Composed by Miguel Llobet. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music. 1048 pages. MDS (Music Distribution Services) #GHE 900. Published by MDS (Music Distribution Services)

Orchestra (picc.2.2.cor ang.2.B-clar.2.dble bsn - 4.3.3.1. - timp.perc(3) - hp - cel - str)

SKU: BR.PB-5105-07

Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library).

World premiere: Bremen, February 1, 1982

Symphony; Music post-1945. Study Score. Composed 1981. 68 pages. Duration 17'. Breitkopf and Haertel #PB 5105-07. Published by Breitkopf and Haertel (BR.PB-5105-07).

ISBN 9790004208557. 9 x 12 inches.

Gesualdo, Don Carlo, Furst von Venosa (1560-1613) gehort zu den eigenwilligsten italienischen Madrigal-Komponisten der Spatrenaissance. Seine ungewohnlich kuhne, selbst fur heutige Ohren modern klingende Harmonik, seine chromatischen Stimmfortschreitungen, seine ubersteigerte expressive Tonsprache regten mich schon vor Jahren zu einer grosseren Orgelkomposition an und inspirierten mich 1981 zu den >>Sinfonischen Metamorphosen<<. Dieses Werk ist eine vielgestaltige weitausgesponnene Fantasie. Sieben choralartige typische Klangbeispiele aus Gesualdos spaten funfstimmigen Madrigalen (4., 5. u. 6. Band) werden teils streng, teils frei zitiert und von Holz- oder Blechblasern intoniert. Diese Zitate gliedern, als formale und inhaltliche Schwer- und Ruhepunkte, den Verlauf des gesamten Werks. Jedes Zitat steht zu Beginn eines neuen Satzabschnitts; die darauffolgenden >>Metamorphosen<< entwickeln sich als rhapsodische kontrastreiche Charakterstucke. Im >>Preludio<< werden aus den vertonbaren Buchstaben vom Namen >>Gesualdo<< (G - E - Es - A - D) schwebende Klangflachen, rezitativische Gedanken und ein pragnantes rhythmisches Paukenthema gebildet. Diese ,,Grundelemente (Grundstrukturen) tauchen im Verlauf des Stucks immer wieder leitmotivisch auf. Im zweiten Abschnitt stehen sich lineare Streicher-Episoden und dichte Blaser-Klangballungen kontrastierend gegenuber. Der dritte Teil lauft als Passacaglia (Thema ist der Bass eines Gesualdo-Zitats) in mehreren Variationen ab. Im vierten Abschnitt dominiert lebhafte Streicherbewegung, kontrapunktiert von tiefen Blaser-Signalen. Der funfte Teil steigert sich- nach kantablem Beginn- zum ekstatischen Trauermarsch. Abschnitt sechs stellt sich als >>Rondello<< dar, mit um sich selbst kreisenden Klangfiguren (in verschiedenen Tongruppen (zwei, drei, funf). Im siebten und letzten Teil wird die verhalten-resignierende Stimmung des Anfangs beschworen, ehe eine knappe Stretta in den hymnischen Schluss mundet. In den Textender ausgewahlten Zitatstellen geht es meist um Todessehnsucht, Liebesqual und Verzweiflung. z. B. 1. und 2. Zitat: Moro lasso, al mio duolo (Ich sterbe, matt, an meiner Qual) (6. Buch) 3. Zitat: Gia piansi nel dolore; o dolorosa Sorte (Schon weinte ich in Schmerzen, oh schmerzliches Geschick) (6. Buch) 4. Zitat: Ahi gia mi discolero (Ach schon entfarbte ich mich) (Wehe, der Tod kommt) (4. Buch) 5. Zitat: Dolcissima mia vita (Mein allerliebstes Leben) (Dich zu lieben oder zu sterben) (5. Buch) 6. Zitat: lo moro (Ich sterbe) (5. Buch) Dem Werk liegen zwar eine Reihe von dodekaphonischen Strukturen zugrunde (die teilweise von Gesualdos Klangzitaten abgeleitet wurden), doch sind die einzelnen Abschnitte auf,,tonale Pfeiler (G - E - A - D) gegrundet; das Stuck beginnt in G und endet aufD, ist also ubergeordnet tonal konzipiert, - der Versuch einer Synthese moderner Ausdrucksmittel von Vergangenheit und Gegenwart. Die >>Metamorphosen<< sind ein Stuck Bekenntnismusik - Bekenntnis zum Leben und Schaffen Gesualdos, eines Mannes, der vom Schicksal gezeichnet war, denn der Chronik Neapels bekannt war durch die Ermordung seiner ersten Frau und ihres Liebhabers. Dieser eminente Musiker war zugleich ein Mensch von ubertriebener Sensibilitat und wilder ekstatischer Heftigkeit: ,,Er wurde von einer Horde von Damonen heimgesucht, die ihm keine Ruhe gaben, heisst es in einem zeitgenossischen Bericht. Seine Kunst und sein Leben stand unter dem Gesetz der inneren Zerrissenheit, zwischen Auflehnung und Resignation (Verzweiflung und Hoffnung), zwischen Zartheit und Leidenschaft. Davon will meine Musik etwas aussagen. (Jurg Baur)CD:Sinfonieorchester des Westdeutschen Rundfunks, cond. Rudolf BarschaiCD Thorofon CTH 2270Bibliography:Abels, Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489.Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.

