| Rise Again Songbook Paroles et Accords Hal Leonard
(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
$34.99 - 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 | | |
| Dreamscape Chorale SATB SATB, Piano [Conducteur] Carus Verlag
SATB choir, piano SKU: CA.965600 Composed by Daniel Elder. Edited by Stef...(+)
SATB choir, piano SKU:
CA.965600 Composed by
Daniel Elder. Edited by
Stefan Schuck. CARUS
CONTEMPORARY. Full score.
20 pages. Carus Verlag
#CV 09.656/00. Published
by Carus Verlag
(CA.965600). ISBN
9790007165062. Text
language:
English. In A Dream
Within a Dream Edgar
Allan Poe writes of a
traumatic grief that
shakes him to the core,
affecting his perception
of reality itself.
Through this setting, his
exploration continues
into the musical realm.
The piano textures here
represent something that
is not quite real, and
fading mercilessly in and
out between whimsical
fantasy and crushing
reality. This aids the
tone of Poe's words and
provides a backdrop for
the voices to speak his
emotions in a more solid
context, albeit not
always quite rationally.
There is such a two-sided
nature to the emotions at
play that it is almost
laughable to compare them
musically, except when
placing oneself into the
mindset of a desperate
mind. Poe needs no help
in expressing his
feelings - the power of
his words carries an
inherent statement
without calling for
musical aid. However, in
Dreamscape we will
attempt to explore them
in the context of the
modern psyche and
hopefully one may see
Poe's struggle arise
within oneself in sensory
ways not often accessible
through poetry alone.
(Daniel Elder). $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| C Minor Mass, K. 427 (Missa in c KV 427) Chorale SATB Carus Verlag
Completed and edited by Frieder Bernius and Uwe Wolf. Composed by Wolfgan...(+)
Completed and edited
by Frieder Bernius and
Uwe Wolf. Composed by
Wolfgang Amadeus Mozart
(1756-1791). Edited by
Uwe Wolf, Frieder
Bernius. Arranged by
Frieder Bernius, Uwe
Wolf. Paperback.
Stuttgart Urtext Edition:
Mozart. Missa In C Ed.
Bernius,Wolf. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Vocal score. KV
427. 104 pages. Duration
55 minutes. Carus Verlag
#CV 51.651/03. Published
by Carus Verlag
(CA.5165103).
$25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Protocol: A Guide to the Collegiate Audition Process for Violin Violon Carl Fischer
(Foreword and Additional Editing by Doris Gazda). By George Frideric Handel Fede...(+)
(Foreword and Additional
Editing by Doris Gazda).
By George Frideric Handel
Federigo Fiorillo. Edited
by Larry Clark, Leopold
Auer, Doris Gazda.
Arranged by William
Strasser. For Violin,
Violin and Piano. Book.
96 pages. Published by
Carl Fischer
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| C Minor Mass, K. 427 (Missa in c KV 427) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
SSTB vocal soli, SATB/SATB choir, orchestra SKU: CA.5165119 Completed ...(+)
SSTB vocal soli,
SATB/SATB choir,
orchestra SKU:
CA.5165119
Completed and edited
by Frieder Bernius & Uwe
Wolf. Composed by
Wolfgang Amadeus Mozart.
Edited by Uwe Wolf,
Frieder Bernius. Arranged
by Frieder Bernius, Uwe
Wolf. Stuttgart Urtext
Edition: Mozart. Missa In
C Ed. Bernius,Wolf.
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. KV 427.
Duration 55 minutes.
Carus Verlag #CV
51.651/19. Published by
Carus Verlag
(CA.5165119). ISBN
9790007182977. Key: C
minor. Language:
Latin. The C Minor
Mass K. 427 by Wolfgang
Amadeus Mozart is a
fascinating work. But to
speak of the Mass is
inaccurate, for basically
it is no more than a
musical torso, full of
enigmas and problems, yet
full of magnificent
music. It is hardly
surprising that attempts
have been made to create
a performable version of
Mozart's fragment since
the 19th century.
Depending on the date of
reconstruction and
background of the
arranger, these attempts
sound quite different,
and often the individual
style of the respective
arranger can be clearly
discerned. Now Frieder
Bernius and Uwe Wolf have
published a new edition
of the Mozart mass which
attempts to produce a
performing version whilst
maintaining the greatest
respect for the available
material, and without
obscuring Mozart's
musical manuscript with
their own contributions.
The joint version by
Wolf, a renowned
musicologist, and
Bernius, an expert in
historically-informed
performance practice, is
based on a thorough
knowledge of Mozart's
compositions, his
notational habits, and
church music practice of
Mozart's day. At the same
time it fully meets the
requirements of today's
performance practice. As
well as the paperback
full score, we are
publishing a high-quality
clothbound full score
including a Facsimile
Supplement with selected
reproductions of the
sources. A first
recording of this
version, with the
Kammerchor Stuttgart and
the Barockorchester
Stuttgart conducted by
Frieder Bernius, is also
available. Score and
parts available
separately - see item
CA.5165100. $469.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| C Minor Mass, K. 427 (Missa in c KV 427) Chorale SATB Carus Verlag
SSTB vocal soli, SATB/SATB choir, piano reduction SKU: CA.5165104 Comp...(+)
SSTB vocal soli,
SATB/SATB choir, piano
reduction SKU:
CA.5165104
Completed and edited
by Frieder Bernius & Uwe
Wolf. Composed by
Wolfgang Amadeus Mozart.
