Das Liederspiel. Par HUMPERDINCK ENGELBERT. When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin. Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric” Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]”. She enclosed the corresponding verses with the letter and “for fun” also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April. This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment” (see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note (E flat) instead of on the four notes of the chord.” The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form. / Niveau : Intermédiaire / Répertoire / 2 Voix et Piano

Par TARR EDWARD H.. The renowned author and pioneering teacher (the first lecturer for any historical brass instrument at the Schola Cantorum Basiliensis) has collected and condensed his long teaching experience into the present three volumes. Though intended chiefly for players of baroque and natural trumpets, the study of these volumes should also be obligatory for players of modern valve trumpets in order to perform baroque music in an informed way. A wide selection of exercises and pieces from the repertoire has been arranged into a systemmatic tutor with solutions for all technical and musical problems and with special attention to ensemble playing./ Recueil / Trompette

Par RAE JAMES. INDIVIDUAL OR GROUP LEARNING All of these pieces for young trumpet players in their earliest stages of learning can be performed as a solo or in unison with others. Some have an optional 2nd part and may also serve as ensemble material. MIXED ENSEMBLE OPTION Whilst written specifically for the trumpet, a special section is included of four pieces which are 'key friendly' for beginners on most instruments. These same four pieces appear in books for other instruments in the series. For the Pupil… - Instrumental parts with fun cartoons for inspiration - A CD providing stimulating demonstration performances for listening as well as 'minus-one' accompaniments for playing along at home - Cartoons can be DOWNLOADED FOR FREE for colouring in Piano Accompaniments… Sheet music for required piano accompaniments can be DOWNLOADED FOR FREE - just follow the web link provided in the pupil's book! / Pédagogie / Méthode / Trompette

Par SULLIVAN SIR ARTHUR SEYMOUR. W.S. Gilbert's complete libretto for H.M.S Pinafore, which opened May 28, 1878, at the Opera Comique and ran for 571 performances. Subtitled 'The Lass That Loved A Sailor', the story concerns a captain's daughter and a common sailor that fall in love./ Recueil / Voix

Par LERNER A. / LOEWE F.. Camelot is a popular Musical, which also received a film adaptation in 1967. Available here is the Libretto for the Musical, with book and lyrics by Alan Jay Lerner, and music by Frederick Loewe. The show is based on the King Arthur legend as based on the T.H. White novel The Once and Future King ./ Recueil / Livret

The importance of Jan Pieterszoon Sweelinck (1562?1621) to the clavier music of the baroque era can hardly be overestimated. This scholarly performance edition by Siegbert Rampe is the first to present all of his keyboard works while distinguishing between?works of certain authenticity?, ?works of uncertain authenticity? and ?works of doubtful authenticity.?

The seven volumes of this edition, with commentary in German and English, stand at the cutting edge of musical scholarship. Volumes III.1 and III.2 contain, for the first time, all the chorale settings attributed to Sweelinck or handed down under his name.

Volume III.1 presents ten additional chorale and psalm settings and many facsimiles.

A detailed preface covers the sources, the music, the choice of instruments, and questions related to performance practice.


- Definitive complete Urtext edition in seven volumes
- Based on the latest findings of scholarship
- Detailed prefaces and critical report (German and English) as well as list of sources in each volume
- Notes on ornamentation


?All eight volumes inclu de commentaries in German and English and reflect the latest scholarly research. Highly recommended.?
(The American Organist August 2010)

?Anyone interested in scrutinizing the musical text, scouring for alternative versions, and thoroughly examining the sources should buy Rampe?s edition.?
(Musik und Kirche)

?? Bärenreiter?s offering will provi de you with an authoritative treasury of Sweelinck?s work.?
(Church Music Quarterly, 3-2007)

??a must for even serious organ student .?
(The Organ no. 336 ? May?June 2006) / Classique / Partition / Broché /

40 Pieces From 20 Of The World'S Leading Piano Composers. This exceptional collection draws upon works from 20 of the world's greatest piano composers. This book is suitable for the intermediate-level pianist and offers engaging and inspiring pieces to elevate and expand their repertoire. Includes beautiful pieces by Ludovico Einaudi, Yiruma, Dustin O'Halloran, Joe Hisaishi, Yann Tiersen and may more!/ Recueil / Piano

An exciting addition to Alfred Music's I Sing, You Sing echo song series. These 30 call and response songs encompass a wide variety of subjects, including: important everyday lessons (like crossing the street and answering the telephone), music class fundamentals (like the instruments of the orchestra and major vs. minor), and cross-curricular reinforcements (like identifying the continents and multiplying by two). Singers may echo the leader provided on the SoundTrax CD or take turns being leaders themselves---two versions of each song are included on the recording. Recommended for grades K--4. Chord symbols and suggested classroom activities are provided. / Voix

