| The Corsair Breitkopf & Härtel
Chorus (with soloists) and piano (solo: T - choir: SATB - picc.2.2.2.2 - 6(davon...(+)
Chorus (with soloists)
and piano (solo: T -
choir: SATB -
picc.2.2.2.2 - 6(davon 2
hinter der Buhne ad
lib).2.3.0 - timp - str)
SKU: BR.EB-8359
Fragment of an
Opera. Composed by
Robert Schumann. Edited
by Joachim Draheim.
Arranged by Joachim
Draheim. Choir;
Softcover. Edition
Breitkopf. Opera; Music
theatre; Romantic.
Piano/Vocal Score. 8
pages. Duration 7'.
Breitkopf and Haertel #EB
8359. Published by
Breitkopf and Haertel
(BR.EB-8359). ISBN
9790004176665. 7.5 x 10.5
inches. Die
Aufzahlung von Schumanns
Opernplanen gleicht einem
abenteuerlichen Streifzug
quer durch die
Literaturgeschichte.
Seinem ,,Haushaltbuch II,
einer Art Tagebuch,
konnen wir entnehmen,
dass er sich am 28.Juni
1844 plotzlichmit dem
,,Corsar von Byron
befasste. Schumann war
zunachst von dem Stoff so
begeistert, dass er
sofort mit der
Komposition begann, noch
ehe der Plan wirklich
ausgereift war, aber
schon einen Monat spater
wandte er sich einer
anderen Arbeit zu,
namlich den Faust-Szenen,
die ihn bis 1853
beschaftigen sollten.Von
einer Ouverture ist
nichts bekannt, ein
einleitender ,,Chor der
Corsaren, in dem diese -
mit ihren Frauen, denn es
ist ein gemischter Chor!
- in enger textlicher
Anlehnung an den Anfang
des Byronschen Versepos
ihr wildes, ungebundenes
Leben auf dem Meer
besingen, wurde in
vollstandiger Partitur
niedergeschrieben. Ihm
schliesst sich, ebenfalls
vollstandig
instrumentiert, ein
Nachspiel an, das durch
seine zauberhafte
romantische Stimmung
gefangennimmt. Ein
c-uroll Akkord schlagt
die harmonische Brucke
zur Nr. 2 (Arie des
Conrad), die in B-dur
steht und mit den fur
Schumann so typischen
punktierten Figuren den
Titelhelden als
Kampfernatur zu
charakterisieren sucht.
Doch schon nach 5 Takten
bricht die Partitur ab,
von der Singstimme sind
noch weitere 6 Takte, am
Schluss ohne Text,
niedergeschrieben.Die
Urauffuhrung fand am 25.
April 1981 im Rahmen
eines konzertanten
Opernabends mit dem Titel
,,Opernfragmente der
Romantik im Badischen
Staatstheater Karlsruhe
statt. $9.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Corsair Orchestre Breitkopf & Härtel
Orchestra (solo: T - choir: SATB - picc.2.2.2.2 - 6(davon 2 hinter der Buhne ad ...(+)
Orchestra (solo: T -
choir: SATB -
picc.2.2.2.2 - 6(davon 2
hinter der Buhne ad
lib).2.3.0 - timp - str)
SKU: BR.PB-5092-07
Fragment of an
Opera. Composed by
Robert Schumann. Edited
by Joachim Draheim.
Softcover.
Partitur-Bibliothek
(Score Library). Opera;
Music theatre; Romantic.
Study Score. 40 pages.
Duration 7'. Breitkopf
and Haertel #PB 5092-07.
Published by Breitkopf
and Haertel
(BR.PB-5092-07). ISBN
9790004208434. 5.5 x 7.5
inches. Die
Aufzahlung von Schumanns
Opernplanen gleicht einem
abenteuerlichen Streifzug
quer durch die
Literaturgeschichte.
Seinem ,,Haushaltbuch II,
einer Art Tagebuch,
konnen wir entnehmen,
dass er sich am 28.Juni
1844 plotzlichmit dem
,,Corsar von Byron
befasste. Schumann war
zunachst von dem Stoff so
begeistert, dass er
sofort mit der
Komposition begann, noch
ehe der Plan wirklich
ausgereift war, aber
schon einen Monat spater
wandte er sich einer
anderen Arbeit zu,
namlich den Faust-Szenen,
die ihn bis 1853
beschaftigen sollten.Von
einer Ouverture ist
nichts bekannt, ein
einleitender ,,Chor der
Corsaren, in dem diese -
mit ihren Frauen, denn es
ist ein gemischter Chor!
- in enger textlicher
Anlehnung an den Anfang
des Byronschen Versepos
ihr wildes, ungebundenes
Leben auf dem Meer
besingen, wurde in
vollstandiger Partitur
niedergeschrieben. Ihm
schliesst sich, ebenfalls
vollstandig
instrumentiert, ein
Nachspiel an, das durch
seine zauberhafte
romantische Stimmung
gefangennimmt. Ein
c-uroll Akkord schlagt
die harmonische Brucke
zur Nr. 2 (Arie des
Conrad), die in B-dur
steht und mit den fur
Schumann so typischen
punktierten Figuren den
Titelhelden als
Kampfernatur zu
charakterisieren sucht.
Doch schon nach 5 Takten
bricht die Partitur ab,
von der Singstimme sind
noch weitere 6 Takte, am
Schluss ohne Text,
niedergeschrieben.Die
Urauffuhrung fand am 25.