Edited by Uwe Wolf,
Frieder Bernius. Arranged
by Frieder Bernius, Uwe
Wolf. Paperback.
Stuttgart Urtext Edition:
Mozart. Missa In C Ed.
Bernius,Wolf. Innovative
practice aids, Sacred
vocal music, Masses,
Latin. Vocal score. KV
427. 104 pages. Duration
55 minutes. Carus Verlag
#CV 51.651/04. Published
by Carus Verlag
(CA.5165104). ISBN
9790007171803. Key: C
minor. Language:
Latin. The C Minor
Mass K. 427 by Wolfgang
Amadeus Mozart is a
fascinating work. But to
speak of the Mass is
inaccurate, for basically
it is no more than a
musical torso, full of
enigmas and problems, yet
full of magnificent
music. It is hardly
surprising that attempts
have been made to create
a performable version of
Mozart's fragment since
the 19th century.
Depending on the date of
reconstruction and
background of the
arranger, these attempts
sound quite different,
and often the individual
style of the respective
arranger can be clearly
discerned. Now Frieder
Bernius and Uwe Wolf have
published a new edition
of the Mozart mass which
attempts to produce a
performing version whilst
maintaining the greatest
respect for the available
material, and without
obscuring Mozart's
musical manuscript with
their own contributions.
The joint version by
Wolf, a renowned
musicologist, and
Bernius, an expert in
historically-informed
performance practice, is
based on a thorough
knowledge of Mozart's
compositions, his
notational habits, and
church music practice of
Mozart's day. At the same
time it fully meets the
requirements of today's
performance practice. As
well as the paperback
full score, we are
publishing a high-quality
clothbound full score
including a Facsimile
Supplement with selected
reproductions of the
sources. A first
recording of this
version, with the
Kammerchor Stuttgart and
the Barockorchester
Stuttgart conducted by
Frieder Bernius, is also
available. Score
available separately -
see item CA.5165100. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| C Minor Mass, K. 427 (Missa in c KV 427) Chorale SATB Carus Verlag
SSTB vocal soli, SATB/SATB choir, orchestra SKU: CA.5165105 Completed ...(+)
SSTB vocal soli,
SATB/SATB choir,
orchestra SKU:
CA.5165105
Completed and edited
by Frieder Bernius & Uwe
Wolf. Composed by
Wolfgang Amadeus Mozart.
Edited by Uwe Wolf,
Frieder Bernius. Arranged
by Frieder Bernius, Uwe
Wolf. Stuttgart Urtext
Edition: Mozart. Missa In
C Ed. Bernius,Wolf.
Innovative practice aids,
Sacred vocal music,
Masses, Latin. Choral
Score. KV 427. 40 pages.
Duration 55 minutes.
Carus Verlag #CV
51.651/05. Published by
Carus Verlag
(CA.5165105). ISBN
9790007182021. Key: C
minor. Language:
Latin. The C Minor
Mass K. 427 by Wolfgang
Amadeus Mozart is a
fascinating work. But to
speak of the Mass is
inaccurate, for basically
it is no more than a
musical torso, full of
enigmas and problems, yet
full of magnificent
music. It is hardly
surprising that attempts
have been made to create
a performable version of
Mozart's fragment since
the 19th century.
Depending on the date of
reconstruction and
background of the
arranger, these attempts
sound quite different,
and often the individual
style of the respective
arranger can be clearly
discerned. Now Frieder
Bernius and Uwe Wolf have
published a new edition
of the Mozart mass which
attempts to produce a
performing version whilst
maintaining the greatest
respect for the available
material, and without
obscuring Mozart's
musical manuscript with
their own contributions.
The joint version by
Wolf, a renowned
musicologist, and
Bernius, an expert in
historically-informed
performance practice, is
based on a thorough
knowledge of Mozart's
compositions, his
notational habits, and
church music practice of
Mozart's day. At the same
time it fully meets the
requirements of today's
performance practice. As
well as the paperback
full score, we are
publishing a high-quality
clothbound full score
including a Facsimile
Supplement with selected
reproductions of the
sources. A first
recording of this
version, with the
Kammerchor Stuttgart and
the Barockorchester
Stuttgart conducted by
Frieder Bernius, is also
available. Score
available separately -
see item CA.5165100. $13.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Microjazz Collection 1 Violon et Piano Boosey and Hawkes
Violin and Piano. By Christopher Norton. (Violin). Boosey and Hawkes Chamber Mu...(+)
Violin and Piano. By
Christopher Norton.
(Violin). Boosey and
Hawkes Chamber Music.
Book only. Size 9x12
inches. 9 pages.
Published by Boosey and
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Beginning Rock/Pop Guitar Etudes Guitare Mel Bay
Guitar (rock and blues) - Beginning-Intermediate SKU: MB.30648M Composed ...(+)
Guitar (rock and blues) -
Beginning-Intermediate
SKU: MB.30648M
Composed by Adam
Douglass.
Saddle-stitched,
Technique, Theory and
Reference, Pop. Style.
Book and online video. 32
pages. Mel Bay
Publications, Inc
#30648M. Published by Mel
Bay Publications, Inc
(MB.30648M). ISBN
9780786699490. 8.75 x
11.75
inches. Is the beginning
stage of learning the
guitar proving to be a
frustrating experience?
