SKU: BT.DHP-1063945-010

English-German-French- Dutch.

This suite is based on the fairy tale The Bronze Pig by Hans Christian Andersen.This is a story about a boy who wants to be a painter and a pig made of bronze. This pig, in Florence town square, is a bronze statue with clear water pouring from its mouth. Legend has it that when an innocent child sits on its back, that the pig can run. In three movements; Flying Dreams in a Starlight Sky, La Via Porta Rossa and Twilight on the Arno River this work is a highly descriptive storytelling piece that will be equally enjoyed by young and old alike. Definitely one not to be snorted at!

Deze suite is gebaseerd op Het bronzen varken van Hans Christian Andersen - een sprookje over een bronzen varken en een jongetje dat kunstschilder wil worden. De plaats van handeling is de Italiaanse kunststad Florence. Decompositie bestaat uit drie delen: het sprookjesachtige Flying Dreams in a Starlight Sky, het nostalgische, stijlvolle La Via Porta Rossa en het sfeervolle Twilight on the Arno River. Het bronzen beeld van hetwaterspuwende varken is te vinden op de hoek van La Via Porta Rossa. Het origineel is het marmeren beeld uit de Griekse Oudheid dat wordt tentoongesteld in de Galleria degli Uffizi. De componist bezocht Florence zelf, waarze werd ge nspireerd door beide beelden.

Kumiko Tanaka entführt uns in ihrer Suite für Blasorchester in die Märchenwelt von Hans Christian Andersen. Il Cinghiale di Bronzo (Das Bronzeschwein) handelt von einem armen Jungen, der nachts auf einem lebendig gewordenen, Wasser speienden Bronzeschwein durch die Gassen von Florenz reitet. Das Bronzeschwein, das Andersen zu seinem Märchen inspirierte, kann man heute noch besichtigen. Die Inspiration, die Kumiko Tanaka aus seiner Erzählung und der Atmosphäre der wunderschönen Stadt Florenz gewann, ist in ihrer Komposition deutlich zu spüren.

Pour composer cette suite en trois tableaux, la compositrice japonaise Kumiko Tanaka s’est inspirée du conte Le Sanglier de Bronze de l’écrivain danois Hans Christian Andersen. Le récit raconte la rencontre entre un petit garçon qui rêve de devenir peintre et un sanglier de bronze qui prend vie lorsqu’un enfant, symbole de l’innocence, monte sur son dos. La scène se passe Florence, foyer des arts de la Renaissance…

Per comporre questa suite in tre parti, la compositrice giapponese Kumiko Tanaka si è ispirata alla fiaba Il Cinghiale di Bronzo dello scrittore danese Hans Christian Andersen. La storia, che ha luogo a Firenze, narra dell’incontro tra un ragazzino che sogna di diventare pittore ed un cinghiale di bronzo che prende vita quando il ragazzino, simbolo dell’innocenza, gli monta sul dorso.

SKU: BR.EB-9306

ISBN 9790004187708. 12 x 9 inches.

This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.

pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.

SKU: BR.EB-9415

ISBN 9790004188897. 12 x 9 inches.

This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.

pure source edition (no mixture of different transmissions) comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only))good page turnsflexible division of voices (on 2 or 3 systems, good legibility)contains facsimiles.

SKU: BT.DHP-1145559-401

ISBN 9789043136082. 9x12 inches. International.

PIAN O SOLOS features twelve marvellous contemporary compositions that were written in the style of the pop and film music genres. The solos are designed to develop technique and focus on musical expression, whilst also being fun to play. Suitable forintermediate players and ideal for piano lessons.
Stylistically reminiscent of Yann Tiersen and Yurama, these 12 pieces by Michiel Merkies accompany his Piano Life method. The focus of these pieces is on the pleasure of playing. This modern music will complement your piano playing todayand fuel your ambitions for tomorrow!

In PIANO SOLOS vind je twaalf schitterende hedendaagse composities in een bijna filmische, poëtische popmuziekstijl. De stukken zijn bedoeld om je techniek en muzikale voordracht te ontwikkelen, maar ze zijn vooral heel leuk om te spelen. Demoeilijkheidsgraad is gemiddeld en het boek is bijzonder geschikt voor gebruik in de pianoles.
Kortom: dit is muziek die past bij je pianospel van vandaag en bij je ambities voor morgen!

PIANO SOLOS: Das sind zwölf großartige moderne Kompositionen in einem filmischen, poetisch anmutenden Pop-Stil. Die Stücke sind dazu gedacht, die Technik zu verfeinern und Schüler im musikalischen Vortrag zu schulen, aber sie machen vor allem auchSpaß zu spielen. Das im mittleren Schwierigkeitsgrad gehaltene Buch eignet sich besonders gut für den Gebrauch im Klavierunterricht.
Kur zum: Dies ist Musik für das Klavierspiel der Gegenwart, die den Ehrgeiz für die Zukunft weckt!

PIANO SOLOS rassemble douze merveilleuses compositions originales écrites dans un style contemporain aux lignes élégantes et poétiques. Les pièces ont été conçues pour développer votre technique de jeu et favoriser l’expression musicale de votreinterprétation, tout en étant divertissantes et agréables jouer. Le degré de difficulté des morceaux est élémentaire moyen, ce qui rend ce recueil complémentaire toute méthode d’apprentissage.
En un mot : cest l’ouvrage qui correspond votre jeu pianistique d´aujourd´hui, et comblera vos ambitions musicales de demain !

PIANO SOLOS raccoglie 12 splendide composizioni contemporanee scritte in uno stile che si avvicina alla musica fa film, poetico e con accenti pop. I brani sono stati scritti per sviluppare la tecnica e l’espressione musicale, ma sono in primo luogodivertenti da eseguire. Il livello di difficolt è intermedio e i pezzi si prestano in modo ottimale ad essere utilizzati come materiale da studio.
In breve: musica perfetta per le esigenze attuali e le ambizioni future!

SKU: BR.EB-9305

ISBN 9790004187692. 12 x 9 inches.

This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.

pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. Contains the Critical Commentary of the subvolumes I/1 and I/2.

SKU: BR.EB-9304

ISBN 9790004187685. 12 x 9 inches.

This edition is the result of Harald Vogel's many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17th- and 18th-century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the Einzelanmerkungen. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude's free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary).Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on Die Fuge um Bach. Besides the description of the inclusion of triple measures into the C notation and the irregularities of the voice mutation in the polyphonic structures, this also included a discussion about the justification of the inner textual criticism. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude's work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the indicators of the fantastic style is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude's work.In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Lulea University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lubeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude's organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands.

pure source edition (no mixture of different transmissions); comprehensive commentary (Vol. I/2 & II) (with texts about the sources, chronology, use of keys, liturgic placement as well as detailed critical remarks, incl. music examples (in German only)); good page turnsflexible division of voices (on 2 or 3 systems, good legibility); contains facsimiles. The corresponding Critical Commentary is contained in Volume I/2 (EB 9305).