potential as a
musician and as a person.
This book is
integral for Suzuki
trumpet lessons. Volume 1
features: Engravings in a
9 x 12 format *
Introduction and general
information regarding the
trumpet * First exercises
on the trumpet * Pieces
and tonalizations *
Glossary of terms and
signs * Musical notation
guide * Fingering chart *
Photos.
Titles:
Let's Begin (Traditional)
* French Tune
(Traditional) * Stroll
Along (Traditional) *
Come and Play
(Traditional) * Mary Had
a Little Lamb
(Traditional) * Twinkle,
Twinkle, Little Star
(Folk Song / Suzuki) *
Lightly Row (Folk Song) *
Old MacDonald
(Traditional) * Go Tell
Aunt Rhody (Folk Song) *
Are You Sleeping, Brother
John? (Traditional) *
Long, Long, Ago (Bayly) *
May Song (Folk Song) *
French Folk Song (Folk
Song) * Ode to Joy
(Beethoven) * Amazing
Grace (Traditional) *
Allegretto (Diabelli) *
It Jingles So Softly
(Mozart) * Minuet (Roman)
* O Come, Little Children
(Folk Song) * Perpetual
Motion (Suzuki) * Prelude
(Charpentier) * Clog
Dance (Traditional) *
Song of the Wind (Folk
Song) * Allegro (Suzuki).
This title is available
in MakeMusic Cloud.
About Suzuki
Method
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
SKU: HL.48184402 Composed by Eugene Bozza. Leduc. Classical. Softcover. 1...(+)
SKU: HL.48184402
Composed by Eugene Bozza.
Leduc. Classical.
Softcover. 16 pages.
Alphonse Leduc #AL27401.
Published by Alphonse
Leduc (HL.48184402).
UPC: 888680846923.
9x12.25
inches.
“To
this day, Eugène
Bozza (1905-1991) remains
one of the most prolific
composers for wind
instruments, despite
being a violinist
himself. His Three
Evocations for 2 Flutes
is an exquisite addition
to the repertoire. During
his studies at the Paris
Conservatoire, Bozza won
prizes for Violin,
conducting and
composition, as well as
the Grand Prix de Rome.
He then conducted the
orchestra of the
Opéra-Comique and
became Head of the
Conservatoire in
Valenciennes, whilst
remaining a prominent
composer. Bozza's Three
Evocations are exciting
duets containing much
musical variation and
contrast, suitable for
advanced flautists. As
music educationalist Paul
Griffiths has written of
Bozza's compositions,
”“his works
reveal melodic fluency,
elegance of structure and
a consistently sensitive
concern of instrumental
capabilities.”&ldqu
o;&rdquo.
SKU: HL.50603549 Version for Solo Violin. Composed by Nicolas Bacr...(+)
SKU: HL.50603549
Version for Solo
Violin. Composed by
Nicolas Bacri. String.
Softcover. Alphonse Leduc
#AL30814. Published by
Alphonse Leduc
(HL.50603549).
ISBN
9781705104378. UPC:
840126933666.
A
work for solo violin
dedicated to the Belgian
violinist and violist
Jacque Dupriez. Versions
for violin (AL30814) and
cello (AL30816) are also
available.
By Johann Georg Pisendel (1687-1755). For Violin, Basso continuo. D-Dur (D major...(+)
By Johann Georg Pisendel
(1687-1755). For Violin,
Basso continuo. D-Dur (D
major). German title:
Violinsonate in D. Part:
violin. Language: all
languages. 12 pages.
Duration 12 minutes.
Published by Carus Verlag
Fiddle Tunes for the Beginning Violinist. From the creators of Barrage. For Fidd...(+)
Fiddle Tunes for the
Beginning Violinist. From
the creators of Barrage.
For Fiddle. Solos. Swath
Publishing. Bluegrass and
Country. Level:
Beginning. Book/CD Set.
Size 8.75x11.75. 56
pages. Published by Swath
Publishing.
(Tenor and Piano). By Alfred Schnittke (1934-1998). For Tenor, Piano Accompanime...(+)
(Tenor and Piano). By
Alfred Schnittke
(1934-1998). For Tenor,
Piano Accompaniment.
Vocal Solo. Softcover. 8
pages. Sikorski #SIK8544.
Published by Sikorski
Chamber Music String Quartet SKU: PR.14440455S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440455S
Composed
by Sydney F. Hodkinson.
Large Score. With
Standard notation. 53
pages. Duration 22
minutes. Theodore Presser
Company #144-40455S.
