| Mister Rogers' Neighborhood (Choral Highlights) CD Chorale Hal Leonard
Choral (ShowTrax CD) SKU: HL.287188 Composed by Fred Rogers. Arranged by ...(+)
Choral (ShowTrax CD)
SKU: HL.287188
Composed by Fred Rogers.
Arranged by Roger
Emerson. Festival Choral.
Inspirational, Medley,
Movies. CD. Duration 315
seconds. Published by Hal
Leonard (HL.287188).
UPC: 888680902506.
5.0x5.0x0.15
inches. Fred Rogers
and his television
neighborhood were a
familiar and comforting
companion to countless
generations of young
people. The music was an
important part of each
episode and helped
re-enforce the lesson
being taught. Lyrics and
melodies were written and
sung by Rogers himself
who created more than 200
original songs. Won't You
Be My Neighbor?,
Tomorrow, It's Such a
Good Feeling, It's You I
Like, The Weekend Song,
and many more are a part
of our consciousness and
still hold valuable
lessons to be
learned. $54.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Oboe 1, Oboe 2, Piccolo,
alto Saxophone, soprano
Saxophone, tenor
Saxophone SKU:
PR.165001000 Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Folio. Set of Score and
Parts.
4+24+24+16+8+4+4+24+12+12
+8+4+4+4+4+8+8+8+8+4+4+4+
4+8+8+8+8+8+8+8+8+4+16+4+
8+4+8+8+4+4+4+48 pages.
Duration 10 minutes, 41
seconds. Theodore Presser
Company #165-00100.
Published by Theodore
Presser Company
(PR.165001000). ISBN
9781491129241. UPC:
680160669776. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For the Mystic Harmony Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bongos, Castanets, Celesta,...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Bongos, Castanets,
Celesta, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3 and more. SKU:
PR.16500100F Hymns
for Wind Ensemble.
Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the
joy of earand eye, For
the heart and
mind’s delight,
For the mystic harmony,
Linking sense to sound
and sight,â€giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said
“something
that’s basically
slow,†butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon
weren’t just
supporters of the arts;
theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony —
sometimes leading to
polytonal harmonizations
of what are
normallysimple four-chord
hymns.The work begins and
ends with a repeated
chime on the note C: a
reminder of steeples,
white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty†than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?†takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it
causes me to
tremble.â€Trumpets
in counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,â€cons
tantly growing in
orchestration and volume.
A mysterious second tune,
unrelated to this one,
interrupts it inall three
verses, sending the
melody into unknown
regions.The final melody
is “For the Beauty
of the Earth.†This
tune by Conrad Kocher
(1786-1872) is commonly
sung atThanksgiving
— the perfect
choice to end this work
celebrating two people
known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key†of the
hymn seems to shift
— until the
“Lord of all,
toThee we praiseâ€
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the
“mystery
tuneâ€heard earlier
in the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For
the Beauty†with
long spaces between them,
but it soonchanges to a
series of
“Amenâ€
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For
the Beauty of the
Earth†contains
this quatrain:“For
the joy of ear and eye,
–For the heart and
mind’s delightFor
the mystic harmonyLinking
sense to sound and
sightâ€and it was
from this poetry that I
drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Qua Resurget Ex Favilla Cor anglais, Piano Theodore Presser Co.
Chamber Music oboe SKU: PR.114422520 Sonata for Oboe and Piano. Co...(+)
Chamber Music oboe
SKU: PR.114422520
Sonata for Oboe and
Piano. Composed by
Katherine Needleman. Set
of Score and Parts. 24+8
pages. Duration 15:45.
Theodore Presser Company
#114-42252. Published by
Theodore Presser Company
(PR.114422520). ISBN
9781491134788. UPC:
680160683833. After
decades as a renowned
oboe virtuoso, Katherine
Needleman was improvising
at the piano during the
quarantine summer of 2020
when her ideas congealed
in a powerful way. Within
a week she completed a
16-minute oboe sonata
inspired by the
world’s
overlapping crises. This
riveting three-movement
sonata bears the title
qua resurget ex favilla,
drawn from the Dies Irae
text referring to rising
back from ashes.
Needleman won the
International Double Reed
Society’s
Inaugural Commissioning
Competition by entering
her own recording of this
work, performing as
both oboist and pianist
from her living room. As
a result, IDRS
commissioned her to
compose a new work for
English horn and piano
which was premiered at
their 2021 Virtual
Symposium and programmed
for the live 2022
convention. I’m
not exactly sure how, in
a life consumed by music,
I never put anything on
paper between the time I
stopped at age 10 and the
age of 42. I mean, I have
some ideas why, but that
could easily dissolve
into a feminist manifesto
or a condemnation of my
musical education and the
overwhelming culture of
American oboe playing,
the vehicle through which
I’ve made a living
my entire adult life.
Rather than go there, I
will just say this is the
first piece I put on
paper in my adult
life.Six months into
COVID-19 lockdown in the
US, the world was feeling
pretty weird. I had
familiarized myself with
the music notation
program, Sibelius, for
recent arranging
projects. I had written
some mockeries of A.M.R.
Barret oboe etudes in
response to an assignment
I was given (and did
appropriately first).