April 1981 im Rahmen
eines konzertanten
Opernabends mit dem Titel
,,Opernfragmente der
Romantik im Badischen
Staatstheater Karlsruhe
statt. $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Variations on a Theme by Robert Schumann Op. 9 Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-6004 Urtext based on the Brahms Complete Edition of t...(+)
Piano SKU:
BR.EB-6004 Urtext
based on the Brahms
Complete Edition of the
Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms. Edited
by Eusebius Mandyczewski.
Solo instruments;
stapled. Edition
Breitkopf. Variations;
Romantic. Score. 20
pages. Breitkopf and
Haertel #EB 6004.
Published by Breitkopf
and Haertel (BR.EB-6004).
ISBN 9790004165478. 9
x 12
inches. Breitkopf
Urtext after the Brahms
Complete Edition of the
'Gesellschaft der
Musikfreunde' in
Vienna. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| 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 | | |
| Robert Schumann FUr Die Jugend: BeitrAge Zu Theorie Und Praxis Des MusikpAdagogischen Schott
SKU: HL.49017722 Beitrage zu Theorie und Praxis des musikpadagogischen...(+)
SKU: HL.49017722
Beitrage zu Theorie
und Praxis des
musikpadagogischen
Komponistenportrats.
Edited by Christopher
Wallbaum, Constanze Rora,
and Georg Maas. This
edition: Paperback/Soft
Cover. Book. Misc. 172
pages. Schott Music
#ED20395. Published by
Schott Music
(HL.49017722). ISBN
9783795701802.
5.5x8.75x0.48 inches.
German. Wie fuhren
wir Kinder und
Jugendliche in die
Musikgeschichte und damit
in die Grundlagen
offentlichen Kulturlebens
ein? Wie kann der
Musikunterricht die
kindliche Perspektive
einbeziehen und sich
dennoch auf Gegenstande
einlassen, die jenseits
ihres Erfahrungshorizonts
zu liegen scheinen? Der
Band thematisiert diese
Fragen fur den
schulischen
Musikunterricht, aber
auch fur Kinderkonzerte,
Museumsbesuche und
Instrumentalunterricht.
Gemeinsamer Bezugspunkt
ist die padagogische
Auseinadersetzung mit
Schumanns Leben und
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| Musikgarten 2 - Herbst/Winter - Liederheft mit CD Vol. 2 Matthias Hohner
SKU: M7.MH-15142 Phase 2: Der musikalische Jahreskreis. Composed b...(+)
SKU: M7.MH-15142
Phase 2: Der
musikalische
Jahreskreis. Composed
by Lorna Lutz Heyge. This
edition: Saddle-wire
stitching. Sheet music
with CD. Songbook. 48
pages. Matthias Hohner
#MH 15142. Published by
Matthias Hohner
(M7.MH-15142). ISBN
9783920468167.
German. Der
Musikgarten lässt
Kinder erleben, wie viel
Freude in gemeinsamem
Musizieren, Singen und
Tanzen liegt. Musikgarten
Teil 2 - Der musikalische
Jahreskreis lädt
Kleinkinder im Alter von
drei bis viereinhalb
Jahren und deren Eltern
zum spielerischen
Musizieren in der Familie
ein. Erst wenn das Kind
aktives Musizieren in
seiner Umwelt erlebt,
wird es Freude am eigenen
Musizieren entfalten. Im
Kindergartenalter nehmen
die Kinder den Ablauf des
Jahres und den Wechsel
der Jahreszeiten intensiv
wahr. Der musikalische
Jahreskreis bezieht seine
zentralen Themen aus der
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Bewegung. Die Kinder
lösen sich
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Tänze und der Einsatz
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Ausführungen zur
Entwicklung des
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Erläuterungen zum
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viele Anregungen zur
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Kinderliederarrangements,
Instrumentalstücke,
Klanggeschichten usw.
Musikgarten Teil 2 - Der
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wurde von Lorna Lutz
Heyge (USA)
entwickelt. $29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sicilienne (trio de hautbois) Hautbois Martin, Robert
Oboe SKU: RM.SL10282 Composed by Robert Schumann. Arranged by Michel Cheb...(+)
Oboe SKU:
RM.SL10282 Composed
by Robert Schumann.
Arranged by Michel
Chebrou. Deux, trois,
quatre hautbois.
Instrumental music.
Editions Robert Martin
#SL10282. Published by
Editions Robert Martin
(RM.SL10282). ISBN
9790231092820. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sicilienne (trio de saxophones altos) Saxophone Martin, Robert
Saxophone SKU: RM.SL10335 Composed by Robert Schumann. Arranged by Michel...(+)
Saxophone SKU:
RM.SL10335 Composed
by Robert Schumann.
Arranged by Michel
Chebrou. Saxophone
divers. Instrumental
music. Editions Robert
Martin #SL10335.
Published by Editions
Robert Martin
(RM.SL10335). ISBN
9790231093353. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sicilienne (version 1) (trio de clarinettes en sib) Ensemble de Clarinettes Martin, Robert
Clarinet SKU: RM.SL10308 Composed by Robert Schumann. Arranged by Michel ...(+)
Clarinet SKU:
RM.SL10308 Composed
by Robert Schumann.
Arranged by Michel
Chebrou. Ensemble de
clarinettes. Instrumental
music. Editions Robert
Martin #SL10308.
Published by Editions
Robert Martin
(RM.SL10308). ISBN
9790231093087. $9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Zigeunerleben Percussion [Set de Parties séparées] Walton Music
Instrumental Parts. By Robert Schumann, Emanuel Geibel. For Percussion parts onl...(+)
Instrumental Parts. By
Robert Schumann, Emanuel
Geibel. For Percussion
parts only.
(Instrumental
Accompaniment). Walton
Choral. Book only. 4
pages. Published by
Walton Music.