Piano - Grade 7-8

SKU: ST.C463

Composed by Federico Ruiz. Edited by Clara Rodriguez. Piano and keyboard music. Collection. Clifton Edition #C463. Published by Clifton Edition (ST.C463).

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruizâ??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: â??Tu Presenciaâ?? (1981) and â??Eloísaâ?? (1989) and then I attended a performance of the play â??Office Number Oneâ?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how â??Carmen Rosaâ? waltz (1987) came to exist in a piano version.

â??Elois aâ?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

â??Tu Presenciaâ?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The â??Preludioâ?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The â??Invenciónâ?? is a kaleidoscopic piece where the hands mirror each other. The â??Passacagliaâ?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The â??Scherzoâ?? has repetitive motifs of a minor third in both hands and the â??Finalâ?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film â??Aire libreâ? (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800â??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

Concert Band/Harmonie - Grade 2.5

SKU: BT.AMP-034-010

Composed by Max Reger. Arranged by Philip Sparke. Ceremonial Series. Hymns & Chorals. Set (Score & Parts). Composed 2003. Anglo Music Press #AMP 034-010. Published by Anglo Music Press (BT.AMP-034-010).

During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op.135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation, sound and balance.

Max Reger (1873-1916) is de componist van 30 Koraalbewerkingen, op. 135a voor orgel. Hieruit stammen deze tien preludes. Eigenlijk waren ze bedoeld als vrij muzikaal intermezzo binnen de kerkelijke muziek. En ook met dit arrangementvoor blaasorkest houdt Philip Sparke rekening met dit oorspronkelijke doel. Hij maakte ze speelbaar voor een minimale bezetting zodat u ze ook met een klein ensemble tijdens de kerkdienst kunnen uitvoeren. Verder zijn ze ook bijzondergeschikt als opwarmstuk en als stem-, klank- of balansoefening. Bovendien kunt u ze als kleine suite gebruiken in een concertprogramma. Veelzijdig!

Max Reger komponierte eine Fülle an Werken vieler Genres. Unter anderem schrieb er 30 kleine Vorspiele zu den gebräuchlichsten Chorälen für Orgel, die mehr als für den liturgischen Rahmen, denn als Vortragsstücke gedacht waren. Seine Blasorchesterbearbeitung dieser zehn Präludien machte Philip Sparke daher für eine minimale Besetzung spielbar, so dass sie auch Gottesdienst verwendet werden können. Außerdem eignen sie sich auch hervorragend als Aufwärmstücke, Stimm-, Klang- oder Balanceübungen oder in verschiedenen Zusammenstellungen als kleine Suiten für den Konzertgebrauch. Eine vielseitige Sammlung, die in keinem Repertoire fehlen sollte!

