| Hungarian Fiddle Tunes for Two Violas 2 Altos (duo) - Facile Greenblatt and Seay
Arranged by Deborah Greenblatt. For 2 Violas. Hungarian Fiddle Tunes for Two. Le...(+)
Arranged by Deborah
Greenblatt. For 2 Violas.
Hungarian Fiddle Tunes
for Two. Level: Easy.
Published by Greenblatt
and Seay.
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hungarian Fiddle Tunes for Two Cellos 2 Violoncelles (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Hungari...(+)
Arranged by Deborah
Greenblatt. Cello Duet.
For 2 cellos. Tunes for
Two. Hungarian Folk. Tune
book. Standard Notation.
59 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hungarian Fiddle Tunes for Two Mandolins - Facile Greenblatt and Seay
Arranged by Deborah Greenblatt. For 2 Mandolins. Hungarian Fiddle Tunes for Two....(+)
Arranged by Deborah
Greenblatt. For 2
Mandolins. Hungarian
Fiddle Tunes for Two.
Level: Easy. Published by
Greenblatt & Seay.
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Hungarian Fiddle Tunes for Two Violins 2 Violons (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Hunga...(+)
Arranged by Deborah
Greenblatt. Violin Duet.
For 2 violins. Tunes for
Two. Hungarian Folk. Tune
book. Standard Notation.
59 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Songspin Songbook Chorale 3 parties SSA University Of York Music Press
SSA Choir SKU: BT.MUSM570366033 By James Whittle_Paul Slid. Hymns & Chora...(+)
SSA Choir SKU:
BT.MUSM570366033 By
James Whittle_Paul Slid.
Hymns & Chorals. Book
Only. 145 pages.
University of York Music
Press #MUSM570366033.
Published by University
of York Music Press
(BT.MUSM570366033).
English. A
genre-defying collection
of songs for female vocal
trio, Songspin Songbook
is a collaboration
between Juice Vocal
Ensemble and UYMP, funded
by an Arts Council
England grant. Described
as “the 21st
century’s answer to
the Swingles or
King’s
Singers” (The
Times), Juice have
emerged as the face of a
revitalised experimental
scene for vocal music.
Songspin Songbook
publishes songs from
their debut album,
Songspin. The album was
released on Nonclassical
in 2011 to critical
acclaim, winning an
international Independent
Music Award for Best
Contemporary Classical
Album in 2012. Featuring
remixes by the likes of
Camille producer MaJiker
and
Björkcollaborator
Mikhail Karikis, the
album was reviewed by The
Observer as
“eighteen
immaculately achieved
tracks, spanning
Elisabeth Lutyens to
Gabriel Prokofiev via
folk song and avant
garde, enchant and
enthrall”. Songspin
also featured the
premiere recording of
Elisabeth Lutyens' Of The
Snow, which The Telegraph
described of a
performance by Juice as
an amazing sustained
piece of virtuosity.
Songspin Songbook
was edited by James
Whittle and Paul Sild.
Artwork designed by
Christopher Leedham and
Martin Scheuregger. $42.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Cómo Elaborar Solos De Guitarra Guitare [Partition + CD] - Facile Play Music Publishing
Guitar - Grade 2 SKU: BT.MUSMS0358 Composed by Diego Portillo. Tuition. B...(+)
Guitar - Grade 2 SKU:
BT.MUSMS0358 Composed
by Diego Portillo.
Tuition. Book with CD.
Composed 2017. Play Music
Spain #MUSMS0358.
Published by Play Music
Spain (BT.MUSMS0358).
Spanish. Apre
nder las escalas, los
arpegios, los clichés de
los mejores músicos...
es una cosa, pero crear
un solo a la vez
coherente, musical,
interesante, vibrante y
atractivo, respetando el
contexto en el cual se
toca,es otra cosa.