$4.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Advanced Level Trios / Trios für Fortgeschrittene [Conducteur et Parties séparées] EMB (Editio Musica Budapest)
Mixed Chamber Trio SKU: BT.EMBZ14863 Kammermusikserie mit variabler Be...(+)
Mixed Chamber Trio
SKU: BT.EMBZ14863
Kammermusikserie mit
variabler Besetzung.
By László
Zempléni. EMB Ad
Libitum. Educational
Tool. Set (Score &
Parts). Composed 2014. 60
pages. Editio Musica
Budapest #EMBZ14863.
Published by Editio
Musica Budapest
(BT.EMBZ14863).
The volume of
trios for advanced
players mainly offers a
selection from works of
the most prominent and
most popular composers
(Bach, Händel, Haydn,
Mozart and Beethoven). Of
special interest are
extracts of Beethoven's
variations composed on
the famous theme of
Mozart's Don Giovanni,
Fughetta by Robert
Schumann and Dream by the
less well-known composer
Benjamin Godard.
The volumes in
this new series contain
duos, trios and quartets,
their degree of
difficulty ranging from
easy through intermediate
to advanced. Every piece
is a transcription or an
arrangement, since in
editing the volumes our
primary concern was
toprovide a collection of
valuable and interesting
compositions, as freely
variable as possible as
regards instrumentation,
for music school students
and also for adults who
make music for their own
pleasure. The range and
pitch of the parts enable
theworks to be performed
on any required or
possible combination of
the given instruments.The
volume of trios for
advanced players mainly
offers a selection from
works of the most
prominent and most
popular composers (Bach,
Händel, Haydn, Mozart
and Beethoven). Of
special interest are
extracts of Beethovens
variations composed on
thefamous theme of
Mozarts Don Giovanni,
Fughetta by Robert
Schumann and Dream by the
less well-known composer
Benjamin
Godard.
Die
Bände der neuen Serie
beinhalten leichte,
mittelschwere oder
fortgeschrittene Duos,
Trios und Quartette.
Bei der
Zusammenstellung lag das
Hauptaugenmerk auf der
höchstmöglichen
Freiheit in der
Kombinierbarkeit der
Instrumente sowie darauf,
dass die Kompositionen
für Musikschüler
und Hobbymusiker
musikalisch interessant
und wertvoll sind. Aus
diesemGrund handelt es
sich bei allen Stücken
um Transkriptionen. Lage
und Tonumfang der Stimmen
sind so gesetzt, dass
sich die Werke allen
denkbaren Umständen
und Ansprüchen
anpassen und entsprechend
in jeder Kombination der
angegebenen
Musikinstrumentevorgetrag
en werden
können. Instrumente:
1: Violine /
Querflöte / Oboe /
Vibraphon 2: Violine
/ Viola / Vibraphon /
Klarinette 3:
Violoncello /
Fagott
Les
différents volumes de
la série Ad
Libitum contiennent
des transcriptions ou des
adaptations
d´œuvres pour
trios ou quatuors de
niveau facile,
intermédiaire et
avancé.
L´étendue et le
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Trios : I : Violon/Fl
te/Htbois/Vibra •
II:Violon/Alto/Cla.
Si/Vibra • III:
Violoncelle/Basson
I volumi della serie
Ad Libitum
propongono trascrizioni o
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trio e quartetto di
livello facile,
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L´estensione e il
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permettono a questi brani
di adattarsi a tutte le
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combinazione di
strumenti. Strumentazio
ne: Trios : I:
Violino/Flauto/Oboe/Vibra
•
II:Violino/Viola/Clar.
Si♭/Vibr •
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Violoncello/Fagotto. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 15 Easy Classical Solos Flûte traversière et Piano [Partition + CD] - Facile Anglo Music
Flute and Piano - easy SKU: BT.AMP-297-400 Arranged by Philip Sparke. Ang...(+)
Flute and Piano - easy
SKU:
BT.AMP-297-400
Arranged by Philip
Sparke. Anglo Music
Play-Along Series.
Classical. Book with CD.
Composed 2013. 16 pages.
Anglo Music Press #AMP
297-400. Published by
Anglo Music Press
(BT.AMP-297-400). ISBN
9789043138048. 9x12
inches.
English-German-French-Dut
ch. Part of the
Anglo Music Play-along
Series, Philip Sparkes
15 Easy Classical
Solos is aimed at the
young instrumentalist who
can play just over an
octave. Specifically
tailored to suit the
individual instrument,
this book introduces
thebeginning player to
the world of the classics
by using simple yet
attractive melodies that
fit their limited range.
The carefully selected
pieces include music from
the 16th to the 20th
century and cover a wide
variety of styles, from
Bach to Grieg and from
Purcell to Satie. This
book will provide
invaluable additional
material to complement
any teaching method and
includes both piano
accompaniment and a
demo/play-along
CD.
Philip
Sparkeâ??s 15 Easy
Classical Solos,
onderdeel van de Anglo
Music Play-Along
Series, is bedoeld
voor de jonge
instrumentalist die iets
meer dan een octaaf kan
spelen. Het boek sluit
qua instrumentaal bereik
en gebruikte
toonsoortenaan bij het
Artist Level van Hal
Leonards Essential
Elements ®, maar
kan ook los daarvan
worden gebruikt.De
zorgvuldig geselecteerde
melodieën, die
specifiek zijn
toegesneden op elk
instrument, beslaan een
breed scala van klassieke
stijlen:van Bach tot
Grieg en van Purcell tot
Satie.Het boek bevat
waardevol materiaal ter
aanvulling op elke
lesmethode en wordt
geleverd met
pianobegeleiding en een
cd met demo- en
meespeeltracks.
