Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str)

SKU: BR.DV-6081

Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081).

ISBN 9790200460032. 9.5 x 12 inches.

Duration: full evening

Translation : German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines)
Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century

Characters : Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )

There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.

Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.

Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.

Nebe n der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.

Tchaikovsky 's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.

The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.

In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'.

By Carol Barratt. For Piano. Folk, Blues, Classical. 64 pages. Published by Music Sales

Chorus a cappella

SKU: BR.CHB-5234-02

Composed by Fanny Cecile Mendelssohn. Edited by Gottfried Heinz and J. Draheim. Choir; stapled. Chor-Bibliothek (Choral Library). Fanny Hensel's choral works not only stand up to comparison with any of the rich and varied choral works of the Romantic era - they also rank among the best. Very likely to become hits! (Musica). Song; Romantic. Choral score. 4 pages. Breitkopf and Haertel #ChB 5234-02. Published by Breitkopf and Haertel (BR.CHB-5234-02).

ISBN 9790004411537. 7.5 x 10.5 inches. German.

Madame Hensel, Mendelssohn's sister, whose eyes speak intelligence and profundity''. This diary entry made by Robert Schumann in June 1843 succinctly but fittingly characterizes Fanny Hensel, without a doubt the most significant woman composer of the 19th century. Born in Hamburg on 14 November 1805, she was the eldest sister of Felix Mendelssohn Bartholdy and the granddaughter of the philosopher Moses Mendelssohn. In 1829 she married the Prussian court painter and occasional poet Wilhelm Hensel (1794-1861). After her sudden death in Berlin on 14 May 1847 as a result of a stroke, the music journalist Ludwig Rellstab poignantly wrote that she shared the brotherhood ef talent with her famous sibling.Fanny Hensel was given the same excellent and comprehensive musical training as her precocious brother, including composition lessons with Goethe's friend Carl Friedrich Zelter. Felix and Fanny not only loved each other tenderly, but they also maintained an intensive, life-long exchange of ideas which proved musically profitable to both of them. However, it was only in 1846 that Mendelssohn gave up his resistance to Fanny's publication plans. And so, just shortly before her death, she was able to publish a carefully selected sample of her songs and piano pieces.Not only these pieces, but also a few orchestral and chamber-music works (e.g. the String Quartet in E flat major, KM 2255) and, in particular, choral music occupy an important position in her oeuvre. Most of her choral works were written in 1846, and she was able to rehearse them with the chorus she conducted at the famous Sunday Concerts in the Mendelssohn home. She had six of these choral songs published in a revised version under the title Gartenlieder Op. 3 by the Berlin music publisher Bote & Bock. The title of the Gartenlieder brings to mind Mendelssohn's well-known Lieder im Freien zu singen (Opera 41, 48, 59; ChB 4763-4780), published before 1846. But, as far as the quality of their melodic writing, the compositional technique, and the choice of texts are concerned, as well as the perfect balance between folk-like simplicity and polished design, they are as outstanding as the works of her brother.

Fanny Hensel's choral works not only stand up to comparison with any of the rich and varied choral works of the Romantic era - they also rank among the best. Very likely to become hits! (Musica).

Exceptional Classics for Piano composed by Various. Arranged by Jonathon Robbins. For piano. This edition: Paperback. Collection. Classical. Book. Text Language: English. 64 pages. Published by Santorella Publications

(KL)

SKU: HL.49041045

Piano works. Composed by Peter Ilyich Tchaikovsky. This edition: Full-cloth binding. Sheet music. Edition Schott. Score and critical commentary, complete edition. Composed 1875-1878. 262 pages. Schott Music #NCE1069-10. Published by Schott Music (HL.49041045).

ISBN 9783795794453. 10.25x13.25x1.07 inches.