When I descended into a
dark chorale in the
middle of the fourth
mockery, I realized I
needed a new vehicle. I
wrote a short, ridiculous
piece for my
husband’s
birthday, and then, the
next night, when
improvising at the piano,
like I’ve done
since I was seven years
old, this piece came to
me. However, this time, I
sketched it out into
Sibelius. Over the course
of the next week, I found
notating and picking
permanent, official notes
to enter into the
computer challenging. But
it was all done on paper
in seven days, and I took
another few for dynamics
and articulations
thinking they might be
useful for someone else,
if I would ever be lucky
enough for someone else
to play it.I don’t
have much to say about
the music of qua resurget
ex favilla itself.
It’s a personal
statement couched in the
feelings of that time.
The US presidential
election was looming
large and ugly in my
mind, well, that and the
end of life as we knew
it, but I also had some
bizarre feeling that
everything would be
okay. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| A Caribbean Sailing Trip Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3.5 SKU: BT.DHP-1216331-215 Co...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3.5 SKU:
BT.DHP-1216331-215
Composed by Peter Kleine
Schaars. Peter's Compact
Collection. Original
Light Music. Score Only.
Composed 2021. 18 pages.
De Haske Publications
#DHP 1216331-215.
Published by De Haske
Publications
(BT.DHP-1216331-215).
English-German-French-
Dutch. With this
composition in a rumba
style, Peter Kleine
Schaars invites us to
enjoy a relaxed sailing
trip in the waters of the
Caribbean. The feeling of
freedom on the boat is
mirrored by an extensive
melody surrounded by a
palette of colourful
harmonies the shades of
the water while the
clever percussion sets
the course of the ship.
Who wouldn’t dream
of such an adventure?
Although the musical
themes and accompaniments
have been constructed
from combinations of
rhythmic cells that occur
less often, the
composition sounds very
natural and flowing.
Assuming the rhythmic
cells 1 to 8 are part of
the basic skills of your
band, in this
composition, the accent
rather lies on cells 9 to
13. The instrumentation
is created in such a way
that these ‘new
cells’ occur in
all parts, so that all
musicians of the band
become familiar with this
rhythmic development.
Met deze
compositie in rumbastijl
neemt Peter Kleine
Schaars ons voor een
relaxte zeiltocht mee
naar de Caribische
wateren. Het vrije gevoel
op de boot wordt
weerspiegeld door een
uitgestrekte melodie te
midden van een palet van
kleurrijke harmonieën
de schakeringen van het
water terwijl de
uitgekiende percussie de
rechte koers van het
schip bepaalt. Wie droomt
er nou niet van
zo’n avontuur?
Hoewel de muzikale
thema’s en
begeleidingen zijn
opgebouwd uit combinaties
van enkele minder vaak
voorkomende ritmische
cellen, klinkt de
compositie heel
natuurlijk en vloeiend.
Ervan uitgaande dat de
ritmische cellen 1 tot en
met 8 tot de
basisvaardigheden van uw
orkest behoren, ligt in
deze compositie de nadruk
vooral op de cellen 9 tot
en met 13. De
instrumentatie is
dusdanig dat deze
‘nieuwe
cellen’ voorkomen
in alle partijen, zodat
alle musici van het
orkest vertrouwd raken
met deze ritmische
ontwikkeling.
Mit
dieser Komposition im
Rumba-Stil lädt uns
Peter Kleine Schaars zu
einem entspannten
Segeltörn in der
Karibik ein. Das
Gefühl der Freiheit an
Bord spiegelt sich in
einer ausgedehnten
Melodie wider, die von
einer Reihe farbiger
Harmonien den Bewegungen
des Wassers umrahmt wird,
während das Schlagzeug
geschickt den Kurs des
Schiffes hält. Wer
träumt nicht von einem
solchen Abenteuer? Obwohl
die musikalischen Themen
und die Begleitung aus
einer Kombination
verschiedener
Rhythmus-Einheiten
bestehen, die nur
vereinzelt vorkommen,
klingt die Komposition
sehr natürlich und
fließend. Da die
Rhythmus-Einheiten 1 bis
8 sicher zu den
Grundfertigkeiten Ihres
Ensembles gehören,
liegt der Schwerpunkt
dieser Komposition eher
auf den
Rhythmus-Einheiten 9 bis
13. Die Instrumentierung
ist so angelegt, dass
diese neuen
Rhythmus-Einheiten“
in allen
Stimmenvorkommen, sodass
alle Orchestermitglieder
mit diesen Rhythmen
vertraut gemacht werden.
Avec cette
composition de style
rumba, Peter Kleine
Schaars nous invite un
voyage décontracté
en bateau sur les eaux
des Cara bes. Le
sentiment de liberté
qu’offre le
voilier est dépeint
par une ample mélodie
dans une palette
d’harmonies
colorées les teintes
de l’eau , tandis
que d’habilles
percussions tiennent le
cap. Qui ne rêverait
pas d’une telle
aventure ? Bien que les
thèmes et
accompagnements musicaux
aient été
élaborés partir de
combinaisons de cellules
rythmiques qui se
rencontrent moins
souvent, les sonorités
de l’œuvre
sont très naturelles
et fluides. En
présumant que les
cellules rythmiques 1 8
fassent partie des
compétences de base de
votre orchestre,
l’accent se trouve
plutôt sur les
cellules 9 13.