15
Easy Classical Solos ist
als Ergänzung zur
bewährten Anglo Music
Play-Along Reihe gedacht
und richtet sich an
Schüler, die
ungefähr einen
Tonumfang von einer
Oktave beherrschen. Das
Niveau entspricht dem des
Artist Levels der
Essential Elements
®Methode von Hal
Leonard, kann aber auch
unabhängig davon
verwendet werden.Genau
auf jedes Instrument
zugeschnitten,
ermöglicht die
wohlüberlegte
Stückeauswahl ein
erstes Kennenlernen von
Melodien aus
verschiedenen Epochen der
Klassik von Grieg über
Purcell bis Satie.Jeder
Band bietet wertvolles
Ergänzungsmaterial,
das zu jeder
Instrumentalschule passt
und enthält sowohl
Klavier- als auch
CD-Begleitungen.
1
5 Easy Classical Solos,
de Philip Sparke, est un
ouvrage qui sâ??adresse
aux jeunes musiciens,
maîtrisant un peu plus
dâ??une
octave. Spécifiqueme
nt adapté chaque
instrument, ce volume
rassemble quinze
mélodies écrites
par des compositeurs
aussi variés que Bach,
Purcell, Grieg et
Satie. Comprenant les
parties
dâ??accompagnement de
piano et une version
dâ??accompagnement sur
compact disc, ces
ouvrages représentent
une source
complémentaire
inestimable toute
méthode
pédagogique.
So
mmaire : Waltz (Moritz
Vogel) â?¢ Chorale Now
Praise, My Soul, the Lord
(J. S. Bach) â?¢
Humming Song from Album
for the Young (Robert
Schumann) â?¢
Gymnopédie No. 1 (Erik
Satie) â?¢ Iâ??m
Called Little Buttercup
from HMS Pianoforte (Sir
Arthur SeymourSullivan)
â?¢ Study, op. 37 No.3
(Henry Lemoine) â?¢
Minuet Z649 (Henry
Purcell) â?¢ Theme and
Variation from Sonata No.
3 (Thomas Attwood) â?¢
Northern Song from Album
for the Young (Robert
Schumann) â?¢ Two
German Dances from Twelve
German Dances D 420(Franz
Schubert) â?¢
Watchmanâ??s Song from
Lyric Pieces op. 12
(Edvard Grieg) â?¢
Gavotte (Jan Dussek)
â?¢ Vien qu , Dorina
Bella, op. 7 (Antonio
Bianchi, arr. Von Weber)
â?¢ Minuet from
Notebook for Anna
Magdalena Bach (Christian
Petzold) â?¢ The Prince
ofDenmarkâ??s March from
Choice Lessons for the
Harpsichord or Spinet (
Jeremiah
Clarke)
Il
concetto della collana
Anglo Music Play-Along
Series è quello di
integrare al più
presto nel processo di
apprendimento dei giovani
strumentisti la
possibilit di poter
suonare accompagnati al
piano o con lâ??ausilio
di unâ??incisione su CD.
Ilchiaro vantaggio di
questo metodo è che
gli allievi imparano da
subito lâ??aspetto
fondamentale del suonare
insieme, vale a dire
tenere il tempo in modo
costante. 15 Easy
Classical Solos
consente agli allievi che
hanno una conoscenza
limitatadelle note di
suonare brani di Bach,
Schubert, Purcell, Grieg
e altri, grazie alle
versioni facilitate. Il
livello di 15
Intermediate Classical
Solos permette invece
agli allievi che
padroneggiano
lâ??estensione superiore
a unâ??ottava
dicimentarsi nei
â??primi concertiâ?
con brani di Haendel,
Clementi, Rameau, Glueck,
Beethoven e altri. Il CD
propone una traccia con
lâ??incisione completa e
una con il solo
accompagnamento. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Beethoven's Fifth Symphony Saxophone Alto et Piano Santorella Publications
By Ludwig van Beethoven (1770-1827). Arranged by Jonathon Robbins. For Alto saxo...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Jonathon Robbins. For
Alto saxophone and piano
(all Eb instruments).
Published by Santorella
Publications
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonata No. 1 in A minor Op. 105 Violon et Piano [Conducteur] Breitkopf & Härtel
Violin, piano SKU: BR.EB-8035 Composed by Robert Schumann. Edited by Joac...(+)
Violin, piano SKU:
BR.EB-8035 Composed
by Robert Schumann.
Edited by Joachim
Draheim. Solo
instruments; Softcover.
Edition Breitkopf.
Sonata; Romantic. Score.
40 pages. Breitkopf and
Haertel #EB 8035.
Published by Breitkopf
and Haertel (BR.EB-8035).
ISBN 9790004174388. 9
x 12 inches. $22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Hoeren Mit Begeisterung Schott
SKU: HL.49013189 Ein Weg zum aktiven Musik-Erleben. Composed by St...(+)
SKU: HL.49013189
Ein Weg zum aktiven
Musik-Erleben.
Composed by Stefan
Schaub. This edition:
Paperback/Soft Cover.
Book. Edition Schott. Der
Erste-Hilfe-Kasten fur
wache Ohren. Classical.
252 pages. Schott Music
#ATL 6222. Published by
Schott Music
(HL.49013189). ISBN
9783254002228.
German. Begeisterun
g“ - ist es nicht
seltsam, dass wir damit
einen Gefuhlszustand
meinen, dabei aber den
Geist“ im Munde
fuhren? Doch wer hat
gerade bei der Musik
nicht schon erfahren,
dass das gefuhlshafte
Erleben um so intensiver
ist, je mehr man vom
Geist der Werke
erfasst?Ziel dieses
Buches ist, Augen und
Ohren zu offnen fur
musikalische
Zusammenhange, die fur
viele Musikfreunde noch
im Verborgenen liegen.