Y ésta es la meta que
nuestro método quiere
hacerle alcanzar. Aquí
no se trata de aprender
las herramientas
melódicas de las que uno
dispone (sobran los
métodos sobre eltema),
sino de la elaboración
en sí de unos hermosos
solos de guitarra.
La metodología que
hemos adoptado es
sencilla, lúdica y
progresiva. El estudiante
encontrará no menos de
14playbackscompletos (de
4, 8 y 12 medidas), con,
para cada uno, 4 solos
diferentes y de
dificultad progresiva (o
sea 56 solos en total).
En realidad se trata
siempre de la misma base
que está desarrollada
melódicamente,rítmicame
nte y técnicamente a lo
largo de la
progresión. Dicho
de manera más clara, el
primer solo es básico,
al alcance de todos,
mientras que el último
es más complejo.Pero,
que quede claro, el
verdadero solo no es
solamente el último: a
cada etapa corresponde un
verdadero solo digno de
ese nombre. En el
disco de datos incluido
en el método (audios mp3
y vídeos mp4)encontrará
para los 56 solos
presentados en el
método, la demostración
en vídeo, a velocidad
normal y luego más
lenta, y también los
múltiples playbacks
correspondientes,
enversión ?larga
duración?, para que le
dé tiempo a expresarse
en ellos. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Album De Pieces 2 Guitares (duo) [Conducteur] - Intermédiaire Lemoine, Henry
2 guitars - Level 3 SKU: LM.27431 Composed by Annette Kruisbrink. Classic...(+)
2 guitars - Level 3
SKU: LM.27431
Composed by Annette
Kruisbrink. Classical.
Score. Editions Henry
Lemoine #27431. Published
by Editions Henry Lemoine
(LM.27431). ISBN
9790230974318. Albo
rada - Albarillo - Don
Camillo - Canto - Sarao -
Final. $21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Russian Fiddle Tunes for Two Violins 2 Violons (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Russi...(+)
Arranged by Deborah
Greenblatt. Violin Duet.
For 2 violins. Tunes for
Two. Russian Folk. Tune
book. Standard Notation.
47 pages
(1)$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Cellos 2 Violoncelles (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Russian...(+)
Arranged by Deborah
Greenblatt. Cello Duet.
For 2 cellos. Tunes for
Two. Russian Folk. Tune
book. Standard Notation.
47 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Violas 2 Altos (duo) Greenblatt and Seay
Arranged by Deborah Greenblatt. Viola Duet. For 2 violas. Tunes for Two. Russian...(+)
Arranged by Deborah
Greenblatt. Viola Duet.
For 2 violas. Tunes for
Two. Russian Folk. Tune
book. Standard Notation.
47 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Russian Fiddle Tunes for Two Mandolins 2 Mandolines (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Mandolin Duet. For 2 mandolins. Tunes for Two. R...(+)
Arranged by Deborah
Greenblatt. Mandolin
Duet. For 2 mandolins.
Tunes for Two. Russian
Folk. Tune book. Standard
Notation. 47 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto IX "Victoria Maesta" Orchestre - Intermédiaire Schott
Orchestra - intermediate to advanced SKU: HL.49001681 Set of Parts...(+)
Orchestra - intermediate
to advanced SKU:
HL.49001681 Set of
Parts. Composed by
George Muffat. Edited by
Guenter Kehr. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Set of choral
parts. 86 pages. Duration
10'. Schott Music #CON
107-70. Published by
Schott Music
(HL.49001681). ISBN
9790001023115.
9.0x12.0x0.196
inches. Muffat,
pupil of Lully and
Corelli, composed his
concerto 'Victoria
Maesta' ('Sad Victory')
in 1689 as organist and
chamber musician in the
court of the archbishop
of Salzburg. The title
refers to the taking of
Belgrad during which the
archbishop's brother was
killed in 1688; therefore
the piece begins with a
solemn funeral march in C
minor, in elaborate and
artistic contrapuntal
technique in the sense of
Corelli's adagio
type. $60.00 - Voir plus => Acheter | | |
| Classic Collaborations: 12 Pieces for Solo Treble Instrument and Keyboard - Facile MorningStar Music Publishers
Solo treble instrument and keyboard - Early Intermediate SKU: MN.20-782 C...(+)
Solo treble instrument
and keyboard - Early
Intermediate SKU:
MN.20-782 Composed by
Various. MorningStar
Music Publishers #20-782.