Max Reger (1873-1916) a composé les 30 petits Préludes de choral pour orgue, op. 135a, dont sont extraits les dix préludes choisis pour cet arrangement pour orchestre d’harmonie. Philip Sparke est resté fidèle aux pièces originales. Le choix de l’instrumentation permet d’interpréter ces dix préludes avec une formation effectif réduit qui peut être amenée participer un office. Ces pièces peuvent également être utilisées pour effectuer une mise en lèvres ou pour travailler l’intonation, le son et l’équilibre entre les différents pupitres.

Nella sua breve vita Max Reger (1873-1916) fu un compositore molto prolifico noto per le sue composizioni per organo. Le dieci corali arrangiate da Philip Sparke fanno parte de Thirty Short Chorale Preludes Op. 135a, composte per uso liturgico piuttosto che recitativo. Questo arrangiamento tiene conto del fatto che ogni preludio può essere eseguito con una strumentazione minima. Dieci pezzi ideali anche come riscaldamento, studio dell’intonazione e del suono.

Concert Band/Harmonie - Grade 2.5

SKU: BT.AMP-034-140

Composed by Max Reger. Arranged by Philip Sparke. Ceremonial Series. Hymns & Chorals. Score Only. Composed 2003. 36 pages. Anglo Music Press #AMP 034-140. Published by Anglo Music Press (BT.AMP-034-140).

During his short lifetime Max Reger (1873-1916) was a prolific composer with many of his best known works being composed for organ. The ten chorale preludes in this selection are from his set of Thirty Short Chorale Preludes Op.135a composed as short voluntaries for liturgical use rather than for recitals in these arrangements Philip Sparke has kept this in mind and each prelude can be performed with minimal instrumentation for those occasions where a small band is needed. They also make great pieces for band warm-ups or studies in intonation, sound and balance.

Max Reger (1873-1916) is de componist van 30 Koraalbewerkingen, op. 135a voor orgel. Hieruit stammen deze tien preludes. Eigenlijk waren ze bedoeld als vrij muzikaal intermezzo binnen de kerkelijke muziek. En ook met dit arrangementvoor blaasorkest houdt Philip Sparke rekening met dit oorspronkelijke doel. Hij maakte ze speelbaar voor een minimale bezetting zodat u ze ook met een klein ensemble tijdens de kerkdienst kunnen uitvoeren. Verder zijn ze ook bijzondergeschikt als opwarmstuk en als stem-, klank- of balansoefening. Bovendien kunt u ze als kleine suite gebruiken in een concertprogramma. Veelzijdig!

Max Reger komponierte eine Fülle an Werken vieler Genres. Unter anderem schrieb er 30 kleine Vorspiele zu den gebräuchlichsten Chorälen für Orgel, die mehr als für den liturgischen Rahmen, denn als Vortragsstücke gedacht waren. Seine Blasorchesterbearbeitung dieser zehn Präludien machte Philip Sparke daher für eine minimale Besetzung spielbar, so dass sie auch Gottesdienst verwendet werden können. Außerdem eignen sie sich auch hervorragend als Aufwärmstücke, Stimm-, Klang- oder Balanceübungen oder in verschiedenen Zusammenstellungen als kleine Suiten für den Konzertgebrauch. Eine vielseitige Sammlung, die in keinem Repertoire fehlen sollte!

Max Reger (1873-1916) a composé les 30 petits Préludes de choral pour orgue, op. 135a, dont sont extraits les dix préludes choisis pour cet arrangement pour orchestre d’harmonie. Philip Sparke est resté fidèle aux pièces originales. Le choix de l’instrumentation permet d’interpréter ces dix préludes avec une formation effectif réduit qui peut être amenée participer un office. Ces pièces peuvent également être utilisées pour effectuer une mise en lèvres ou pour travailler l’intonation, le son et l’équilibre entre les différents pupitres.