L’instrumentation
est arrangée de
manière ce que ces
« nouvelles cellules
» se trouvent dans
toutes les parties, afin
que tous les membres de
l’orchestre se
familiarisent avec cette
évolution
rythmique. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Bach to the Future - Intermédiaire/avancé Wilhelm Hansen
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and ...(+)
Score Orchestra;
Percussion - Grade 4
SKU: HL.14003062
Percussion and
Orchestra Score.
Composed by Per Nø,
Per Norgard, rd, and
rgå. Music Sales
America. Classical. Set.
134 pages. Duration 1200
seconds. Edition Wilhelm
Hansen #KP00615.
Published by Edition
Wilhelm Hansen
(HL.14003062). ISBN
9788759870075.
12.0x16.5x0.7 inches.
Danish. Per Norgard
BACH TO THE FUTUREFor
many years I have been
specially fascinated by
three of the preludes of
Bach's Well-tempered
Piano, and I wish with
this concerto-version for
percussion-duo and
orchestra to highlight
some of the structural
aspects of these pieces:
It is my belief that
there is a tradition in
the music history, that
makes it possible to let
certain germs in an
earlier period unfold
into new, but not
heterogenious, dimensions
of a perhaps several
hundred years later phase
of the tradition.This
concerto is a result of
several years
collaboration with Uffe
Savery and Morten Friis
(Safri-Duo), as well in
original compositions -
(Resonances,
Repercussion, Resume in
EchoZone I-III) as in
arrangements of the 3
Bach preludes, preparing
for the enormous
stylistic challenges of
this work.A few
introductory comments to
each movement:I Movement:
The archetypal sequence
of broken chords within
C-major has established
itself as almost a
cultural code, allowing
the composer of 1996 to
tell his tale-in-tones
only by stressing and
colouring the tones in
the original piece
without changing the
pitches or (relative)
durations as a
'palimpsest' containing
as well the old as the
new musical tale
simultaneously. Later in
the movement, this
singleline is multiplied
by the, till then
discrete, but permanently
pervading, proportion -
throughout the piece -
very close to the 'Golden
Section'(= 3:5:8.t.i:8
before repetition, 5
before starting anew from
the deepest tone, 3 as
the rest etc. unchanged).
The 3 tonal levels as
well as the 3 relative
speeds are treated
according to these
proportions for certain
passages, but even in
those the main focal
point is directed at the
freely invented melody
(by me) incarnating
itself solely by the
unpermutad sequels of the
original prelude.II
Movement: One feature of
the F sharp-prelude
pervades all the six
minutes-long second
movement: A 4 times
identical rhythmic
pattern = 6:4:3:2:3:4:6 -
as an hourglass-shaped
timeshape - inspired me
by the closeness of this
pattern to a shape within
the infinity-drumming of
my invention, called
Wide-Fan and Narrow-Fan ,
referring to pattern
consisting of
8:4:2:1:2:4:8, the
familiarity with the
above - quoted one being
obvious. New and old
elaborations of this
pattern-pair permeates
the movement, especially
since the Safri-Duo by
their performance of my
Repercussion had
augmented my appetite for
including this idiom in a
wider context:III
Movement: Without the
existence of the
d-minor-prelude I doubt
that I would have dared
to write a work like
this, since it is the
inexhaustible, rare
quality and pecularity of
this piece, which has
stimulated my feeling of
wonder and 'modernity'
(or: eternity!) of this
piece, of which I know of
no equal in its special
respect: the perpetual
ambiguity of melodic
foothold in the rhythmic
ostinato of a broken
descending triad, co. $82.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O Jesus, My Savior Chorale SATB SATB, Piano MorningStar Music Publishers
Composed by David W. Music. Lent, 21st Century, Commitment/Discipleship. Publi...(+)
Composed by David W.
Music. Lent, 21st
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Commitment/Discipleship.
Published by MorningStar
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Composed by John S. Dixon. Choral. Sacred Anthem. Octavo. Lorenz Publishing Comp...(+)
Composed by John S.
Dixon. Choral. Sacred
Anthem. Octavo. Lorenz
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| 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 | | |
| Finer in Minor Piano seul Breitkopf & Härtel
Piano SKU: BR.EB-9410 33 Original Pieces for Piano. Composed by Ma...(+)
Piano SKU:
BR.EB-9410 33
Original Pieces for
Piano. Composed by
Martina Schneider. Solo
instruments; stapled.
Edition Breitkopf. The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found on YouTube. Music
pedagogy. Score. 68
pages. Breitkopf and
Haertel #EB 9410.
Published by Breitkopf
and Haertel (BR.EB-9410).
ISBN 9790004188842. 9
x 12 inches. The
new Finer in Minor With
beautiful, easy to
moderately difficult,
familiar and above all
not so familiar pieces,
our bestseller Finer in
Minor has now been a
companion for many
generations on their way
to the wonderful works of
major piano literature.
In the meantime, the
sister edition Greater in
Major (EB 8936) expands
the sound palette,
showing that playing the
piano in a major key is,
of course, just as
beautiful as playing in a
minor key! In the course
of preparing it, the
desire for freshness and
renewal of the
well-established
minor-key edition
developed. Editors and
publishing house finally
gave in and decided on a
revised and expanded new
edition. The outer
appearance has been
adapted to its major-key
twin, and inside the
edition, things look new
and different, too. New
composers and even more
pieces expand the range
of minor-key music to
include new worlds of
sound and feeling. Thus,
playing the piano is
simply great - with
Greater in Major and
Finer in Minor ! Voices
to the 1st edition: It is
a good collection of easy
pieces and well edited.