Mendelssohn Bartholdy: Symphony No. 4 in A major 'Italian' (Version 1833) Urtext based on the Leipzig Mendelssohn Complete Edition (Series I Vol. 6) by Thomas Schmidt-Beste To all extents and purposes, Germany is the land of artists, wrote Felix Mendelssohn Bartholdy in 1831 while on his travels in Italy; but Italy, he added, is the land of art. Indeed, everywhere he went in Italy, the 22-year-old composer found impulses for his symphony (I have to save the work until I have seen Naples). But although the country fired his inspiration (It will be the merriest piece that I have ever written), he did not actually write the Italian Symphony there. This did not occur until early 1833, when Mendelssohn obtained a commission from London, where he then conducted the first performance in May 1833. Begun the following year, his revision of the piece remained fragmentary, and the composer no longer performed the work himself. The familiar London version thus represents the only closed form of the work which the composer presented to the public. This is the version of the Italian Symphony that is now appearing in the Breitkopf Urtext collection as a pre-print from the Complete Edition.

Here's a great way to introduce young singers to classic patriotic and folk songs while developing independent part-singing. These well-known favorites will never go out of style! You may even want to invite the audience to sing along in performance. Includes easy-to-teach staging suggestions for eight of the twelve selections. Recommended for grades 2--7. Book is 100% Reproducible. / Voix

aus vier Jahrhunderten. Original four-hand piano pieces may yield a slender repertoire, but a stout budget is usually needed to put enough of them together for a recital: it is often necessary to acquire several complete editions just for a few short pieces. This album should be a hit among all duet players, whether they are looking for Bach, Vienesse Classicism, Schubert, Schumann, Brahms or early 20th-century composers such as Debussy and Fauré: Heinz Walter has assembled the right pieces for every purpose and taste./ Recueil / Piano 4 Mains

These two collections (BA 9668, BA 9669) give young students and teachers a rich selection of recital pieces, either to complement the Sassmannshaus 'Early Start on the Violin? method or to play independently from it. As all the pieces are written entirely in first position, they can be used after just a few months of lessons.The piano part may be played by the teacher or an advanced student. As an alternative, the accompaniment can be played by a second violin.All the pieces are available in exemplary recordings on YouTube.From the contents of Volumes 1 and 2:Nursery rhymes, folksongs but also less well-known gems, as well as original pieces by the editors, all precisely tailored to meet the needs of young students.- New recital pieces for the tried and trusted Sassmannshaus violin method- All pieces written in first position- With a second violin part for duet performance- Available in freely accessible recordings on YouTubeKurt Sassmannshaus, the editor of a great many string editions in the Bärenreiter catalogue, continues the tradition founded by his father Egon Sassmannshaus in the 'Early Start? string methods. He developed these two new editions together with his wife Melissa Lusk and his son Christoph Sassmannshaus.Similar editions are in preparation for the cello. / Violon Et Piano

8 Four-Part Settings for Choir a cappella [mix ch]. Par STOLARZ OHAD. The Sephardic culture originates from the Jewish population of Spain that was banished at the end of the 15th century and afterwards spread to the whole of the Mediterranean area, the Balkan and North Africa. Its unique Spanish dialect Ladino was preserved, finding musical expression in ballads, lyrical and paraliturgical songs for the most part. The choir conductor and composer Ohad Stolarz took eight of these Sephardic Folk Songs and arranged them as a cappella settings for four-part mixed choir. These arrangements may be performed both as a cycle and individually, being also suitable for non-professional choirs due to their lack of difficulty. The musically and harmonically colorful, partly also exotic pieces therefore present an enrichment for the program of every interculturally interested choir. The informative preface and the translations of the lyrics into German and English enable the content-related engagement with Sephardic culture, too. Further choral literature on this topic can be found in the volumes Sepharad and Aschkenaz by Alon Wallach. / Date parution : 2022-02-24/ Recueil / SATB a Cappella

Par BRAHMS JOHANNES. The Piano Pieces Op. 119 are less a loose collection of pieces than a self-contained cycle. Johannes Brahms's piano work reach their conclusion and fulfilment in these pieces, and the forebodings of death in the E-flat minor Intermezzo Op. 118 #6 are metamorphosed into late-Romantic otherworldliness. Johannes Brahms wrote to Clara Schumann about the Intermezzo Op. 119 #1: 'I am tempted to copy out a little piano piece for you, since I would like to know how you find it. It is full of dissonances! They may be correct and legitimate - but perhaps not to your liking, in which case I wish they were less correct but more appealing and to your taste. The little piece is exceptionally melancholic, and it would be an understatement to say that it must 'be played very slowly'. Every bar and eyery note must sound ritard., as if one wanted to squeeze the melancholy with ecstasy and contentment out of every single one of those dissonances! Oh God, the description alone will make you eager!' Ulrich Mahlert has revised this edition of the 'Klavierstücke' Op. 119 on the basis of the author's copy of the composer, and wrote a detailed and informative preface to the new edition./ Répertoire / Piano