Do you lack songs which
you can play from start
to finish? Do the ones
that you can play all the
way through not sound
much like their original
versions? I have been
teaching these pieces to
my beginner students for
quite some time now, and
the success rate has been
remarkable. Most methods
start by having the
student slowly move back
and forth between basic
chords using only down
strokes, playing chords
one note at a time to
make sure all the notes
ring clear. This book
offers something much
differentâ??playing
music! The pieces are
designed to target
trouble areas often
experienced by beginners
of the instrument:
arching the fingers
enough in order to let
all the notes of a chord
ring clearly. Rather than
just droning on through a
series of chords, musical
patterns are created so
that as you learn proper
technique youâ??re also
playing something
musical. The results have
been better than
expected. Focusing on
figures that demand
proper technique and some
of the most common
strumming patterns found
in popular music, many of
my students are able to
execute beginner and
intermediate level songs
within a few weeks of
picking up the instrument
rather than a few months.
Additionally, the dreaded
F chord, or root 6 major
barre chord, often rings
clearly with all 6 notes
being heard upon the
first attempt. This book
will help you achieve
your guitar related goals
quickly, more
efficiently, and most
importantly, more
enjoyably. Includes
access to online
video.
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Valley of Delight Chorale SATB Walton Music
Composed by Paul Crabtree. Richard Nance Choral Series. Music Education. 64 page...(+)
Composed by Paul
Crabtree. Richard Nance
Choral Series. Music
Education. 64 pages.
Published by Walton Music
(GI.WW1612).
$4.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto in E Major Trompette Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano,
Trumpet SKU:
CF.W2682 For
Trumpet in E and Piano,
S.49. Composed by
Johann Hummel. Edited by
Elisa Koehler. Set of
Score and Parts. With
Standard notation. 36+8
pages. Carl Fischer Music
#W2682. Published by Carl
Fischer Music (CF.W2682).
ISBN 9781491144954.
UPC: 680160902453. 9 x 12
inches. Key: E
major. Edited by
Elisa Koehler, Associate
Professor and Chair of
the Music Department at
Goucher College, this new
edition of Johann Nepomuk
Hummel's Concerto in E
Major for trumpet in E
and piano presented in
its original key. The
concerto by Johann
Nepomuk Hummel
(1778–1837)holds a
unique place in the
trumpet repertoire. Like
theconcerto by Joseph
Haydn (1732–1809)
it was written forthe
Austrian trumpeter Anton
Weidinger
(1766–1852) andhis
newly invented keyed
trumpet, performed a few
timesby Weidinger, and
then forgotten for more
than 150 yearsuntil it
was revived in the
twentieth century. But
unlikeHaydn’s
concerto in Eb major,
Hummel’s Concerto
a Trombaprincipale (1803)
was written in the key of
E major for atrumpet
pitched in E, not
E≤. This difference
of key proved tobe quite
a conundrum for
trumpeters and music
publishersin the
twentieth century. The
first modern edition,
publishedby Fritz Stein
in 1957, transposed the
concerto down onehalf
step into the key of
E≤ to make it more
playable on atrumpet in
Bb, which had become the
standard instrumentfor
trumpeters by the middle
of the twentieth
century.Armando Ghitalla
made the first recording
of the Hummel in1964 in
the original key of E (on
a C-trumpet) after
editinga performing
edition in 1959 in the
transposed key of
E≤ (forBb trumpet)
published by Robert King
Music. Needless tosay,
the trumpet had changed
dramatically in terms of
design,manufacture, and
cultural status between
1803 and 1957, andthe
notion of classical solo
repertoire for the modern
trumpetwas still in its
formative stages when the
Hummel concertowas
reborn.These factors
conspired to create
confusion regarding
thenumerous
interpretative challenges
involved in performingthe
Hummel concerto according
to the composer’s
originalintentions on
modern trumpets. For
those seeking the
bestscholarly
information, a facsimile
of Hummel’s
originalmanuscript score
was published in 2011
with a separatevolume of
analytical commentary by
Edward H. Tarr,1 whoalso
published the first
modern edition of the
concertoin the original
key of E major (Universal
Edition, 1972).This
present
edition—available
in both keys: Eb and
Emajor—strives to
build a bridge between
scholarship
andperformance traditions
in order to provide
viable options forboth
the purist and the
practitioner.Following
the revival of the Haydn
trumpet concerto, acase
could be made that some
musicians were
influencedby a type of
normalcy bias that
resulted in
performancetraditions
that attempted to make
the Hummel morelike the
Haydn by putting it in
the same key,
insertingunnecessary
cadenzas, and adding
trills where they
mightnot belong.2 Issues
concerning tempo and
ornamentationposed
additional challenges. As
scholarship and
performancepractice
surrounding the concerto
have become betterknown,
trumpeters have
increasingly sought to
performthe concerto in
the original key of E
major—sometimes
onkeyed
trumpets—and to
reconsider more recent
performancetraditions in
the transposed key of
Eb.Regardless of the key,
several factors need to
be addressedwhen
performing the Hummel
concerto. The most
notoriousof these is the
interpretation of the
wavy line (devoid of
a “trâ€
indication), which
appears in the second
movement(mm. 4–5
and 47–49) and in
the finale (mm.
218–221).