Dazu werden Analysen
grosser Meisterwerke in
verstandlicher und
nachvollziehbarer Form
vor dem Leser
ausgebreitet. Insofern
ist dieses Buch weniger
eine Lese- als ein
Arbeitsbuch - das
Anregungen gibt und
Freude am Detail
weckt.Die Kompositionen
von Buch und
CD:Vollstandige Satze aus
Mozart-Klavierkonzerten,
g-Moll- und
Jupiter-Sinfonie, Haydns
Sinfonie Nr. 104,
Beethovens
„Eroica“,
Schuberts
„Grosser“,
Mendelssohns
Klavier/Violine-Doppelkon
zert, Chopins und
Brahms‘ 1.
Klavierkonzert, Bruckners
7. und Mahlers 6.
Sinfonie, Tschaikowskys
„Pathetique“
u.a. $41.95 - Voir plus => Acheter | | |
| Schaub S Hoeren Mit Begeisterung/cd-box Schott
(CD-BOX) SKU: HL.49020868 Ein Weg zum aktiven Musik-Erleben - Sound Ex...(+)
(CD-BOX) SKU:
HL.49020868 Ein
Weg zum aktiven
Musik-Erleben - Sound
Examples to the book.
Composed by Schaub.
Recording mediums.
Edition Schott. Der
Erste-Hilfe-Kasten fur
wache Ohren. 4 CDs.
Schott Music #ATL 6223.
Published by Schott Music
(HL.49020868). ISBN
9783254002235. Bege
isterung' - ist es nicht
seltsam, dass wir damit
einen Gefuhlszustand
meinen, dabei aber den
Geist' im Munde fuhren?
Doch wer hat gerade bei
der Musik nicht schon
erfahren, dass das
gefuhlshafte Erleben um
so intensiver ist, je
mehr man vom Geist der
Werke erfasst?Ziel dieses
Buches ist, Augen und
Ohren zu offnen fur
musikalische
Zusammenhange, die fur
viele Musikfreunde noch
im Verborgenen liegen.
Dazu werden Analysen
grosser Meisterwerke in
verstandlicher und
nachvollziehbarer Form
vor dem Leser
ausgebreitet. Insofern
ist dieses Buch weniger
eine Lese- als ein
Arbeitsbuch - das
Anregungen gibt und
Freude am Detail
weckt.Die Kompositionen
von Buch und
CD:Vollstandige Satze aus
Mozart-Klavierkonzerten,
g-Moll- und
Jupiter-Sinfonie, Haydns
Sinfonie Nr. 104,
Beethovens Eroica',
Schuberts Grosser',
Mendelssohns
Klavier/Violine-Doppelkon
zert, Chopins und Brahms'
1. Klavierkonzert,
Bruckners 7. und Mahlers
6. Sinfonie,
Tschaikowskys Pathetique'
u.a. $45.95 - Voir plus => Acheter | | |
| Schaub S Hoeren Mit Begeisterung [Partition + CD] Schott
(BUCH+CD) SKU: HL.49020867 Ein Weg zum aktiven Musik-Erleben. Comp...(+)
(BUCH+CD) SKU:
HL.49020867 Ein
Weg zum aktiven
Musik-Erleben.
Composed by Schaub. This
edition: Paperback/Soft
Cover. Book with CD.
Edition Schott. Der
Erste-Hilfe-Kasten fur
wache Ohren. Edition with
CD. 252 pages. Schott
Music #ATL 6222-50.
Published by Schott Music
(HL.49020867). ISBN
9783254009982.
German. Begeisterun
g' - ist es nicht
seltsam, dass wir damit
einen Gefuhlszustand
meinen, dabei aber den
Geist' im Munde fuhren?
Doch wer hat gerade bei
der Musik nicht schon
erfahren, dass das
gefuhlshafte Erleben um
so intensiver ist, je
mehr man vom Geist der
Werke erfasst?Ziel dieses
Buches ist, Augen und
Ohren zu offnen fur
musikalische
Zusammenhange, die fur
viele Musikfreunde noch
im Verborgenen liegen.
Dazu werden Analysen
grosser Meisterwerke in
verstandlicher und
nachvollziehbarer Form
vor dem Leser
ausgebreitet. Insofern
ist dieses Buch weniger
eine Lese- als ein
Arbeitsbuch - das
Anregungen gibt und
Freude am Detail
weckt.Die Kompositionen
von Buch und
CD:Vollstandige Satze aus
Mozart-Klavierkonzerten,
g-Moll- und
Jupiter-Sinfonie, Haydns
Sinfonie Nr. 104,
Beethovens Eroica',
Schuberts 'Grosser',
Mendelssohns
Klavier/Violine-Doppelkon
zert, Chopins und Brahms'
1. Klavierkonzert,
Bruckners 7. und Mahlers
6. Sinfonie,
Tschaikowskys Pathetique'
u.a. $55.95 - Voir plus => Acheter | | |
| Ricercare Orgue Breitkopf & Härtel
Organ SKU: BR.BHM-367 Verzeichnis cantus-firmus-gebundener Orgelmusik<...(+)
Organ SKU:
BR.BHM-367
Verzeichnis
cantus-firmus-gebundener
Orgelmusik. Composed
by Martin Bieri. Solo
instruments. Breitkopf
New Media. The Sherlock
Holmes of the Organ Gets
a Makeover. Music
pedagogy. New Media.