Published by Theodore
Presser Company
(PR.14440455S).
UPC:
680160030873.
After
finishing a serious
woodwind quintet in the
fall of 2001 [Tela
Lacerata], I found, in
the ensuing months, that
its cinders/ashes were
still impregnating my
eardrums. Therefore, when
I set out to write the
present string piece, I
realized that the musical
veins of the quartet,
like related cousins,
were sharing the same
blood as the earlier wind
composition. The
resultant Fifth Quartet
evolved into two large,
extended movements, each
one containing seven
parts that are played
without pause. As the
list of the various
sub-sections clearly
indicates, the formal
structure of the
movements appear to be
identical: each with
three main parts
enveloped by interludes,
plus an introduction and
coda. However, the
principal segments of the
first (slow) movement
gradually decrease in
length, while those of
the second (fast)
movement increase. In
addition, there is a
goodly amount of sonic
material stolen from the
first movement which
reappears -- stitched
together in a new guise
-- into the world of the
second. for example, the
bulk of Parts B and C of
Movement II are lifted
bodily, although
elaborately modified,
from their first
appearances in the
Introduction and Part A
of the fist movement.
This offers, I suppose at
least a hint of a
traditional
recapitulation. As was
true in the earlier
woodwind piece -- both
harmonically and
melodically -- the
embryonic growth of the
musical fabric (primarily
the tritone and perfect
fifth) is omnipresent,
almost obsessively,
throughout the course of
the whole work. These two
intervals, not unlike
plasticine, habitually
transform themselves into
the scales, chords, and
melodic lines that
pervade the texture of
the quartet. Owing to the
largely unrelieved
dramatic flow, the
shifting speed, and the
often fervent intensity,
the quartet places
considerable demands on
the dexterity,
virtuosity, and stamina
of the four performers.
String Quartet No. 5 is
approximately 22 minutes
in duration and
affectionately dedicated
to my violinist wife
Elizabeth, as a gift for
our 47 years together. It
was commissioned by the
Corigliano String
Quartet, New York, NY. --
Sydney Hodkinson.
String Orchestra Soprano
Alto SATB Oboe Trumpet
Organ
SKU:
HL.14035114
By Jasmin
Cameron. By Antonio
Vivaldi. Music Sales
America. Classical.
Score. Music Sales
#NOV078980. Published by
Music Sales
(HL.14035114).
Few baroque
composers were ever able
to create work as sunny,
as joyous as Vivaldi did
in this beloved Gloria.
The contrast of mood
throughout the work as it
moves through the drama
of the Mass to its
satisfying double final
movement shows the
composer at the height of
his powers.Vivaldi
composed this work in
Venice in about 1715,
during his fruitful time
at the Ospedale della
Pieta. In his lifetime
this priest, composer and
virtuoso Violinist
achieved enormous musical
success. Considering his
great popularity in the
modern era, it is
difficult to believe that
public appreciation of
his work declined after
his death and that the
Gloria languished
undiscovered
forcenturies. It wasn't
until 1957 that the
restored work was heard
again in its entirety.
Since that time, this
moving and joyous Gloria
has been recorded more
than one hundred times
and perennially appears
on concert series around
the world.
Composed by Zoltán Kodály. Arranged by Norbert Duka. For Double Bass, Pi...(+)
Composed by Zoltán
Kodály.
Arranged by Norbert Duka.
For
Double Bass, Piano
Accompaniment. EMB.
Softcover.
12 pages. Editio Musica
Budapest #Z14896.
Published by
Editio Musica Budapest
2 violins, viola, violoncello SKU: FG.55011-881-2 Reconstruction by An...(+)
2 violins, viola,
violoncello
SKU:
FG.55011-881-2
Reconstruction by
Anssi Mattila.
Composed by Erik
Tulindberg. Arranged by
Anssi Mattila. Classical.
Score & parts. Fennica
Gehrman #55011-881-2.
Published by Fennica
Gehrman (FG.55011-881-2).
The first
composer to warrant a
place in the musical
history of Finland, Erik
Tulindberg (1761-1814)
was an excellent
violinist, and he also
played the cello. His
musical reputation spread
all the way to Stockholm
(Finland was at that time
part of the Kingdom of
Sweden), and in 1797 was
there admitted as a
member of the Royal
Academy of
Music.