InHummel’s
manuscript score, the
wavy line resembles a
sinewave with wide,
gentle curves, rather
than the tight,
buzzingappearance of a
traditional trill line.
Some have argued that
itmay indicate intense
vibrato or a fluttering
tremolo betweenopen and
closed fingerings on a
keyed trumpet.3 In
Hummel’s1828 piano
treatise, he wrote that a
wavy line without a
“trâ€sign
indicates uneigentlichen
Triller oder den
getrillertenNoten
[“improperâ€
trills or the notes that
are trilled],
andrecommends that they
be played as main note
trills that arenot
resolved [ohne
Nachschlag].4
Hummel’s piano
treatisewas published
twenty-five years after
he wrote the
trumpetconcerto, and his
advocacy for main note
trills (rather thanupper
note trills) was
controversial at the
time, so trumpetersshould
consider all of the
available options when
formingtheir own
interpretation of the
wavy line.Unlike Haydn,
Hummel did not include
any fermatas
wherecadenzas could be
inserted in his trumpet
concerto. The endof the
first movement, in
particular, includes
something likean
accompanied cadenza
passage (mm.
273–298), a
featureHummel also
included at the end of
the first movement ofhis
Piano Concerto No. 5 in
Ab Major, Op. 113 (1827).
Thethird movement
includes a quote
(starting at m. 168)
fromCherubini’s
opera, Les Deux
Journées (1802), that
diverts therondo form
into a coda replete with
idiomatic fanfares
andvirtuosic figuration.5
Again, no fermata appears
to signal acadenza, but
the obbligato gymnastics
in the solo trumpetpart
function like an
accompanied cadenza.Other
necessary considerations
include tempo choicesand
ornamentation. Hummel did
not include
metronomemarkings to
quantify his desired
tempi for the
movements,but clues may
be gleaned through the
surface evidence(metric
pulse, beat values,
figuration) and from the
stratifiedtempo table
that Hummel included in
his 1828 piano
treatise,where the first
movement’s
“Allegro con
spirito†is
interpretedas faster than
the “Allegroâ€
(without a modifier) of
the finale.6In the realm
of ornamentation, Hummel
includes severalturns and
figures that are open to
interpretation. This
editionincludes
Hummel’s original
symbols (turns and
figuration)along with
suggested realizations to
provide musicians
withoptions for forming
their own
interpretation.Finally,
trumpeters are encouraged
to listen to Mozart
pianoconcerti as an
interpretive context for
Hummel’s
trumpetconcerto. Hummel
was a noted piano
virtuoso at the end ofthe
Classical era, and he
studied with Mozart in
Vienna asa young boy.
Hummel also composed his
own cadenzas forsome of
Mozart’s piano
concerti, and the
twenty-five-year-oldcompo
ser imitated
Mozart’s
orchestral gestures and
melodicfiguration in the
trumpet concerto (most
notably in the
secondmovement, which
resembles the famous slow
movement
ofMozart’s Piano
Concerto No. 21 in C
Major, K. 467). $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Blues Guitar Handbook Guitare [Livre + CD] Backbeat Books
(A Complete Course in Techniques and Styles). For Guitar. Book. Hardcover with C...(+)
(A Complete Course in
Techniques and Styles).
For Guitar. Book.
Hardcover with CD. 256
pages. Published by
Backbeat Books
$35.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bach-Shards Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.11441345S Prelude to Contrapunctu...(+)
Chamber Music String
Quartet SKU:
PR.11441345S
Prelude to
Contrapunctus X from the
Art of the Fugue.
Composed by Shulamit Ran.
Full score. With Standard
notation. Duration 4
minutes. Theodore Presser
Company #114-41345S.
Published by Theodore
Presser Company
(PR.11441345S). UPC:
680160608829. 8.5 x 11
inches. BACH-SHARDS
was commissioned by the
Brentano String Quartet
as part of their Art of
the Fugue companion-piece
project. Ran deliberately
stays within the realm of
Bach-like vocabulary,
altering syntax in ways
that add up to something
slightly different from
the anticipated sum of
the parts. The work
builds up to a climax
that makes the entry
point into Bach’s
Contrapunctus X seem
thoroughly
natural. While
composing Bach-Shards I
found myself gravitating,
intuitively and
gradually, toward a dual
goal. First, though
the tension and
dissonance inherent in
certain moments of
Bach’s own
maze-likeÂ
contrapuntal structures
could quite easily and
naturally lead one into a
pungent contemporary
terrain, I opted not to
stray outside the realm
of Bach-like materials
and harmonic
language. Instead, it
was my hope to alter
their relationships and
context in ways that add
up to a something
that’s slightly
different than the
anticipated sum of the
parts. A mildly
deconstructed Bach, if
you will. The other
important challenge I set
for myself was building
up the latter,
toccata-like portion of
Bach-Shards in a way that
would make the entry
point of the fugue which
it precedes,
Contrapunctus X, seem
thoroughly natural.Â
It was my intent to have
the first fugal entrance
feel like a huge and much
welcome release of the
energy created by my
Prelude’s
penultimate stretch, with
its bravura figurations
elaborating on an
insistent dominant pedal
point. $14.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Drum Fills: The Basics and Beyond Batterie [Partition] Mel Bay
(A Collection of Studies to Develop Great Fills). By D, Scott Williams. For Drum...(+)
(A Collection of Studies
to Develop Great Fills).