(Music Teacher) The
publisher began with a
novel idea and invested
their faith in its
success by producing a
bright, colorful album
that will easily catch
the eye of the potential
buyer. (Trevor Barnard,
Music Teacher)
The
editors of the Keyboard
Crocodile have delved
into music history's
treasure chest of piano
literature and come up
with some gems in the
minor mode that offer
major enjoyment.MP3
audiofiles, performed by
Aki Sakae, are to be
found in the download
section or on YouTube.
Here you can find the
sister edition Greater in
Major. $33.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| New Songs of Inspiration ? Volume 10 Chorale SATB SATB [Partition] Brentwood-Benson
For SATB. Modern Christian. Sacred. Hymnal. Published by Brentwood-Benson Music ...(+)
For SATB. Modern
Christian. Sacred.
Hymnal. Published by
Brentwood-Benson Music
Publishing.
$8.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Amazing Grace Chorale SATB SATB A Cappella [Octavo] MorningStar Music Publishers
Composed by Michael John Trotta. For SATB choir, a cappella, with optional high ...(+)
Composed by Michael John
Trotta. For SATB choir, a
cappella, with optional
high voice solo or
instrument. Year C
Pentecost4; Catholic Year
C Ordinary11. General.
Medium. Octavo. Published
by MorningStar Music
Publishers
$1.70 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Tanzsuite mit Deutschlandlied Breitkopf & Härtel
(solos: 2vl.va.vc - 4(4picc.A-fl).3.3.B-clar. 3.dble bsn - 4.3.3.1 - perc(4) - h...(+)
(solos: 2vl.va.vc -
4(4picc.A-fl).3.3.B-clar.
3.dble bsn - 4.3.3.1 -
perc(4) - hp - pno - str:
10.10.8.8.6) SKU:
BR.PB-5714 Music
for Orchestra with String
Quartet. Composed by
Helmut Lachenmann.
Softcover.
Partitur-Bibliothek
(Score Library). Solo
concerto; Dances/marches;
Music post-1945. Sheet
Music. Composed 1979/80.
176 pages. Duration 36'.
Breitkopf and Haertel #PB
5714. Published by
Breitkopf and Haertel
(BR.PB-5714). ISBN
9790004216514. 10.5 x 14
inches. More than
my earlier works, this
one is interspersed with
metrically bound rhythms
and musicianly characters
that constantly
recrystallize and drift
towards or away from
familiar situations.The
familiar: These are
dance-like figures and
music-making formulas,
but also songs and, in
two cases fragments of
Bach's music - playfully
collected memories of
impressions in which -
consciously and
unconsciously - I am
embodied with that
collective comfort in
whose protection
bourgeois thinking and
feeling, magically
protected, grow up and
emerge apart.(It is well
known that such security
has its fetishes from the
childlike to the adult
stage: Home, religious
bond, holidays,
tradition, longing for
childhood - the
superficiality may have
little idea of the depth
that opens up underneath.
There is also no question
that we are still marked
by such security even
when the contradictions
and alienation of
existence force us to
step out of their
protection, to recognize
and act upon reality, and
to oppose the domination
of such inner bonds where
their original truth has
become the fatal untruth
of comfortable illusion,
stubbornly and fearfully
conjured idyll and
reactionary
narrow-mindedness.My
music feeds on figures in
which such memories are
encapsulated. It deals
with them not much
differently than in other
pieces with the elements
of the traditional
musical concept of
material, having already
always reflected
compositionally as a
product of sociality and
anticipation of musical
expression, i.e. it moved
into a structurally
expanded context and
expressively redefined
from there.Such an
approach aims at
overcoming lack of
freedom: grasping as part
of conceiving, i.e. not
philosophical reflection,
but rather an
artistically gripping
reflex by intervening in
the physical immediacy of
such predetermined
elements. These penetrate
and infect the structural
events, inducing a
musicianship that cannot
be relied upon; the music
jumps onto rhythms like
onto moving vehicles,
allows for being carried
by them until they deform
or disintegrate. This
creates an incline of
rhythmically shaped
situations: sequence and
interweaving of dances
and structures.The role
of the solo string
quartet is versatile,
obbligato and
concertante, leading and
accompanying in a
changing sense. Set as a
chamber music apparatus
in an orchestral
landscape, it repeatedly
forces its own sound
dimensions onto the
orchestra, it must accept
being drowned out at
times, it nests in the
holes of tutti fields, it
acts as a louse in the
fur, forcing one to
listen in and out.The
Tanzsuite with
Deutschlandlied is
structured as follows:I.
Section. 1. Introduction
- 2. Waltz - 3. March -
4. Bridge -II. Section.
5. Siciliano - 6.
Capriccio - 7. Valse
lente -III. Section. 8.
Bridge - 9. Gigue - 10.