Published by MorningStar
Music Publishers
(MN.20-782). UPC:
688670207822. Lully
, Corelli, Telemann,
Mouret, Bach, Handel, and
Mozart are among the
composers featured in
this volume for solo
treble instrument (C,
B-flat) and keyboard.
Callahan is a master at
writing accompaniments
that work on any
available keyboard
instrument. Most titles
evoke dance movements
(Sarabanda, Siciliano,
etc.). Classic and
refined.
$30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Lyrics Paroles Seulement [Partition] Hal Leonard
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
(1)$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Transcriptions of Lieder Piano seul Carl Fischer
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... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jarba, Mare Jarba Chorale SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU:
CF.CM9700 Composed by
Hungarian Folk. Arranged
by Stacy Garrop. 20
pages. Duration 4:44.
Carl Fischer Music
#CM9700. Published by
Carl Fischer Music
(CF.CM9700). ISBN
9781491160008. UPC:
680160918607. Key: A
minor. Hungarian.
Hungarian Folk. In
2014, Chanticleer
commissioned me to make a
new arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one's homeland, a place
where the singer can
never return. Chanticleer
consists of twelve men
whose vocal ranges span
from low bass to high
soprano, equivalent to
the range of a mixed
choir of women and men. I
composed slow sections of
original material to
represent the singers'
longing to return home;
these are interspersed
with the folk song's
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer version.
PERFORMANCE NOTES All
spoken sounds (indicated
by x noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music. If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the end. TEXT
Transliteration Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa. Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat. O mers mama de pe
sat, O lasat coliba
goala, Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa. Jarba, mare
jarba mas duce a casa, da
nu pot ca am jurat.
Translation Green grass,
tall grass, I would like
to go home, but I cannot,
because I have sworn not
to. Tall grass, green
grass - oh, that I cannot
go home! My mother has
left the village; she
left the hut empty,
Adorned with leaves but
full of poverty. Tall
grass, green grass - oh,
that I cannot go home!
Tall grass, green grass -
I would like to go home.
but I cannot, because I
have sworn not to. Stacy
Garrop's music is
centered on dramatic and
lyrical storytelling. The
sharing of stories is a
defining element of our
humanity; we strive to
share with others the
experiences and concepts
that we find compelling.
She shares stories by
taking audiences on sonic
journeys - some simple
and beautiful, while
others are complicated
and dark - depending on
the needs and dramatic
shape of the story.
Garrop served as the
first Emerging Opera
Composer of Chicago Opera
Theater's Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received numerous
awards and grants
including an Arts and
Letters Award in Music
from the American Academy
of Arts and Letters,
Fromm Music Foundation
Grant, Barlow Prize, and
three Barlow Endowment
commissions, along with
prizes from competitions
sponsored by the Detroit
Symphony Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels. Her catalog
covers a wide range, with
works for orchestra,
opera, oratorio, wind
ensemble, choir, art
song, various sized
chamber ensembles, and
works for solo
instruments. Notable
commissions include My
Dearest Ruth for soprano
and piano with text by
Martin Ginsburg, the
husband of the late
Supreme Court Justice
Ruth Bader Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for the
Kronos Quartet, Give Me
Hunger for Chanticleer,
Rites for the Afterlife
for the Akropolis and
Calefax Reed Quintets,
and Terra Nostra: an
oratorio about our
planet, commissioned by
the San Francisco Choral
Society and Piedmont East
Bay Children's Chorus.