By D, Scott Williams. For
Drum Set. Technic. Bill's
Music Shelf.
Contemporary.
Beginning-Intermediate.
Book. 104 pages.
Published by Mel Bay
Publications, Inc
$22.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Instrument Setups Hal Leonard
SKU: HL.160580 10 Setups That Will Make Your Instrument Louder, Better...(+)
SKU: HL.160580
10 Setups That Will
Make Your Instrument
Louder, Better, and
Easier to Play. Music
Pro Guides. Guitar
Set-Ups & Maintenance,
String Reference.
Softcover. 114 pages.
Published by Hal Leonard
(HL.160580). ISBN
9781495064999. UPC:
888680623746.
6.0x9.0x0.314 inches.
Chuck Traeger Music Pro
Guides. String
musicians, know only
this: everything is
vibrating. The movement
of the spheres? A guru's
cryptic musing?
Hypersensitivity to plate
tectonics? Not quite.
This is the briefest
possible distillation of
Trager's Principle, which
states, “When a
string instrument is
being played, everything
is vibrating, from the
top of the scroll to the
tip of the endpin.â€
This simple formula, the
purest distillation of
master luthier Chuck
Traeger's lifetime of
learning, holds the key
to configuring your
instrument to your
specifications. It also
forms the crux of his
third and final book:
String Instrument Setups:
10 Setups That Will Make
Your Instrument Louder,
Better, and Easier to
Play. At the height of
the Big Band era,
Traeger, a double
bassist, performed
alongside a veritable
who's who of New York
jazz musicians including
the likes of Louie
Armstrong and Sidney
Bechet. In was in this
capacity – as
Charlie Traeger, one hip
cat and a regularly
frustrated client of
NYC's instrument repair
shops –that he
began his pursuit of
sonic perfection. In
1969, satisfied with his
abilities but devoted to
constant
self-improvement, he
opened his first repair
shop. Before he knew it,
his reputation was
preceding him, and he
found himself handling
the instruments of school
band novices and the New
York Philharmonic alike.
On his seventieth
birthday, Traeger retired
from musicianship and
devoted himself to
comprehensively
documenting all he had
learned about his craft.
Two decades later,
shortly after he put the
finishing touches on
String Instrument Setups,
Chuck Traeger passed away
on November 9, 2016.
Scarcely a month had
elapsed since the death
of his beloved wife,
June, to whom he was
married for over sixty
blissful years. Albeit
with a heavy heart, we at
Hal Leonard Books are
proud to present this
remarkable man's parting
gift to generations of
current and future
musicians. String
Instrument Setups is the
culmination of forty-five
years of acoustic
research involving
Trager's old standby, the
double bass, and, in
turn, any string
instrument with a
moveable bridge and a
moveable tailpiece, or
one that can be made
moveable. Armed with this
book, we're confident
that the average musician
can enter almost any
string instrument maker
or repair shop in the
world (the exception
being a shop that has
already read String
Instrument Setups), ask
for their best repair or
restoration, then make
that instrument sound
louder, better, and
easier to play, every
time. This is neither
braggadocio nor
hyperbole; rather, it's
the confidence instilled
by one man's extensive
research, wholehearted
devotion, and firm belief
in the sacred bond
between instrument and
musician. After reading
String Instrument Setups,
we're sure you'll feel
the same. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Together Apart/Apart Together [Conducteur] Music Sales
Saxophone, Accordion, Double Bass SKU: HL.14033723 Composed by Karsten Fu...(+)
Saxophone, Accordion,
Double Bass SKU:
HL.14033723 Composed
by Karsten Fundal. Music
Sales America. Classical.
Score. 15 pages. Music
Sales #KP01526. Published
by Music Sales
(HL.14033723). ISBN
9788759891322.
Danish. Together
Apart/Apart Together for
Saxophone, Accordion and
Double Bass was composed
by Karsten Fundal in
2004. Written for and
commissioned by Poing.
Programme note: This
piece is the 3rd in a row
of pieces, which
concentrates on a
rhythmical relationship
that continues to puzzle
me. It is actually two
relationships embedded.
The 1st is a pattern that
is very inspired by the
composer Per Norgard, who
in the beginning of the
90's got very preoccupied
with the idea that you
can have rhythms that
never meet. This happens
if you start a rhythm,
like a quintuplet, on the
beat and one, like a
triplet, off beat. This
can, with different
rhythms, give very
intricate interwoven
patterns, that gives the
illusion that they are
not cyclic. In my case I
use the two ratio five to
seven, in the described
way. This rythms have the
strange property that if
you take each 5th note of
the seven and each 7 note
of the five you get a
ratio almost identical:
49:50. This is very
intriguing, as you can
use the possibility of
letting them be equal or
the possibility of
letting them interfere.
In the first case you get
an interlocking rhythm
which is smooth: an equal
rhythmic pattern. In the
second case you get a
similar situation, but
where one of them is one
short after 50 of the
other ones, which results
in a disturbing almost
equality, but not quite.