Petr Iljitsch Tschaikowsky, whom Igor Stravinsky charakterized as being 'deeply national', represents the culmination of 'Russion Classical music' of the late-eighteenth and nineteenth centuries. Probably the most versatile of Russian composers, he made great and lasting contributions to all genres - operas, ballets, incidental music, symphonies and other orchestral works, chamber music, piano music, sacred and secural choral music, romances, Lieder and folk-song arrangements - establishing a special place for Russion music within the European tradition. Publications of the first complete edition of Tschaikowsky's works was started in the centenary year of his birth, 1940. Publication of a second edition will begin in 1993, the centenary of his death. There are important reason, both editorial and in terms of content, for a second edition to follow so soon. In the old edition, ideological considerations meant that some of the texts which Tschaikowsky set to music were arbitrarily altered. Similarly, quotations of the old Russian national anthem were replaced by other music. A number of works, or independent versions, werde completely overlooked. For example, the full score of the opera 'Vakula the Smith' (the first version of Cerevicki) and the unfinished Symphony in E flat major werde not standardized; in some cases no textual analysis was offered, and critical apparatures were simply dispensed with.The new complete edition will remedy these shortcomings. In addition to the composer's final versions, it will include alternative and earlier versions of works, as well as fragments and incomplete works, all reproduced faithfully from the sources. Documentation and discussion will be provided in Critical Commentaries. Piano reductions exist of the stage works, concertos and concertante pieces as well as of some of the cantatas and orchestral works, either written by Tschaikowsky himself, or revised or authorized by him. These are all to be included in the edition which, with its historico-critical approach, will address the need both of scholars and of practical musicians.The edition of musical works (Serie I-IX) is supplemented by a facsimile edition of all of Tschaikowsky's surviving sketches (Serie X), the texts of his diaries, writings and letters, including the three-volume Tschaikowsky-Mekk correspondence (Serie XI), a two-volume catalogue of works and a single-volume Tschaikowsky Encyclopaedia (Series XII).

B-flat Edition. By Various. Fake Book (Includes melody line and chords). Size 8.5x11 inches. Published by Hal Leonard.

Eb Instruments. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.

By Various Composers. Fake Book (Includes melody line and chords). Size 8.5x11 inches. 416 pages. Published by Hal Leonard.

Book with Play-Along Tracks. Composed by Various. Real Book Play-Along. Softcover Audio Online. 440 pages. Published by Hal Leonard

Bass Clef Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. Published by Hal Leonard.

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

Urtext. Composed by Pauline Viardot-Garcia (1821-1910). Edited by Miriam-Alexandra Wigners. Breitkopf and Haertel #EB 8887. Published by Breitkopf and Haertel

Orchestra (3(picc).2.cor ang.2.2. - 4.2.2CaP.3.1. - timp.perc - hp - str)

SKU: BR.PB-5394

Urtext. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Polina Vajdman. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

The Russian musicologist Polina Vajdman has consulted all relevant sources.

Romantic period. Full score. 120 pages. Duration 15'. Breitkopf and Haertel #PB 5394. Published by Breitkopf and Haertel (BR.PB-5394).

ISBN 9790004211304. 10 x 12.5 inches.

The present edition is based on all relevant sources. The preface sketches the work's genesis from the moment of its conception in Rome in late December 1879 (Yesterday, out in the streets, I heard a wonderful folksong that I will most certainly make use of.) to the first reviews, in which Tchaikovsky was accused of triviality and of having made an extremely unfortunate choice of themes. Yet this did nothing to hamper the worldwide success of the work, and Tchaikovsky's composer colleagues also culled ideas from it: a few years later, Tchaikovsky himself was the dedicatee of Nikolay Rimsky-Korsakov's Capriccio espagnol.Mit seinen Urtext-Studienpartituren setzt Breitkopf nicht nur auf eine bewahrte Tradition, sondern blickt offenbar auch guten Mutes in die Zukunft. (Michael Kube, Schweizer Musikzeitung)Mit bemerkenswerter Konsequenz wird die Neuherausgabe von Studienpartituren fortgesetzt. Fast unnotig, zu erwahnen, dass die uberdurchschnittliche Seitenaufteilung, der vorbildlich klarer Druck das Studium auch eines so bekannten Werkes zu einer genussreichen Freude machen. (Das Liebhaberorchester)
The Russian musicologist Polina Vajdman has consulted all relevant sources.

(An Opera in Two Acts). Composed by David Carlson. Vocal score. Published by Carl Fischer

By Franz Liszt. Edited by Maurice Hinson. For Piano. Piano Collection. Masterwork. Level: Intermediate / Early Advanced (grade 4/5/6/6+). Book. 64 pages. Published by Alfred Publishing.