Garrop previously served
as composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.). In 2014,
Chanticleer commissioned
me to make a new
arrangement of the
Hungarian-Romani folk
song Jarba, Mare Jarba
for their 2014 touring
program. Passed down
orally through the Romani
communities, this
beautiful folk song, with
text in a language called
Beas (beh-osh), speaks of
a deep longing to visit
one’s homeland, a
place where the singer
can never return.
Chanticleer consists of
twelve men whose vocal
ranges span from low bass
to high soprano,
equivalent to the range
of a mixed choir of women
and men. I composed slow
sections of original
material to represent the
singers’ longing
to return home; these are
interspersed with the
folk song’s
traditional fast
sections. The
incorporated shouts and
calls in the score are
typically found in the
performance of Central
European folk songs. I
hope you enjoy singing
this new version of
Jarba, Mare Jarba that
contains all of the vigor
and excitement of the
Chanticleer
version.PERFORMANCE
NOTESAll spoken sounds
(indicated by x
noteheads) should be
performed by individuals.
Feel free to elaborate
with more sounds of your
own in the tradition of
Eastern European folk
music.If the piece is
memorized, feel free to
experiment with clapping
on the off-beats of m. 93
to the
end.TEXTTransliterationJa
rba, mare jarba mas duce
a casa, da nu pot ca am
jurat, Jarba, mare jarba
mas duce a casa, da nu
pot ca am jurat. Mare
jarba, verde jarba nu me
pot duce a casa.Jarba,
mare jarba mas duce a
casa, da nu pot ca am
jurat.O mers mama de pe
sat, O lasat coliba
goala,Infrunzitu,
ingurzitu da plina de
saracie, da plina de
saracie. Mare jarba,
verde jarba nu me pot
duce a casa.Jarba, mare
jarba mas duce a casa, da
nu pot ca am
jurat.TranslationGreen
grass, tall grass, I
would like to go home,
but I cannot, because I
have sworn not to.Tall
grass, green grass
– oh, that I
cannot go home!My mother
has left the village; she
left the hut empty,
Adorned with leaves but
full of poverty.Tall
grass, green grass
– oh, that I
cannot go home! Tall
grass, green grass
– I would like to
go home.but I cannot,
because I have sworn not
to.Stacy Garrop’s
music is centered on
dramatic and lyrical
storytelling. The sharing
of stories is a defining
element of our humanity;
we strive to share with
others the experiences
and concepts that we find
compelling. She shares
stories by taking
audiences on sonic
journeys – some
simple and beautiful,
while others are
complicated and dark
– depending on the
needs and dramatic shape
of the story.Garrop
served as the first
Emerging Opera Composer
of Chicago Opera
Theater’s Vanguard
Program. She also held a
3-year
composer-in-residence
position with the
Champaign-Urbana Symphony
Orchestra, funded by New
Music USA and the League
of American Orchestras.
She has received
numerous awards and
grants including an
Arts and Letters Award in
Music from the American
Academy of Arts and
Letters, Fromm Music
Foundation Grant, Barlow
Prize, and three Barlow
Endowment commissions,
along with prizes from
competitions sponsored by
the Detroit Symphony
Orchestra, Civic
Orchestra of Chicago,
Omaha Symphony, New
England Philharmonic,
Boston Choral Ensemble,
Utah Arts Festival, and
Pittsburgh New Music
Ensemble. She is a
Cedille Records artist;
her works are
commercially available on
more than ten additional
labels.Her catalog covers
a wide range, with works
for orchestra, opera,
oratorio, wind ensemble,
choir, art song, various
sized chamber ensembles,
and works for solo
instruments. Notable
commissions include My
Dearest Ruth for
soprano and piano with
text by Martin Ginsburg,
the husband of the late
Supreme Court Justice
Ruth Bader
Ginsburg, The
Transformation of Jane
Doe for Chicago Opera
Theater, The Battle for
the Ballot for the
Cabrillo Festival
Orchestra, Goddess
Triptych for the St.