Breitkopf and Haertel
#BHM 367. Published by
Breitkopf and Haertel
(BR.BHM-367). ISBN
9783765103674. 9 x 12
inches. Seek
(ricercare) and you will
find! The little angel on
the cover of the book
shows the organist the
way to the music he's
looking for! In an
incredibly time-consuming
endeavor, Martin Bieri
has compiled all
currently available
chorale-based organ
works, cataloguing about
15,600 works. The bulk of
the work is devoted to
(chorale) melodies that
can be found in the major
German-language hymnals.
The Ricercare Book offers
concise information along
with indexes of
arrangements, composers,
editions and publishers.
Nach acht Jahren Laufzeit
war es soweit: Ricercare
der Sherlock Holmes des
Organisten brauchte
dringend eine
Frischzellenkur d. h.
neue Informationen und
technische Updates. Das
Lifting hat der CD-ROM
gut getan. Ricercare
saust nunmehr mit neuer
Kraft (neuen
Informationen)
prestissimo durch die
weite Datenwelt von uber
20.000
cantus-firmus-gebundenen
Orgelwerken und gibt
umfassend Auskunft uber
Melodien Komponisten
Ausgaben Bearbeitungen
Verlage u. a. m.
After eight years on the
beat it was finally time
for Ricercare the
Sherlock Holmes of the
Organ to get a badly
needed makeover i.e. to
be supplied with new
information and technical
updates. The makeover did
a world of good to the
CD-ROM. Loaded with new
info Ricercare now zips
along prestissimo through
the vast data world of
more than 20 000
cantus-firmus-related
organ works and provides
comprehensive information
on melodies composers
editions arrangements
publishers and much
more.
The
present edition is based
on the music text of the
,,Gesamtausgabe of Robert
Schumann's works edited
by Clara Schumann
together with Johannes
Brahms and others between
1879 und 1893. This
publication is almost
entirely free from
arbitrary alterations in
the text. A few obvious
errors and unjustifiable
alterations of the
musical text were
eliminated after a
thorough comparison with
the first editions. Die
vorliegende Ausgabe folgt
dem Notentext der von
Clara Schumann in
Zusammenarbeit mit
Johannes Brahms u. a.
zwischen 1879 und 1893
herausgegebenen
Gesamtausgabe von Robert
Schumanns Werken. Diese
Edition ist von
willkurlichen
Veranderungen des Textes
weitgehend frei. Einige
offensichtliche Irrtumer
und nicht zu
rechtfertigende Eingriffe
in den Notentext wurden
nach Vergleich mit der
Erstausgabe und dem
Autograph beseitigt. The
present edition is based
on the music text of the
,,Gesamtausgabe of Robert
Schumann's works edited
by Clara Schumann
together with Johannes
Brahms and others between
1879 und 1893. This
publication is almost
entirely free from
arbitrary alterations in
the text. A few obvious
errors and unjustifiable
alterations of the
musical text were
eliminated after a
thorough comparison with
the first edition and the
autograph. $84.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Fantasiestücke Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114418850 Op. 78. Composed by R...(+)
Chamber Music flute,
piano SKU:
PR.114418850 Op.
78. Composed by
Robert Schumann. Arranged
by Mark Sparks. Set of
Score and Parts. With
Standard notation. 16+4
pages. Duration 11
minutes. Theodore Presser
Company #114-41885.
Published by Theodore
Presser Company
(PR.114418850). ISBN
9781491113981. UPC:
680160667895. Origi
nally for Clarinet and
Piano, Robert
Schumann’s deep
yet delightful set of
three FANTASIESTÃœCKE,
Op. 73 has long been a
staple of the repertoire,
with transcriptions
occasionally seeping into
other instruments’
libraries as well. The
work has been elegantly
adapted (into a new key)
for Flute and Piano by
Mark Sparks, principal
flutist of the Saint
Louis Symphony. Notes
on the Edition, by Mark
SparksThe remarkable and
imaginative
Fantasiestücke, Op.
73, were originally
composed for clarinet and
piano during 2 days in
February 1849. Schumann
indicated that the pieces
could also be played on
cello or viola. This
arrangement for flute and
piano has been transposed
from the original key of
A major to C major in
order to limit octave
transfer and facilitate
performance, while still
preserving the original,
rather darker-hued
timbral character of the
work.Flutists will
delight in the extremely
lyrical and evocative
nature of the writing,
especially the capricious
middle section of the
second piece,
“Lebhaft, leicht
(Lively, light),â€
and the brilliant,
effusive third piece,
“Rasch und mit
Feuer†(Quick and
with fire). The virtuosic
practice of repeating the
eighth-note in the
opening melody of the
final piece, adopted from
editions for cello, is
also well-suited to the
flute.Phrases of
appropriate length,
relatively few potential
balance problems, and the
accessibility of the
pieces for all levels of
performers and audiences
make the
Fantasiestücke a
natural, pleasant, and
versatile addition to the
flutist’s recital
repertoire. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Berceuse pour la poupee Piano seul Durand
Piano (Piano) SKU: HL.50563223 Piano Solo. Composed by Robert Schu...(+)
Piano (Piano) SKU:
HL.50563223 Piano
Solo. Composed by
Robert Schumann. Editions
Durand. Classical. Book
only. Editions Durand
#DC1119900. Published by
Editions Durand
(HL.50563223).
