And
Final Version (1872/74) -
Opera in 4 Acts and
Prologue. Composed by
Modest Mussorgskij.
Arranged by Pawel Lamm.
Softcover. Bessel,
London. Opera; Music
theatre; Romantic.
Libretto. 48 pages.
Breitkopf and Haertel
#BES 3089. Published by
Breitkopf and Haertel
(BR.BES-3089).
ISBN
9790004610022. 0 x 0
inches.
Duration:
full evening Text by
the composer after
Alexander Pushkins
Dramatic Chronic of Tsars
Boris and Grishka
Otrepiev and Nikolai
Karamsins History of the
Russian
Empire Translation:
German (M. Hube), Engl.
(D. Lloyd-Jones)
Place and time:
Moscow and environment,
Court of the Novodevichy
Monastery, Tshudov
Monastery, Roadside Inn
near the Lithuanian
frontier, Tsar's Chamber
in Kremlin, Castle of
Sandomir, Kromy Forest,
1598-1605
Characte
rs: Boris Godunov
(baritone) - Feodor and
Xenia, his Children
(mezzo-soprano, soprano)
- Wet Nurse Xenias (alto)
- Prince Wassily
Ivanovitch Shuisky
(tenor) - Andrej
Schtschelkalov, Secret
Scribe (baritone) -
Pimen, Chronic Scribe
(bass) - Grigory
Otrepiev, later Dmitry
(tenor) - Marina
Mnischek, Wojewoden von
Sandomir's Daughter
(mezzo-soprano) -
Rangoni, Secret Jew
(bass) - Varlaam and
Missail, escaped Monks
(bass, tenor) -Roadside
Inn Landlady
(mezzo-soprano) - A
Simpleton (tenor) -
Nikititsh, Church
Advocate (bass) - a Boyar
(tenor) - Boyar
Chrushtschov (tenor) -
Mitjucha, Farmer
(baritone) - Lowitzki and
Tschernjakowski, Jesuits
(basses)
The
Original version of
1868/69 consists of seven
scenes in one prologue
and three acts: 1.
Courtyard of the
Novodevichy monastery -
2. Square in the Kremlin.
Coronation scene. - 3.
Pimen's cell in the
Chudov monastery - 4. Inn
scene - 5. A room in the
Czar's apartments in the
Kremlin - 6. Outside St.
Basil's Cathedral - 7.
Council of Boyars. Death
of Boris.
When the
work was rejected by St.
Petersburg's Mariinsky
Theater Mussorgsky
followed the advice of
friends and revised the
opera. In the Final
version of 1871/72 he
expanded the fifth scene
scrapped the sixth and
added three new scenes so
that the opera now
consisted of nine scenes
in one prologue and four
acts:
1.- 4. see
1868/69 - 5. A room in
the Czar's apartments in
the Kremlin - 6. Marina's
boudoir in Sandomir - 7.
Palace park in Sandomir -
8. Council of Boyars.
Death of Boris - 9. In
the forest of Kromy
(Revolution
scene)
The score
published under the
supervision of Pavel Lamm
in the Complete Edition
(1928) and the piano
reduction (1931) contain
the parts of both
versions transmitted in
score as well as in the
piano reduction all the
changes made by
Mussorgsky in his piano
reduction of 1874. The
performance material can
thus be used for a
production of either the
original version or the
final version according
to need.
By Dave Zubraski. For Drums. Rock. Sheet Music and Audio CD. 32 pages. Published...(+)
By Dave Zubraski. For
Drums. Rock. Sheet Music
and Audio CD. 32 pages.
Published by Music Sales.
Discover how bands get
their sound. Improve your
performance, increase
your playing power, build
up your rhythm and
control. CD contains 94
matching audio tracks for
practice with top session
musicians.
Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle 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