The I
violin, viola and cello
parts of
Tulindberg’s
String Quartets were
discovered in 1923 in the
collections of Helsinki
University Library. They
were copies of the
instrumental parts
presumably made by
Tulindberg himself,
though they were possibly
never used during his
lifetime. Not only is the
whole of the II violin
part missing; the first
movement of the viola
part of the fifth Quartet
stops in the middle of a
phrase, and the last 60
bars or so of the
movement’s
manuscript page are just
empty staves.
In
the early 2000s, the
Rantatie Quartet asked
Anssi Mattila whether he
would like to reconstruct
the missing II violin
part. The job was
finished in 2004 and the
Rantatie Quartet released
a Classical Emma-winning
disc of the Quartets in
2006.
This product
includes the full score
and the set of parts.
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Classical.
Part. 8 pages. Duration
16'. Breitkopf and
Haertel #OB 15131-26.
Published by Breitkopf
and Haertel
(BR.OB-15131-26).
ISBN
9790004342671. 10 x 12.5
inches.
Prank or
Color Code?Mozart
composed all of his horn
concertos for Joseph
Leutgeb, a long-standing
friend of his family. In
Salzburg Leutgeb was in
the service of the court
ensemble as horn player
and violinist before
departing for Vienna,
where he became known as
a performer of Mozart's
horn concertos. In 1786
Mozart wrote his fourth
horn concerto in E flat
major, which,
unfortunately, survives
only as an incomplete
fragment. For the present
new edition in Breitkopf
Urtext, a reliable early
print for the missing
sections is used.
Nevertheless, this
autograph is still a very
valuable source, since it
contains Mozart's
notation of the work in
colored ink! The question
as to whether this was
one of Mozart's typical
jokes aimed at Leutgeb or
whether he had something
else in mind, remains
inconclusive to this day.
Whoever is curious can
take a guess as well,
since Breitkopf is
printing (in its new
edition and in autograph
form) the sections in
color that were
originally transmitted as
such.
(Violin and Piano). By Cyril Scott (1879-1970). For Violin, Piano Accompaniment....(+)
(Violin and Piano). By
Cyril Scott (1879-1970).
For Violin, Piano
Accompaniment. Schott.
Softcover. 32 pages.
Schott Music #VLB163.
Published by Schott Music
Violin y Piano SKU: BO.B.3070 Composed by Xavier Turull. Instrumental Set...(+)
Violin y Piano
SKU:
BO.B.3070
Composed by
Xavier Turull.
Instrumental Sets.
Duration 15:00. Published
by Editorial de Musica
Boileau (BO.B.3070).
ISBN
9788480202770.
Come
ntarios del
Espanol: Obra para
violin y quinteto de
cuerda u orquesta de
cuerda, aunque Turull
tambien creo la reduccion
para violin y piano. Se
trata de una composicion
de un solo movimiento que
esta dedicada a la
violinista Eva Leon.
(With Marked and Unmarked String Parts). Composed by Johann Baptist Georg Neruda...(+)
(With Marked and Unmarked
String Parts). Composed
by Johann Baptist Georg
Neruda. Edited by Sonja
Gerlach and Zdenka
Pilková. For Piano,
Violin, Basso Continuo.
Henle Music Folios.
Softcover. G. Henle
#HN1049. Published by G.
Henle
Urtext. Composed
by Wolfgang Amadeus
Mozart. Edited by Henrik
Wiese. Orchestra;
stapled.
Orchester-Bibliothek
(Orchestral Library).
In Cooperation with G.
Henle Verlag
Solo
concerto; Classical.
Part. 8 pages. Duration
16'. Breitkopf and
Haertel #OB 15131-15.
Published by Breitkopf
and Haertel
(BR.OB-15131-15).
ISBN
9790004342640. 10 x 12.5
inches.
Prank or
Color Code?Mozart
composed all of his horn
concertos for Joseph
Leutgeb, a long-standing
friend of his family. In
Salzburg Leutgeb was in
the service of the court
ensemble as horn player
and violinist before
departing for Vienna,
where he became known as
a performer of Mozart's
horn concertos. In 1786
Mozart wrote his fourth
horn concerto in E flat
major, which,
unfortunately, survives
only as an incomplete
fragment. For the present
new edition in Breitkopf
Urtext, a reliable early
print for the missing
sections is used.
Nevertheless, this
autograph is still a very
valuable source, since it
contains Mozart's
notation of the work in
colored ink! The question
as to whether this was
one of Mozart's typical
jokes aimed at Leutgeb or
whether he had something
else in mind, remains
inconclusive to this day.
Whoever is curious can
take a guess as well,
since Breitkopf is
printing (in its new
edition and in autograph
form) the sections in
color that were
originally transmitted as
such.