Inch....this
work is likely to become
a standart work very
quickly and is to be
recommended to all
schools where recorder
studies are undertaken
inch. (Oliver
James,Contact Magazine) A
novel and comprehensive
approach to transferring
from the C to F
instrument. 430 music
examples include folk and
national songs (some in
two parts), country dance
tunes and excerpts from
the standard treble
repertoire ofBach,
Barsanti, Corelli,
Handel, Telemann, etc. An
outstanding feature of
the book has proved to be
Brian Bonsor's
brilliantly simple but
highly effective practice
circles and recognition
squares designed to give,
in only a few minutes,
concentrated practice on
the more usual leaps to
and from each new note
and instant recognition
of random notes. Quickly
emulating the outstanding
success of the descant
tutors, these books are
very popular even with
those who normally use
tutors other than the
Enjoy the Recorder
series. $5.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Concerto for Cello in A minor, Op. 129 Orchestre d'harmonie [Set de Parties séparées] LudwigMasters Publications
Concert Band; Orchestra 2.2.2.2: 2.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Cel...(+)
Concert Band; Orchestra
2.2.2.2: 2.2.0.0: Timp:
Str (9-8-7-6-5 in set):
Solo Cello SKU:
AP.36-A201248
Arranged by Robert
Schumann and ed./arr. by
Rudolf Metzmacher. Full
Orchestra, Solo Strings
with Ensemble, Solo
Cello. Kalmus Orchestra
Library. Part(s).
LudwigMasters
Publications #36-A201248.
Published by
LudwigMasters
Publications
(AP.36-A201248). ISBN
9798892700283. UPC:
659359929090.
English. Robert
Schumann (1810-1856)
wrote his CELLO CONCERTO
in A minor, Op. 129, in
1850, within the span of
only two weeks. He tried
offering the work to two
publishers before
Breitkopf and Hartel
decided to publish it. He
stressed the point that
it would probably sell
because cello concerti
were few and far between.
Never performed in the
composer's lifetime, it
received its premiere in
Oldenburg on April 23,
1860, with Ludwig Ebert
playing the solo part.
The unique charm of the
concerto lies in its
structure and scoring,
without movement breaks,
and written so that the
cello part almost never
strays from its middle
and upper registers.
Instrumentation: 2.2.2.2:
2.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Cello. Reprint edition.
Solo part edited by
Rudolf Metzmacher.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $10.00 - Voir plus => Acheter | | |
| Beethoven's Fifth Symphony Flûte traversière et Piano Santorella Publications
By Ludwig van Beethoven (1770-1827). Arranged by Jonathon Robbins. For Flute or ...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Jonathon Robbins. For
Flute or violin and piano
(all C instruments).
Published by Santorella
Publications
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beethoven's Fifth Symphony Trombone et Piano Santorella Publications
By Ludwig van Beethoven (1770-1827). Arranged by Jonathon Robbins. For Trombone ...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Jonathon Robbins. For
Trombone and piano (all
bass instruments).
Published by Santorella
Publications
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beethoven's Fifth Symphony Clarinette et Piano Santorella Publications
By Ludwig van Beethoven (1770-1827). Arranged by Jonathon Robbins. For Clarinet ...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Jonathon Robbins. For
Clarinet and piano (all
Bb instruments).
Published by Santorella
Publications
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Beethoven's Fifth Symphony Trompette, Piano Santorella Publications
By Ludwig van Beethoven (1770-1827). Arranged by Jonathon Robbins. For Trumpet a...(+)
By Ludwig van Beethoven
(1770-1827). Arranged by
Jonathon Robbins. For
Trumpet and piano (all Bb
instruments). Published
by Santorella
Publications
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Widmann Fieberphantasie [Conducteur et Parties séparées] Schott
Piano, string quartet and clarinet in Bb (bassclarinet in Bb) (P/ST) - difficult...(+)
Piano, string quartet and
clarinet in Bb
(bassclarinet in Bb)
(P/ST) - difficult
SKU: HL.49033265
Composed by Joerg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and Parts. Composed
1999. 132 pages. Duration
13'. Schott Music #ED
9744. Published by Schott
Music (HL.49033265).
ISBN
9790001136778. With
the title of this
composition, Fever
Fantasy, Jorg Widmann
refers to its musical
air: 'I often feel Robert
Schumann's melodic shape
to be like the amplitude
of a temperature curve:
nervous,
flickering,
feverish, an
infinite number of
small and large wave
crests and troughs within
the principal line.'The
composer approaches this
sound phenomenon with a
setting for acoustic
instruments.
Nevertheless, he succeeds
in conjuring up very
unusual sound spectrums.
Over long sections, the
notation of this score
mirrors the musical
progressions, containing
no concrete pitches but
detailed performance
instructions instead.
Slowly, individual tones
emergefrom ascending
pizzicato lines,
colourless sound
surfaces, sounds of
harmonics roughened by
tremolos, and virtuoso
clarinet scales, tones
that do not reveal their
origin until the work
ends: C - F - E - D
sharp, the beginning of
Schumann's first
violin sonata. $79.00 - Voir plus => Acheter | | |
| Starke Töne - Fagott und Klavier Basson, Piano (duo) [Partition + CD] - Facile De Haske Publications
Bassoon and Piano - easy SKU: BT.DHP-1115157-400 Ausgewählte Werke ...(+)
Bassoon and Piano - easy
SKU:
BT.DHP-1115157-400
Ausgewählte Werke
für den Junior- und
D1-Bereich. Composed
by Adrien Barthe, Camille
Saint-Saens, Christopher
Norton, Edvard Grieg,
Gordon Jacob, Graham
Sheene, Henry Purcell,
Jacques-Martin
Hotteterre, Joseph Bodin
de Boismortier, Julius
Weissenborn, and Robert
Schumann. Arranged by
Graham Sheene. Book with
CD. Composed 2011. 28
pages. De Haske
Publications #DHP
1115157-400. Published by
De Haske Publications
(BT.DHP-1115157-400).
9x12 inches.