Therefore the title:
because when I use the
unequal rhythm I put the
two layers in a similar
tone register, or a
similar way of playing,
and when I use the equal
one I put them a part
tone wise speaking. This
is a very technical
description, but it is
very hard to put it in
more wide terms, but you
might compare it with
driving in a train and
looking at two fence rows
behind each other: if the
poles are placed exactly
halfway between each
other you will experience
an illusion of a fast
jump if there is enough
distance between them, as
a result of the
perspective. If they are
placed in a way that
there are almost the same
numbers of poles, like
49:50, you will
experience a very complex
pattern, which seems
unpredictable. But of
course when using it in
music the whole thing is
somewhat different, but
even then it gives an
idea of my preoccupation.
What also intrigues me is
that the relations are
very hard to use in a
musical way, and that is
also quire a challenge.'
Finally I have to say
that I enjoyed very much
writing for Poing, as
these crazy guys are
capable of doing almost
anything you want in an
nearly literal sense. -
Karsten Fundal summer
2004. $14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gilbert and Sullivan Piano, Voix [Vocal Score] Hal Leonard
The World's Great Classical Music. By Gilbert and Sullivan. World's Greatest Cla...(+)
The World's Great
Classical Music. By
Gilbert and Sullivan.
World's Greatest
Classical Music. Size
9x12 inches. 336 pages.
Published by Hal Leonard.
(2)$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Final Fantasy Super Best for Piano Solo Piano seul [Conducteur] Yamaha
Piano Solo SKU: YM.GTP01101942 Game Music. Score. Yamaha Music Media #GTP...(+)
Piano Solo SKU:
YM.GTP01101942 Game
Music. Score. Yamaha
Music Media #GTP01101942.
Published by Yamaha Music
Media (YM.GTP01101942).
ISBN 9784636115994. 12
x 9 inches. This is
a collection of easy
piano solo arrangements
featuring memorable
masterpieces FINAL
FANTASY series of games I
to XIII, which have fans
all over the world. The
best album includes
iconic tracks such as
Chocobo Theme and
Aerith's Theme from the
early games, as well as
classic pieces like Eyes
On Me and Because You're
Here.. $22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Great God Great Praise - Choral Book Word Music
Intermediate SKU: WD.080689548178 Composed by Bradley Knight. Choral, can...(+)
Intermediate SKU:
WD.080689548178
Composed by Bradley
Knight. Choral, cantatas.
Book. Word Music
#080689548178. Published
by Word Music
(WD.080689548178).
UPC:
080689548178. Prais
e! Every Sunday morning,
in corporate worship
settings all around the
world, believers gather
in the millions to bring
glory and honor and
praise to God. He alone
is worthy of our praise!
And every Sunday morning,
in corporate worship
settings all around the
world,
believers—again by
the millions—raise
their voices in songs of
praise and adoration,
lifting up the Name above
all names…Jesus,
the Son of God. With this
new gospel-themed choral
collection, Great
God Great Praise,
arranged by the
inimitable Bradley
Knight, Word Music
offers you yet another
resource collection to
help you and your choir
pursue the call to lead
your congregation in
praise of an Almighty
God.
Power,
Praise, Adoration,
Reverence, Worship,
Glorify,
Magnify…these are
just some of the words we
use to describe the
purpose of this new
Gospel Choir
Collection…new
offerings of some of the
most popular songs in the
Gospel genre, such as
Great God Great
Praise; Mighty God;
Worth; Holy, Thou Art
God; How Awesome Is Our
God and more, all
newly-arranged for
adventurous, contemporary
evangelical choirs. Add
in some Gospel-flavored
treatments of favorite
worship songs, like
Heart of Worship,
and a re-purposed version
of Love Lifted Me,
and you have one of the
most unique and
compelling Gospel Choir
projects of all
time!
There is
no other sound on this
earth quite like the
sound of an exuberant and
jubilant Gospel Choir!
And no other arranger
quite captures that
infectious sound and
style like arranger
Bradley Knight.
Together, Word Music and
Bradley Knight offer you
a brave new Gospel Choir
Book, with arrangements
that will challenge and
inspire you to sing like
you’ve never sung
before. These
arrangements embody a
sound and a spirit of
praise designed to lead
your church in worship.
Great God Great
Praise is a
must-have collection for
your church music
library! $12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Aignish on the Machair Quatuor de Saxophones: 4 saxophones Advance Music
4 Saxophones AATBar SKU: AP.1-ADV7621 Folksongs from the Hebrides (for...(+)
4 Saxophones AATBar
SKU: AP.1-ADV7621
Folksongs from the
Hebrides (for AATB
Saxophone Quartet).
Arranged by Frank
Reinshagen. Quartet; Solo
Small Ensembles; Woodwind
- Saxophone Quartet.
Advance Music. Folk.
Score and Part(s).
Advance Music
#01-ADV7621. Published by
Advance Music
(AP.1-ADV7621). UPC:
805095076219.
English. Writing
these arrangements, Frank
Reinshagen has created
little masterpieces,
which broaden the
rhythmical and harmonic
context of the original
tunes in an interesting
manner without detracting
from their archaic and
melancholic character.
These original tunes
are---in a direct or
wider sense---of Celtic
origin, in other words,
they have been borrowed
from the Irish, Scottish
and Gaelic musical
tradition. These
through-composed
arrangements are rather
easy to perform from the
rhythmical and technical
point of view. Yet, they
are quite demanding in
respect of the key they
are written in, their
intonation and,
especially, their
interpretation. Their
different
instrumentations are
fully compatible with
each other and, due to
their overall structure,
they are also suitable to
be played with
multi-scored parts.
Annotation on
Aignish on the Machair.