Tarantelle - 11. Bridge
-IV. Section. 12 Aria I -
13 Polka - 14 Aria IIV.
Section. 15. Introduction
- 16 Gallop - 17 Coda
(Aria III)All 17 parts
merge into one
another.(Helmut
Lachenmann,
1980)CDs/LP/DVD:Arditti-Q
uartett, Deutsches
Symphonie-Orchester
Berlin, cond. Olaf
HenzoldCD Montaigne
Auvidis MO 782019Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
Cambreling (Excerpt)CD
BMG/RCA 74321 73510 2
(Musik in Deutschland
1950-2000)Berner
Streichquartett,
Sinfonieorchester des
SWF, cond. Sylvain
CambrelingLP DMR
1028-30Arditti Quartet,
SWR Sinfonieorchester
Baden-Baden und Freiburg,
cond. Hans Zender Excerpt
on CD ,,Auswahl von zehn
Urauffuhrungen aus 70
Jahren, SWR
Sinfonieorchester
Baden-Baden und Freiburg
Arditti Quartet,
Staatsorchester
Stuttgart, cond. Sylvain
Cambreling DVD
,,Lachenmann-Perspektiven
6 (Breitkopf & Hartel,
BHM 7816)
Bibliography:Cavalotti,
Pietro: Differenzen.
Poststrukturalistische
Aspekte in der Musik der
1980er Jahre am Beispiel
von Helmut Lachenmann,
Brian Ferneyhough und
Gerard Grisey (= Sonus.
Schriften zur Musik,
hrsg. von Andreas
Ballsteadt, Band 8),
Schliengen: Argus 2006,
pp. 79-128.Das sind doch
alles Deutschlandlieder!
Helmut Lachenmann im
Gesprach mit Michael
Rebhahn, in: Der
Taktgeber. Das Magazin
der Jungen Deutschen
Philharmonie, Heft 40
(Sommer 2019), S.
6f.Stawowy, Milena:
Fluchtversuche in die
Hohle des Lowen. Helmut
Lachenmanns Tanzsuite mit
Deutschlandlied, in:
MusikTexte 67/68 (1997),
pp. 77-90.Toop, Richard:
Concept and Context: A
Historiographic
Consideration of
Lachenmanns Orchestral
Works, in: Helmut
Lachenmann Inward Beauty,
hrsg. von Dan Albertson,
Contemporary Music Review
23 (2004), Heft 3/4, pp.
125-144.
World
premiere: Donaueschingen
(Donaueschinger
Musiktage), October 18,
1980. $160.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Dir, Seele des Weltalls K. 429 (468a) Breitkopf & Härtel
Violin 1 (solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str) SKU: BR.OB-532...(+)
Violin 1 (solo: T -
choir:TTB - 1.2.1.0 -
2.0.0.0 - org - str)
SKU: BR.OB-5326-15
Cantata based on the
Autograph Completed by
Franz Beyer - Urtext.
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Beyer. Softcover.
Orchester-Bibliothek
(Orchestral Library).
One already finds
echoes of the 'Magic
Flute' in this fragment,
which Mozart wrote in
1785. Cantata;
Requiem; Classical. Part.
6 pages. Duration 10'.
Breitkopf and Haertel #OB
5326-15. Published by
Breitkopf and Haertel
(BR.OB-5326-15). ISBN
9790004334225. 9 x 12
inches. Thanks to
the Mozart specialist
Franz Beyer, the cantata
Dir, Seele des Weltalls
has been completed in its
original scoring and with
an unerring feeling for
stylistic accuracy. One
already finds echoes of
the Magic Flute in this
fragment, which Mozart
wrote in 1785. The two
introductory and two
closing bars added by
Beyer along with the full
orchestration of the
piece allow musicians to
discover a Mozart cantata
that will ring familiar
with many modern-day
listeners. - The
traditional version by
Maximilian Stadler (for
soprano solo, mixed
chorus and orchestra
without organ) continues
to remain
available.
One
already finds echoes of
the 'Magic Flute' in this
fragment, which Mozart
wrote in 1785. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Wassail Song Cloches - Intermédiaire Hope Publishing Company
By Leroy Anderson (1908-1975). Arranged by Martha Thompson. For handbell choir (...(+)
By Leroy Anderson
(1908-1975). Arranged by
Martha Thompson. For
handbell choir (3-6
octaves). Christmas,
Sacred. Grade 3 .
Handbell score. 8 pages.
Published by Hope
Publishing Company .
handbell score.
Christmas, Sacred.
$7.00 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Alleluia! Jesus Is Risen! (Choral Score) - Facile MorningStar Music Publishers
Soprano descant, SATB choir, and organ, with optional congregation, brass quarte...(+)
Soprano descant, SATB
choir, and organ, with
optional congregation,
brass quartet or quintet,
and timpani (Instrumental
Parts include: Trumpets I
and II in B-flat and C,
Horn in F (substitute for
Trombone I), Trombone I
and II, Tuba, Timpani,
Organ) - Early
Intermediate SKU:
MN.50-4066 Composed
by Michael Burkhardt.
Easter, 21st Century.
Instrumental part.
Duration 3 minutes, 30
seconds. MorningStar
Music Publishers
#50-4066. Published by
MorningStar Music
Publishers (MN.50-4066).
UPC: 688670540660.
English. A majestic
Easter anthem which
marries the tune EARTH
AND ALL STARS to a text
by Herbert Brokering, a
combination with which
you might not be familiar
but works beautifully.
Burkhardt has structured
a perfect hymn-anthem
setting. The congregation
can participate or not.
