SKU: PR.416415150

ISBN 9781598069020. UPC: 680160621743. 9 x 12 inches.

Inspired by the alluring, human-like sound of the Ney (a Persian bamboo flute), Ranjbaran aims not only to highlight the modern flutist’s ability to play agile and brilliant passages, but also to emulate the delicate sound of the Ney, particularly in extended solo passages. The three-movement 27-minute concerto was commissioned by the Philadelphia Orchestra for its principal flutist Jeffrey Khaner. The piano reduction (published separately) was designed by the composer to be practical in recital performances. CONCERTO for Flute and Orchestra has been recorded for Naxos by Érik Gratton with the Nashville Symphony conducted by Giancarlo Guerrero.
The melancholic tone of the Ney (the Persian bamboo flute) is known for its alluring sound, emulating the human voice.  In Persian literature, the Ney is considered a mystic instrument capable of expressing deep human emotions.In writing my flute concerto, I aimed not only to highlight the modern flautist’s ability to play agile and brilliant passages but also to emulate the delicate sound of the Ney, particularly in extended solo flute passages.Two prominent characters permeate the first movement of my concerto.  They are marked in the score as lamentoso, and con spirito, expressing grief and loss, and joy of living respectively.  The lament is mostly expressed in several extended cadenzas for solo flute while the con spirito consists of robust and energetic fast sections played by all forces of the orchestra.  Apart from these two characters there are moments of mystery, comedy and the grotesque, among others.In the second movement, the lyrical and poetic character of the flute is prominently presented in dream-like passages surrounded by shimmering and tender orchestral colors.  The solo flute is left out in an agitated middle section that references the first movement.  In the third section of the movement the solo flute returns in meditative fashion culminating in a duet with the harp.The third movement is written as one continuous quasi scherzo, challenging the limits of agility and brilliance of the flute.  Some of the materials from the earlier movements are presented again with joyous character.  The coda elevates the concerto into its brightest and most festive character, driving to the end with relentless energy.

SKU: GI.G-1052

SKU: HL.49036457

4.75x8.0x1.17 inches. German.

Super-sessi on musician Charlie McCoy has released over 20 albums since his recording career began in the 1960s, when he enjoyed enormous success in Nashville, completing upwards of 400 sessions a year. He was a mainstay on Elvis Presley's recordings, both in Nashville and Los Angeles, and was one of the few Nashville session players to attend Bob Dylan's recordings of 'Blonde On Blonde', 'Nashville Skyline' and 'John Wesley Harding'.Formerly a member of legendary Nashville bands Area Code 615 and Barefoot Jerry, Charlie currently tours with his own band and has a long-runnung TV series in the United States. His many music awards include a Grammy, and while predominantly known as a harmonica player, his musical prowess encompasses a variety of ohter instruments.

SKU: HL.49036458

4.75x8.0x1.175 inches. English.

Super-sess ion musician Charlie McCoy has released over 20 albums since his recording career began in the 1960s, when he enjoyed enormous success in Nashville, completing upwards of 400 sessions a year. He was a mainstay on Elvis Presley's recordings, both in Nashville and Los Angeles, and was one of the few Nashville session players to attend Bob Dylan's recordings of 'Blonde On Blonde', 'Nashville Skyline' and 'John Wesley Harding'.Formerly a member of legendary Nashville bands Area Code 615 and Barefoot Jerry, Charlie currently tours with his own band and has a long-runnung TV series in the United States. His many music awards include a Grammy, and while predominantly known as a harmonica player, his musical prowess encompasses a variety of ohter instruments.

SKU: BR.EB-8937

ISBN 9790004186046. 0 x 0 inches.

Given that hardly any printed collections of new keyboard music were offered in Germany in the first decades of the 18th century, Christoph Graupner's eight Partien auf das Clavier , published in 1718, marked a new beginning. The suites are arranged according to an ascending sequence of notes and generally follow the scheme Allemande - Courante - Sarabande - Gigue, but this order is repeatedly broken, also by movements that are rather unusual for a suite. The focus is on the characteristics of the individual movements and the joy of playing with figures typical for the movement or instrument, as well as on challenging playing techniques, such as hand changes in runs (passaggi), wide-ranging chord breaks and the use of the thumb, which was not very common at the time. In this respect, Graupner's suites offer not so much a formal advancement, but rather an expansion of the demands of playing technique. Although several CD recordings of these suites already exist, this volume constitutes the first modern Urtext edition. Complementing her scholarly activities, the editor Genevieve Soly provides important impulses on performance practice in the preface, especially on the execution of the passaggi and the ornamentation, thus opening up the view on her activity as a harpsichordist.