The arrangement of
Aignish on the Machair
illustrates, above all,
the melancholic character
inherent in the harmonies
of the original tune. A
short rubato passage is
followed by several
variations over the
flowing melody in 3/4-
time. The short triplet
passages embedded in
these variations are
quite demanding from the
technical point of view;
considering the key they
are written in, however,
these passages are not
too difficult to
play. $19.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Aignish on the Machair Quatuor de Clarinettes: 4 clarinettes Advance Music
4 Clarinets SKU: AP.1-ADV8415 Folksong from The Hebrides (for Clarinet...(+)
4 Clarinets SKU:
AP.1-ADV8415
Folksong from The
Hebrides (for Clarinet
Quartet). Arranged by
Frank Reinshagen.
Quartet; Solo Small
Ensembles; Woodwind -
Clarinet Quartet. Advance
Music. Form: Variations.
Folk; Traditional. Score
and Part(s). Advance
Music #01-ADV8415.
Published by Advance
Music (AP.1-ADV8415).
UPC: 805095084153.
English.
Traditional. In
writing these
arrangements for clarinet
quartet, Frank Reinshagen
has created little
masterpieces, which
broaden the rhythmical
and harmonic context of
the original tunes in an
interesting manner
without detracting from
their archaic and
melancholic character.
These original tunes
are---in a direct or
wider sense---of Celtic
origin. In other words,
they have been borrowed
from the Irish, Scottish,
and Gaelic musical
tradition. These
through-composed
arrangements are rather
easy to perform from the
rhythmical and technical
point of view. Yet, they
are quite demanding in
respect of the key they
are written in, their
intonation, and
especially, their
interpretation. Their
different
instrumentations are
fully compatible with
each other and, due to
their overall structure,
they are also suitable to
be played with
multi-scored parts.
Annotation on
Aignish on the Machair:
The arrangement of
Aignish on the Machair,
Folksong from The
Hebrides, illustrates,
above all, the
melancholic character
inherent in the harmonies
of the original tune. A
short rubato passage is
followed by several
variations over the
flowing melody in
3/4-time. The short
triplet passages embedded
in these variations are
quite demanding from the
technical point of view;
considering the key they
are written in, however,
these passages are not
too difficult to
play. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 3 Mouvements continus 4 Guitares (Quatuor) [Conducteur et Parties séparées] - Intermédiaire Productions OZ
Guitar quartet - Intermediate SKU: DZ.DZ-4312 Composed by Francis Kleynja...(+)
Guitar quartet -
Intermediate SKU:
DZ.DZ-4312 Composed
by Francis Kleynjans.
Score and parts. Les
Productions d'OZ #DZ
4312. Published by Les
Productions d'OZ
(DZ.DZ-4312). ISBN
9782898522291. Comm
issioned for the 7th
edition of DROME DE
GUJITARE, this piece was
created at the theater of
the city of Valencia, on
October 27, 2023, under
my direction by the D.D.G
guitar orchestra. It
pays tribute to the
memory of my friend
Roland Dyens. The 1st
movement, quite brief (1
minute), emphasizes a
motif which metamorphoses
into a harmonious
accompaniment of the
themes of the 2nd
movement (5 minutes)
LIGHT, this in calm and
serenity. This 2nd
movement fades at the end
to reveal a motif which
accelerates to give a
burlesque and clumsy
dance: DANCE
ELEPHANTASQUE (3 minutes)
with an obsessive theme
which concludes this
work. Francis
Kleynjans
Command
©e pour la
7ème
édition de
ë DROME DE
GUJITARE û, cette
pièce fut
créée au
théâtre de
la ville de Valence, le
27 octobre 2023, sous ma
direction par
lâÂÂorchestre de
guitares D.D.G. Elle
rend hommage ÃÂ la
mémoire de mon ami
Roland Dyens. Le 1er
mouvement, assez bref (1
minute), insiste sur un
motif qui se
métamorphose en
accompagnement harmonieux
des thèmes du 2e
mouvement (5 minutes)
ë LUMIEREû,
cela dans le calme et la
sérénitÃ
©. Ce 2e mouvement
sâÂÂestompe
ÃÂ la fin pour
laisser apparaître
un motif qui
sâÂÂaccél
ère pour donner
une danse burlesque et
pataude : ë DANSE
ELEPHANTASQUE û (3
minutes) avec un
thème obsessionnel
qui vient conclure cet
Ã
Âuvre. Francis
Kleynjans. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| In Nomine Orchestre d'harmonie - Intermédiaire Hal Leonard
Score and Parts Concert Band (Score & Parts) - Grade 4 SKU: HL.4008005 (+)
Score and Parts Concert
Band (Score & Parts) -
Grade 4 SKU:
HL.4008005 For
Concert Band, Grade 4
11:20 Score and
Parts. Composed by
Otto M. Schwarz. Concert.
Softcover. Duration 680
seconds. Hal Leonard
#SDP1022202. Published by
Hal Leonard (HL.4008005).