Brass and timpani are
optional. Fun to sing and
sure to create a feeling
of transcendent triumph.
Duration: 3:30. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Well-Tempered Clavier I, BWV 846-869 [Edition pour professeur] GIA Publications
Real Stories, Real Strategies, Real Solutions. Composed by Ann Kaczkowski Kimp...(+)
Real Stories, Real
Strategies,
Real Solutions. Composed
by
Ann Kaczkowski Kimpton
and
Paul Kimpton. Music
Education.
162 pages. GIA
Publications
#9216. Published by GIA
Publications
$24.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Passcaglia Violoncelle, Piano Schott
Score and Parts Cello; Piano; Violin - difficult SKU: HL.49033212 For ...(+)
Score and Parts Cello;
Piano; Violin - difficult
SKU: HL.49033212
For Violin,
Violoncello and Piano
Score and Parts.
Composed by Jö and rg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Score and
Parts. Composed
2000/2006. 46 pages.
Duration 30'. Schott
Music #ED9633. Published
by Schott Music
(HL.49033212). ISBN
9790001135894. UPC:
073999282085.
9.0x12.0x0.132
inches. This Piano
Trio Passacaglia is the
'junior' companion piece
to my Cello Concerto
Dunkle Saiten [Dark
Strings], or more
precisely to the
concerto's
large-dimensional
introductory section with
the indication
'Feierlich, schreitend'
[solemnly, striding].
What in the Cello
concerto then inescapably
culminates in a
catastrophe remains in
this composition
ostensibly largely
conflict-free. This is in
fact perhaps one of my
most peaceful and
conflict-free
compositions; it consists
of half an hour of almost
exclusively tonal
progressions. Here,
passacaglia (stepping
dance!) is taken
literally: the step
progressions themselves
become the subject of the
work. This also includes
pausing, not being able
to progress, feeling
one's way, stumbling and
taking compulsive steps
forward.As familiar as
the harmonic surface of
the structure appears,
for me the natural
adaptation of the musical
flow was new to a similar
degree. This is my
attempt to produce a
linear tonal band (a
horizontal) exclusively
with the aid of harmonic
- i.e. vertical -
progressions.- Jorg
Widmann. $33.00 - Voir plus => Acheter | | |
| Dir, Seele des Weltalls K. 429 (468a) Breitkopf & Härtel
Basso (cello/double bass) (solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str) ...(+)
Basso (cello/double bass)
(solo: T - choir:TTB -
1.2.1.0 - 2.0.0.0 - org -
str) SKU:
BR.OB-5326-26
Cantata based on the
Autograph Completed by
Franz Beyer - Urtext.
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Beyer. Softcover.
Orchester-Bibliothek
(Orchestral Library).
One already finds
echoes of the 'Magic
Flute' in this fragment,
which Mozart wrote in
1785. Cantata;
Requiem; Classical. Part.
6 pages. Duration 10'.
Breitkopf and Haertel #OB
5326-26. Published by
Breitkopf and Haertel
(BR.OB-5326-26). ISBN
9790004334256. 9 x 12
inches. Thanks to
the Mozart specialist
Franz Beyer, the cantata
Dir, Seele des Weltalls
has been completed in its
original scoring and with
an unerring feeling for
stylistic accuracy. One
already finds echoes of
the Magic Flute in this
fragment, which Mozart
wrote in 1785. The two
introductory and two
closing bars added by
Beyer along with the full
orchestration of the
piece allow musicians to
discover a Mozart cantata
that will ring familiar
with many modern-day
listeners. - The
traditional version by
Maximilian Stadler (for
soprano solo, mixed
chorus and orchestra
without organ) continues
to remain
available.
One
already finds echoes of
the 'Magic Flute' in this
fragment, which Mozart
wrote in 1785. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Dir, Seele des Weltalls K. 429 (468a) Breitkopf & Härtel
Violin 2 (solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str) SKU: BR.OB-532...(+)
Violin 2 (solo: T -
choir:TTB - 1.2.1.0 -
2.0.0.0 - org - str)
SKU: BR.OB-5326-16
Cantata based on the
Autograph Completed by
Franz Beyer - Urtext.
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Beyer. Softcover.
Orchester-Bibliothek
(Orchestral Library).
One already finds
echoes of the 'Magic
Flute' in this fragment,
which Mozart wrote in
1785. Cantata;
Requiem; Classical. Part.
6 pages. Duration 10'.
Breitkopf and Haertel #OB
5326-16. Published by
Breitkopf and Haertel
(BR.OB-5326-16). ISBN
9790004334232. 9 x 12
inches. Thanks to
the Mozart specialist
Franz Beyer, the cantata
Dir, Seele des Weltalls
has been completed in its
original scoring and with
an unerring feeling for
stylistic accuracy. One
already finds echoes of
the Magic Flute in this
fragment, which Mozart
wrote in 1785. The two
introductory and two
closing bars added by
Beyer along with the full
orchestration of the
piece allow musicians to
discover a Mozart cantata
that will ring familiar
with many modern-day
listeners. - The
traditional version by
Maximilian Stadler (for
soprano solo, mixed
chorus and orchestra
without organ) continues
to remain
available.