German. Starke
Töne ist eine
Sammlung, die in
Zusammenarbeit mit der
Bläserjugend des
Bundes Deutscher
Blasmusikverbände
(BDB) entstanden ist. Die
Sammlung enthält eine
Auswahl der beliebtesten
Titel aus den
Literaturlisten zum
Jungmusiker-Leistungsabze
ichen Bronze (D1) bzw.
Junior. Die Vorteile
liegen dabei klar auf der
Hand: Die
Instrumentalisten sparen
mit diesem Buch nicht nur
wertvolle
Vorbereitungszeit,
sondern auch bares Geld,
denn wer früher
mehrere Hefte anschaffen
musste, hat mit Starke
Töne bereits das
Beste in einem Band
versammelt. Somit
befriedigt diese Ausgabe
eine lang bestehende
Nachfrage. In jeder
Ausgabe ist jedes
Stück mit
einerKlavierbegleitung
notiert; ursprüngliche
Solostücke wurden
eigens mit einer neu
komponierten Begleitung
versehen. Der Klavierpart
ist in der Regel einfach
bis mittelschwer, sodass
die Begleitung auch von
fortgeschrittenen
Klavierschülern
übernommen werden
kann.Ein groÃ?er Vorteil
für die Vorbereitung
auf die praktischen
Leistungsprüfungen ist
die jedem Heft
beiliegende CD, welche
die auf einem echten
Konzertflügel
aufgenommenen
Klavierbegleitungen
enthält. Neben
Einspielungen im
Originaltempo sind die
meisten Stücke zum
leichteren Einstudieren
auch in einer weiteren
Version im langsameren
Tempo zu hören.Mit
Starke Töne ist
in Zusammenarbeit mit dem
BDB eine wertvolle
Sammlung für alle
Blasinstrumente und
Klavier sowie für
Schlagzeug entstanden,
die selbstverständlich
auch unabhängig von
den Leistungsabzeichen
das Unterrichts- und
Vortragsrepertoire für
jede dieser Besetzungen
bereichert. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ponies! Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-8780 Easy Piano Pieces with the Keyboard Crocodile(+)
Piano SKU:
BR.EB-8780 Easy
Piano Pieces with the
Keyboard Crocodile.
Composed by V. (Hrsg.)
Weinhandl M. Schneider K.
Daxbock. Edited by Karin
et al. Daxbock. Solo
instruments; Softcover.
Edition Breitkopf. Music
pedagogy. Score. Composed
2004. 40 pages. Breitkopf
and Haertel #EB 8780.
Published by Breitkopf
and Haertel (BR.EB-8780).
ISBN 9790004181935. 9
x 12 inches.
German. Just about
every child loves horses,
and, not surprisingly,
many composers have
fondly recalled their
childhood love for horses
in a great variety of
piano pieces. The
collection Horses! Easy
Piano Pieces With The
Keyboard Crocodile goes
through all the paces,
trotting out bucking
broncos and little
ponies, but also
seahorses and rocking
horses... It depicts
general forms of broadly
equine motion transposed
into music. The
experienced Keyboard
Crocodile editorial team
has compiled a large
number of easy, original
piano pieces ranging from
Robert Schumann's classic
Wild Rider to Mike
Schoenmehl's Cowboy Ride.
And with Martina
Schneider's delightful
drawings, players
familiar with the
Keyboard Crocodile will
be pleased to find their
old friends once
again!
Saddle up
your piano stool and
start galloping!MP3
audiofiles, performed by
Aki Sakae, are to be
found in the download
section or on
YouTube. $22.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Music for Beginners 1 Violon et Piano - Facile EMB (Editio Musica Budapest)
Violin and Piano - easy SKU: BT.EMBZ6311 By Lenkei Gabriella. EMB Music f...(+)
Violin and Piano - easy
SKU: BT.EMBZ6311
By Lenkei Gabriella. EMB
Music for Beginners.
Educational Tool. Book
Only. Composed 1970. 52
pages. Editio Musica
Budapest #EMBZ6311.
Published by Editio
Musica Budapest
(BT.EMBZ6311).
English-German-Hungari
an. The volumes of
the series 'Music for
Beginners' cover the
entire music literature
from the earliest
centurties to our days.
The material of the
individual volumes
containing short, easy
pieces to be played in
the first three-four
years of studying the
instrument has been
compiled by accomplished
music teachers. The
majority of the
contemporary works
included in the voluumes
have been published in
this series for the first
time. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Piano No. 1 in D minor, Op. 15 Orchestre [Conducteur] LudwigMasters Publications
Orchestra 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Piano SKU: AP....(+)
Orchestra 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Piano SKU:
AP.36-A134501
Composed by Johannes
Brahms. Arranged by
Clinton Nieweg and Robert
Sutherland. This edition:
Kalmus Orchestra Library.
Full Orchestra;
Performance Music
Ensemble; Single Titles.
Kalmus Orchestra Library.
Score. LudwigMasters
Publications #36-A134501.
Published by
LudwigMasters
Publications
(AP.36-A134501). ISBN
9781638878902. UPC:
735816433864.
English. Johannes
Brahms (1833-1897)
composed his Piano
Concerto No. 1 in 1858
and performed the work's
debut in Hanover,
Germany, in 1859, to
mixed reviews. The work
initially began as a
sonata for two pianos,
then a four-movement
symphony. Under the
counsel of friends Julius
Otto Grimm and violinist
Joseph Joachim, Brahms
landed on a
three-movement piano
concerto. After its fifth
performance in December
1861, with Clara Schumann
as piano soloist, the
work still received mixed
audience reception. It
has since grown in
popularity and has been
recognized as a
masterpiece.
Instrumentation: 2.2.2.2:
4.2.0.0: Timp: Str
(9-8-7-6-5 in set): Solo
Piano.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $50.00 - Voir plus => Acheter | | |
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