Arranged by Deborah Greenblatt. String Trio. For cello 3. This edition: spiral-b...(+)
Arranged by Deborah
Greenblatt. String Trio.
For cello 3. This
edition: spiral-bound.
Trios for Strings. Part
book. 48 pages. Published
by Greenblatt & Seay
Cello SKU: HL.14028929 Composed by David Blake. Music Sales America. Clas...(+)
Cello
SKU:
HL.14028929
Composed
by David Blake. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV120425.
Published by Music Sales
(HL.14028929).
Written for
Moray Welsh whilst still
an undergraduate at York
University. This piece
was completed in
mid-September. Inspired
by Hermann Hesse's
Steppenwolf. A solo
'cello seemed an
appropriate medium for
music which might explore
the character of Harry
Haller, with his desire
for bourgeois comfort and
his strong misanthropic
and suicidal tendencies.
The opening theme
attempts to express this
- melancholy, nostalgic,
a bit Biedermeyer (cf.
Brahms Intermezzi). The
basic theme of the book,
at its simplest, is that
every human personality
consists of hundred of
different personalities -
within every man there
lurks a wolf. Accordingly
the tendency of my piece
is for all its musical
material to become
distorted, either by
thematic transformation
or by changes of timbre.
There are three movements
played without a break.
The first is a character
portrait of the
Steppenwolf. The second
is concerned in the most
general sort of way with
the dance elements in the
novel - Harry's being
taught to dance and
appreciate low 'popular'
music - a tango is
recapitulated in a waltz
and 'Yearning', a popular
song of the time (1927)
is hinted at. The third
movement concerns the
Masked Ball and the Magic
Theatre. Mozart is one of
Hesse's great loves and
he is repeatedly
mentioned in the book.
Inevitably some Mozart
quotes have been worked
in, the most significant
being a reference to The
Magic Flute 'fire and
water' flute theme in the
middle of the second
movement. Long before I
finished the piece, I was
disenchanted with the
work of Hesse. Much of
Steppenwolf I now find
rather embarrassing and
the claims currently made
for Hesse's greatness
seem to me exaggerated.
Since my piece is in no
important sense
programmatically
specific, this change of
heart doesn't really
matter. ~ David
Blake.
Cello. Composed by
Edvard Grieg. Edited by
Richard Clarke.
Orchestra; stapled.
Eulenburg Orchestral
Series.
The new
conductor's score to both
suites is based on the
proven edition of Richard
Clarke, which is already
accessible as a st
udy score in the
Eulenburg series.
Suite; Romantic. Part. 8
pages. Duration 13'.
Breitkopf and Haertel
#EOS 21473-23. Published
by Breitkopf and Haertel
(BR.EOS-21473-23).
ISBN 9790004780169. 10
x 12.5
inches.
After
Henrik Ibsen obtained
sensational feedback for
his verse drama Peer
Gynt, he decided to
arrange the text for
stage performances as
well. He requested
incidental music from
Edvard Grieg, who
immediately assured Ibsen
of his cooperation. In
its new version, Peer
Gynt was given its first
performance in February
1876 and also scored a
tremendous success. After
a further revision of his
music, Grieg compiled
four of the most striking
pieces into an orchestral
suite in 1888, and
repeated this procedure
three years later for a
second suite. The
publication of the first
complete score further
boosted the already
exceptional acclaim of
the incidental music to
Grieg's Peer Gynt, which
takes its place today
among the composer's most
beloved works.Breitkopf
is now releasing a new
conductor's score to both
suites, based on the
proven edition of Richard
Clarke, which is already
accessible as a study
score in the Eulenburg
series.
The new
conductor's score to both
suites is based on the
proven edition of Richard
Clarke, which is already
accessible as a study
score in the Eulenburg
series.