One
already finds echoes of
the 'Magic Flute' in this
fragment, which Mozart
wrote in 1785. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Going on a Sleigh Ride Chorale 2 parties Hal Leonard
2-Part Choral (2PT) SKU: HL.379473 Discovery Level 2. Composed by ...(+)
2-Part Choral (2PT)
SKU: HL.379473
Discovery Level 2.
Composed by George L.O.
Strid and Mary Donnelly.
Discovery Choral.
Christmas, Concert,
Festival, Holiday,
Winter. Octavo. Duration
124 seconds. Published by
Hal Leonard (HL.379473).
ISBN 9781705151266.
UPC: 196288017851.
6.75x10.5x0.036
inches. This bright
and cheerful Christmas
piece reflects the
rollicking fun of a
wintertime sleigh ride.
The song incorporates the
refrain from
“Jingle
Bells†giving
singers a chance to sing
a familiar holiday tune
with a new spin.
Glockenspiel and jingle
bells are included to
enhance the feeling of
celebration. $2.35 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Loveliest Time of the Year Chorale 2 parties Carl Fischer
(Two-Part Treble Voices with Keyboard and Optional Rhythm Accompaniment CD). By ...(+)
(Two-Part Treble Voices
with Keyboard and
Optional Rhythm
Accompaniment CD). By
Carl Strommen. Female
chorus. For SA, Keyboard.
Choral. Choral part(s).
Standard notation. 7
pages. Published by Carl
Fischer
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hark! Harold The Angels Sing Chorale 2 parties 2 parties, Piano Carl Fischer
By Elizabeth Campbell. Mixed chorus. For Mixed Chorus, Keyboard. Carl Fischer Pe...(+)
By Elizabeth Campbell.
Mixed chorus. For Mixed
Chorus, Keyboard. Carl
Fischer Performance
Series for Chorus.
Choral. Choral part(s).
Standard notation. 11
pages. Published by Carl
Fischer choral part(s)
choral
$2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Harbor Music Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String Quartet SKU: PR.16400222S Composed by Dan Welcher. Full score (stu...(+)
String Quartet SKU:
PR.16400222S Composed
by Dan Welcher. Full
score (study). With
Standard notation.
Duration 11 minutes.
Theodore Presser Company
#164-00222S. Published by
Theodore Presser Company
(PR.16400222S). UPC:
680160037841. This
work follows my Quartet
No. 1 by five years. In
terms of style and
aesthetic aim, however,
it seems light years
away. Where the first
work, a 28-minute,
four-movement piece, took
aim at cosmic conflicts
and heroic resolutions,
the present work is
intended as a kind of
divertissment. Harbor
Music lasts a mere eleven
minutes, is cast in a
single movement with six
sections, and should
leave both performers and
listeners with a feeling
of good humor and
affection. The
title comes from my
experience as a guest in
the magnificent city of
Sydney, Australia. One of
its most attractive
features is its unique
system of ferry boats:
the city is laid out
around a large,
multi-channeled harbor,
with destinations more
easily approached by
water than by land.
Consequently, inhabitants
of Sydney get around on
small, people-friendly
boats that come and go
from the central docks at
Circular Quay. During a
week's visit in 1991, I
must have boarded these
boats at least a dozen
times, always bound for a
new location - the resort
town of Manley, or the
Zoo at Taronga Park, or
the shopping district at
Darling Harbour.
In casting about for a
form for my second string
quartet, a kind of loose
rondo came to mind. Each
new destination would be
approached from the same
starting-out point
(although there are
subtle variations in the
repeating theme; it's
always in a new key, and
the texture is never the
same). The result, I
hope, is a sense of
constant new information
presented with
introductory frames of a
more familiar nature.
The embarkation
theme, which begins the
piece, is a sort of
bi-tonal fanfare in which
the violins are in G
major and the viola and
cello are in B-flat
major. It is bold, eager,
and forward-looking. The
first voyage maintains
this bi-tonality,
beginning as a 9/8 due
for second violin and
viola in a kind of
rocking motion -much as a
boat produces when
reaching the deeper water
in the harbor. A sweet,
nostalgic theme emerges
over this rocking
accompaniment. This music
is developed somewhat,
then transforms quickly
into a much faster and
lighter episode, filled
with rising and falling
scales (again, in
differing keys). A
scherzando interlude in
short notes and changing
meters provides contrast,
and the episode ends with
a reprise of the scales.
The second
embarkation follows, this
time in A major/C major.
It leads quickly into a
very warm and slow theme,
in wide-leaping intervals
for the viola. This
section is interrupted
twice by solo cadenzas
for the cello, suggesting
distant boat-horns in
major thirds. The end of
the episode becomes a
transition, with
boat-horns leading into
the final appearance of
the embarkation music,
this time in trills and
tremolos instead of
sharply accented chords.
The nostalgic theme of
the first episode makes a
final appearance, serving
now as a coda. The
rocking motion continues,
in a lullaby fashion,
leaving us drowsy and
satisfied on our homeward
journey. Harbor
Music was written for the
Cavani Quartet, and is
dedicated to Richard J.
Bogomolny. Commissioned
by his employees at First
National Supermarkets as
a gift, it represents a
thank you from many of
the people (including
this composer) who have
benefitted from his
vision and generosity. An
ardent advocate of
chamber music (and a
cellist himself), Mr.