How often has
something been justified
by, declared to be, or
blessed as “in the
name of†some cause
or other? How can it be
that opposing armies and
the use of weapons are
ever “in the name
ofâ€...? This is a
common thread in the
history of different
faiths. Good was created
but evil was committed
and all “in the
name of...†This
thread is also found in
the history of the
Premonstratensian Abbey
at Wadgassen. The abbey
was built in the 12th
century on unfertile,
desolate moorland, which
later evolved into the
most powerful religious
community in the
Saarland. The history of
the abbey records quite
astounding achievements
under the motto desertum
florebit quasi lilium
(“the desert will
bloom like a
lilyâ€); but also
the harsh treatment of
delinquents. The order
had its own school, in
which children were
taught the seven liberal
arts (which included
music as well as
geography and astronomy),
but the poor were left to
starve outside the abbey
walls and were only
allowed to eat from the
members' on feast days.
The medieval witch trials
demanded their pound of
flesh, and one group that
fell victim were ecstatic
dancers who moved wildly
to music--which was
interpreted as the
devil's work. The result:
a show trial that
sentenced the dancers to
death by fire. All in the
name of... The year is
1789: Abbot Bordier is in
the tenth year of his
command. He does not yet
know that he is to be the
last abbot of an almost
700-year-tradition. Not
far from the abbey is the
French border, which has
long been making itself
felt with the sound of
gunfire, and the brothers
continue to keep a
nervous eye on it. The
first portents of the
French Revolution loom,
but no one wants to
believe it--that is,
until the French pound
the door down, storm the
abbey and come right into
the brothers' chambers.
In a blind fury, all the
pipes of the abbey organ
are torn out, icons
beheaded with swords and
brothers beaten death
while numerous buildings
are set on fire. The
abbey church is in
flames. A frantic and
desperate escape begins.
Abbot Bordier and a
handful of brothers make
their getaway via the
River Saar, adjacent to
the abbey, to the
neighbouring village of
Bous. They survive, but
their life--the
Premonstratensian
abbey--is destroyed.
While they flee towards
Prague and the sanctuary
of the Strahov Monastery,
the abbey at Wadgassen is
razed to the ground and
becomes a stone quarry.
The desert blooms once
more, however. A few
short decades later, a
glasswork arises from the
foundations of the abbey.
As peace returns to the
region, it brings jobs
and a new vision for its
people. $198.00 - Voir plus => Acheter | | |
| In Nomine Orchestre d'harmonie - Intermédiaire Hal Leonard
Concert Band (Score) - Grade 4 SKU: HL.4008004 For Concert Band, Grade...(+)
Concert Band (Score) -
Grade 4 SKU:
HL.4008004 For
Concert Band, Grade 4
11:20 Score. Composed
by Otto M. Schwarz.
Concert. Softcover. 60
pages. Duration 680
seconds. Hal Leonard
#SDP1022201. Published by
Hal Leonard (HL.4008004).
How often has
something been justified
by, declared to be, or
blessed as “in the
name of†some cause
or other? How can it be
that opposing armies and
the use of weapons are
ever “in the name
ofâ€...? This is a
common thread in the
history of different
faiths. Good was created
but evil was committed
and all “in the
name of...†This
thread is also found in
the history of the
Premonstratensian Abbey
at Wadgassen. The abbey
was built in the 12th
century on unfertile,
desolate moorland, which
later evolved into the
most powerful religious
community in the
Saarland. The history of
the abbey records quite
astounding achievements
under the motto desertum
florebit quasi lilium
(“the desert will
bloom like a
lilyâ€); but also
the harsh treatment of
delinquents. The order
had its own school, in
which children were
taught the seven liberal
arts (which included
music as well as
geography and astronomy),
but the poor were left to
starve outside the abbey
walls and were only
allowed to eat from the
members' on feast days.
The medieval witch trials
demanded their pound of
flesh, and one group that
fell victim were ecstatic
dancers who moved wildly
to music--which was
interpreted as the
devil's work. The result:
a show trial that
sentenced the dancers to
death by fire. All in the
name of... The year is
1789: Abbot Bordier is in
the tenth year of his
command. He does not yet
know that he is to be the
last abbot of an almost
700-year-tradition. Not
far from the abbey is the
French border, which has
long been making itself
felt with the sound of
gunfire, and the brothers
continue to keep a
nervous eye on it. The
first portents of the
French Revolution loom,
but no one wants to
believe it--that is,
until the French pound
the door down, storm the
abbey and come right into
the brothers' chambers.
In a blind fury, all the
pipes of the abbey organ
are torn out, icons
beheaded with swords and
brothers beaten death
while numerous buildings
are set on fire. The
abbey church is in
flames. A frantic and
desperate escape begins.
Abbot Bordier and a
handful of brothers make
their getaway via the
River Saar, adjacent to
the abbey, to the
neighbouring village of
Bous. They survive, but
their life--the
Premonstratensian
abbey--is destroyed.
While they flee towards
Prague and the sanctuary
of the Strahov Monastery,
the abbey at Wadgassen is
razed to the ground and
becomes a stone quarry.
The desert blooms once
more, however. A few
short decades later, a
glasswork arises from the
foundations of the abbey.
As peace returns to the
region, it brings jobs
and a new vision for its
people. $38.00 - Voir plus => Acheter | | |
| The Trombone Virtuoso an Advanced Method Trombone - Intermédiaire/avancé Cherry Classics
Composed by Simone Mantia. Arranged by John Van Deursen. For Trombone. Method. I...(+)
Composed by Simone
Mantia. Arranged by John
Van Deursen. For
Trombone. Method.
Intermediate/advanced.
Coil bound book.
Published by Cherry
Classics
$27.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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