Cello - Late Intermediate

SKU: FH.VC7

Cello Series, 2013 Edition. Composed by The Royal Conservatory. Cello Series, 2013 Edition. Book/CD. The Frederick Harris Music Company #VC7. Published by The Frederick Harris Music Company (FH.VC7).

ISBN 978-1-55440-543-5.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Level 7:
Il barbiere di Siviglia: Overture - Rossini, Gioachino
Carmen: Prelude to act 1 - Bizet, Georges
Coriolan Overture, op. 62 - Beethoven, Ludwig van
Symphony No. 94 (Surprise), Hob. I:94: I,IV - Haydn, Franz Joseph
Ruslan and Ludmilla: Overture - Glinka, Mikhail
Peer Gynt Suite No. 1, op. 46: I,III,IV - Grieg, Edvard
Level 8:
Incidental Music to A Midsummer Night's Dream, op. 61: I - Mendelssohn, Felix
Symphony No. 8, op. 88: I,IV - Dvorak, Antonin
The Nutcracker, op. 71: Russian Dance, Waltz of the Flowers, Pas de deux - Tchaikovsky, Pyotr Il'yich
Symphony No. 8 (Unfinished), D 759: I,II - Schubert, Franz
Die Zauberfloete, K 620: Overture - Mozart, Wolfgang Amadeus
Symphony No. 40, K 550: I,IV - Mozart, Wolfgang Amadeus
Level 9:
Symphony No. 9, op. 125: II,IV - Beethoven, Ludwig van
Symphony No. 8, op. 93: III - Beethoven, Ludwig van
Serenade for Strings, op. 22: III,IV,V - Dvorak, Antonin
Piano Concerto No. 2, op. 83: III - Brahms, Johannes
Serenade for Strings, op. 48: I,II,III,IV - Tchaikovsky, Pyotr Il'yich
Symphony No. 4 (Italian), op. 90: I,IV - Mendelssohn, Felix
Symphony No. 3, op. 90: III,IV - Brahms, Johannes
Symphony No. 35 (Haffner), K 385: I,IV - Mozart, Wolfgang
Le nozze di Figaro, K 492: Overture - Mozart, Wolfgang Amadeus
Level 10:
Group 1:
Variations on an Original Theme (Enigma), op. 36: Variation 12 - Elgar, Edvard
Dichter und Bauer: Overture - Suppe, Franz von
Messa da Requiem: III - Verdi, Giuseppe
Guillame Tell: Overture - Rossini, Gioachino
Group 2:
Symphonie fantastique: II,III,V - Berlioz, Hector
Symphony No. 4, op. 36: I,II,IV - Tchaikovsky, Pyotr Il'yich
Symphony No. 5, op. 67: I,II,III - Beethoven, Ludwig van
Symphony No. 4, op. 98: I,II,III,IV - Brahms, Johannes
Symphony No. 6 (Pathetique), op. 74: I,II - Tchaikovsky, Pyotr Il'yich
Symphony No. 2, op. 73: I,II,IV - Brahms, Johannes
Associate:
Group 1:
Symphony No. 5, op. 100: I,II,III,IV - Prokofiev, Sergei
La mer: I,II - Debussy, Claude
The Bartered Bride: Overture - Smetana, Bed_ich
Symphony No. 5, op. 47: I,II,III - Shostakovich, Dmitri
Group 2:
Matthaus-Passion, BWV: Komm, suesses Kreutz - Bach, Johann Sebastian
Don Juan, op. 20 - Strauss, Richard
Ein Heldenleben, op. 40 - Strauss, Richard
Verklaerte Nach1, op. 4 - Schoenberg, Arnold.

C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 256 pages. Published by Hal Leonard.

C Edition. By Various. Fake Book (Includes melody line and chords). Size 9x11 inches. 352 pages. Published by Hal Leonard.

(Low Voice Edition). By Various. Fake Book. 352 pages. Published by Hal Leonard

(33 Pieces by 23 Composers). By Various. BH Piano. Softcover. 224 pages. Boosey and Hawkes #M051246601. Published by Boosey and Hawkes