Bogomolny has for many
years been Chairman of
the Board of Chamber
Music America. -- Dan
Welcher. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Come, Thou Long-Expected Jesus Chorale SATB SATB, Flûte [Octavo] MorningStar Music Publishers
By Hal H. Hopson. For SATB, Flute, and Piano, with opt. Soloist and Strings. Adv...(+)
By Hal H. Hopson. For
SATB, Flute, and Piano,
with opt. Soloist and
Strings. Advent. Level:
Moderately Easy. Octavo.
Published by MorningStar
Music Publishers.
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dir, Seele des Weltalls K. 429 (468a) Breitkopf & Härtel
Viola (solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str) SKU: BR.OB-5326-1...(+)
Viola (solo: T -
choir:TTB - 1.2.1.0 -
2.0.0.0 - org - str)
SKU: BR.OB-5326-19
Cantata based on the
Autograph Completed by
Franz Beyer - Urtext.
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Beyer. Softcover.
Orchester-Bibliothek
(Orchestral Library).
One already finds
echoes of the 'Magic
Flute' in this fragment,
which Mozart wrote in
1785. Cantata;
Requiem; Classical. Part.
6 pages. Duration 10'.
Breitkopf and Haertel #OB
5326-19. Published by
Breitkopf and Haertel
(BR.OB-5326-19). ISBN
9790004334249. 9 x 12
inches. Thanks to
the Mozart specialist
Franz Beyer, the cantata
Dir, Seele des Weltalls
has been completed in its
original scoring and with
an unerring feeling for
stylistic accuracy. One
already finds echoes of
the Magic Flute in this
fragment, which Mozart
wrote in 1785. The two
introductory and two
closing bars added by
Beyer along with the full
orchestration of the
piece allow musicians to
discover a Mozart cantata
that will ring familiar
with many modern-day
listeners. - The
traditional version by
Maximilian Stadler (for
soprano solo, mixed
chorus and orchestra
without organ) continues
to remain
available.
One
already finds echoes of
the 'Magic Flute' in this
fragment, which Mozart
wrote in 1785. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Dir, Seele des Weltalls K. 429 (468a) Breitkopf & Härtel
Woodwinds (solo: T - choir:TTB - 1.2.1.0 - 2.0.0.0 - org - str) SKU: BR.OB-53...(+)
Woodwinds (solo: T -
choir:TTB - 1.2.1.0 -
2.0.0.0 - org - str)
SKU: BR.OB-5326-30
Cantata based on the
Autograph Completed by
Franz Beyer - Urtext.
Composed by Wolfgang
Amadeus Mozart. Edited by
Franz Beyer. Folder.
Orchester-Bibliothek
(Orchestral Library).
One already finds
echoes of the 'Magic
Flute' in this fragment,
which Mozart wrote in
1785. Cantata;
Requiem; Classical. Set
of parts. 14 pages.
Duration 10'. Breitkopf
and Haertel #OB 5326-30.
Published by Breitkopf
and Haertel
(BR.OB-5326-30). ISBN
9790004334263. 9 x 12
inches. Thanks to
the Mozart specialist
Franz Beyer, the cantata
Dir, Seele des Weltalls
has been completed in its
original scoring and with
an unerring feeling for
stylistic accuracy. One
already finds echoes of
the Magic Flute in this
fragment, which Mozart
wrote in 1785. The two
introductory and two
closing bars added by
Beyer along with the full
orchestration of the
piece allow musicians to
discover a Mozart cantata
that will ring familiar
with many modern-day
listeners. - The
traditional version by
Maximilian Stadler (for
soprano solo, mixed
chorus and orchestra
without organ) continues
to remain
available.
One
already finds echoes of
the 'Magic Flute' in this
fragment, which Mozart
wrote in 1785. $18.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Give Me an Old-Fashioned Christmas - Performance/Accompaniment CD plus Split-track CD Chorale Lorenz Publishing Company
SKU: LO.99-4054L Composed by Mary McDonald. Choral. Sacred Anthem, Christ...(+)
SKU: LO.99-4054L
Composed by Mary
McDonald. Choral. Sacred
Anthem, Christmas.
Performance/accompaniment
CD (split-track). Lorenz
Publishing Company
#99/4054L. Published by
Lorenz Publishing Company
(LO.99-4054L). UPC:
000308154290. Perfo
rmance/accompaniment CD
plus Split-track for
10/5346L Mary McDonald
recreates the feeling of
an old-fashioned
Christmas get-together in
this joyful medley. It
seamlessly melds original
text with four familiar
carols: “I Heard
the Bells on Christmas
Day,†“The
Birthday of a
King,â€
“There’s a
Song in the Air,â€
and “Go, Tell it on
the Mountain.†An
optional rhythm section
adds to the
festivity. $29.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ten Thousand Miles Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.49648 Performance Mu...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.49648
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Folk; Secular;
Traditional. Choral
Octavo. 16 pages. Alfred
Music #00-49648.
Published by Alfred Music
(AP.49648). UPC:
038081567358. English.
Ruth Morris
Gray. How fun! A
unique setting of words
adapted from a familiar
English folk song.
Handclaps, leg taps, and
brushing palms decorate
each voice part from the
first statement of their
independent line to the
final layered recap. A
departure from the
traditional tune and
tempo, Ruth's jaunty
melody and andante
interpretation creates a
feeling of motion in
triple meter.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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