Louis Symphony Orchestra,
Glorious Mahalia for
the Kronos Quartet, Give
Me Hunger for
Chanticleer, Rites for
the Afterlife for the
Akropolis and Calefax
Reed Quintets,
and Terra
Nostra:Â an oratorio
about our planet,
commissioned by the San
Francisco Choral Society
and Piedmont East Bay
Children’s
Chorus.Garrop previously
served as
composer-in-residence
with the Albany Symphony
and Skaneateles Festival,
and as well as on faculty
of the Fresh Inc Festival
(2012-2017). She taught
composition and
orchestration full-time
at Roosevelt University
2000-2016) before leaving
to launch her freelance
career. She earned
degrees in music
composition at the
University of
Michigan-Ann Arbor
(B.M.), University of
Chicago (M.A.), and
Indiana
University-Bloomington
(D.M.).ÂÂ. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - CD Preview Pak CD Chorale Word Music
SKU: WD.080689583360 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689583360
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Eastertide. CD
preview pak. Word Music
#080689583360. Published
by Word Music
(WD.080689583360).
UPC:
080689583360. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $12.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - Accompaniment CD (Split) CD Chorale Word Music
SKU: WD.080689895128 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689895128
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Modern
Christian: Sacred.
Accompaniment CD (split).
Word Music #080689895128.
Published by Word Music
(WD.080689895128).
UPC:
080689895128. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $79.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - Practice Trax Word Music
SKU: WD.080689697029 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689697029
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Modern
Christian: Sacred.
Practice trax. Word Music
#080689697029. Published
by Word Music
(WD.080689697029).
UPC:
080689697029. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - Listening CD CD Chorale Word Music
SKU: WD.080689864223 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689864223
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Modern
Christian: Sacred.
Listening CD. Word Music
#080689864223. Published
by Word Music
(WD.080689864223).
UPC:
080689864223. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $16.98 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - Bulletins (100-pak) Word Music
SKU: WD.080689408779 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689408779
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Modern
Christian: Sacred.
Bulletins (100-pak). Word
Music #080689408779.
Published by Word Music
(WD.080689408779).
UPC:
080689408779. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - Bulk CD (10-pak) Word Music
SKU: WD.080689789724 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689789724
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Modern
Christian: Sacred. Bulk
CD (10-pak). Word Music
#080689789724. Published
by Word Music
(WD.080689789724).
UPC:
080689789724. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $69.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Is Alive - Posters (12-pak) Word Music
SKU: WD.080689407772 Composed by Allan Douglas. Arranged by Allan Douglas...(+)
SKU:
WD.080689407772
Composed by Allan
Douglas. Arranged by
Allan Douglas and Sarah
Huffmann. Choral,
cantatas. Christmas.
Posters (12-pak). Word
Music #080689407772.
Published by Word Music
(WD.080689407772).
UPC:
080689407772. For
music ministers looking
for an Easter musical
that is strong on content
and excitement yet easy
to rehearse and perform,
Jesus Is Alive! is your
answer. Created by Dale
Mathews and including
such beloved classics as
Celebrate Jesus, He's
Alive and Gerald Crabb's
The Cross, this
accessible musical
features dynamic original
arrangements by Russell
Mauldin, Gary Rhodes,
Robert Sterling and Lari
Goss, expertly revoiced
by Allan Douglas and
Sarah Huffman for unison
choir with occasional
two-part singing and no
solos. At less than 30
minutes in length, Jesus
Is Alive! is an ideal
addition to your Easter
morning service, allowing
ample time for additional
celebratory observances
and a sermon. Deborah
Craig-Claar has provided
a sensitive
Scripture-based narration
for a single narrator
that beautifully weaves
together the themes of
Jesus' redemptive
sacrifice and His victory
over death. Let Jesus Is
Alive! declare the
eternal truth to your
church this Easter: Jesus
is alive - today and
forevermore! $25.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340). ISBN
9788480207591. Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor. $42.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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