Nella sua breve vita Max Reger (1873-1916) fu un compositore molto prolifico noto per le sue composizioni per organo. Le dieci corali arrangiate da Philip Sparke fanno parte de Thirty Short Chorale Preludes Op. 135a, composte per uso liturgico piuttosto che recitativo. Questo arrangiamento tiene conto del fatto che ogni preludio può essere eseguito con una strumentazione minima. Dieci pezzi ideali anche come riscaldamento, studio dell’intonazione e del suono.

Clarinet Quintet - intermediate

SKU: BT.DHP-1064015-070

Composed by Charles Francois Gounod and Johann Sebastian Bach. Arranged by Lorenzo Bocci. Music Box. Set (Score & Parts). Composed 2006. 12 pages. De Haske Publications #DHP 1064015-070. Published by De Haske Publications (BT.DHP-1064015-070).

9x12 inches. English-German-French-Dut ch.

Over the course of time, many composers have honoured the mother of Jesus with a musical Ave Maria (a Hail Mary). One of the most well-known is that of the French composer Charles François Gounod (1818-1893), who added a melody to the first prelude from Das Wohltemperierte Klavier by the German master-composer Johann Sebastian Bach (1685-1750). The result is a long, lyrical melody line with a wonderfully built-up curve of tension, floating above a softly sparkling accompaniment. Lorenzo Bocci has arranged the Ave Maria by Bach/Gounod for clarinet ensemble.

Veel componisten hebben in de loop der tijden de moeder van Jezus geëerd met een muzikaal Ave Maria (een Weesgegroet). Een van de bekendste is dat van de Franse componist Charles François Gounod (1818-1893), die de melodie toevoegdeaan de eerste prelude uit Das wohltemperierte Klavier van de Duitse meestercomponist Johann Sebastian Bach (1685-1750). Het resultaat is een lange, lyrische melodielijn met een prachtig opgebouwde spanningsboog over eenzacht sprankelende basis. Lorenzo Bocci bewerkte het Ave Maria van Bach/Gounod voor klarinetensemble.

Das Ave Maria ist von Komponisten aller Epochen vertont worden. Eine der berühmtesten Vertonungen stammt von Charles Gounod. Dieser legte seine Melodie über die Musik zum 1. Präludium aus dem Wohltemperierten Klavier von Johann Sebastian Bach, weshalb das Werk als Ave Maria von Bach-Gounod in die Musikgeschichte einging. Lorenzo Bocci bearbeitete die schöne Musik für Klarinettenquartett.

Nombreux sont les compositeurs qui ont au fil du temps glorifié la mère de Jésus en mettant en musique un Ave Maria (Je vous salue, Marie). L’un des plus célèbres est celui du compositeur français Charles-François Gounod (1818-1893) qui a composé une Méditation sur le premier prélude extrait du Clavier bien Tempéré (Das wohltemperierte Klavier) du maître allemand Jean-Sébastien Bach (1685-1750).

L’Ave Maria è stata scritta da compositori di tutte le epoche. Una delle più famose è senza dubbio quella di Charles Gounod che sovrappose la sua melodia alla musica del primo preludio da il Clavicembalo Ben Temperato di Johann Sebastian Bach. Per questa ragione il brano entrò nella storia della musica come Ave Maria di Bach-Gounod. L’arrangiamento per quartetto di clarinetti è firmato Lorenzo Bocci.

Guitar

SKU: UT.CH-227

Edited by Piero Bonaguri. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 227. Published by Ut Orpheus (UT.CH-227).

ISBN 9790215324145. 9 x 12 inches.

Emilio Calandin: Piccola sfumatura
Claudia Montero: Lagrimas de Buenos Aires
Marco Reghezza: Como Preludio
Marco Smaili: Preludio
Alessand ro Spazzoli: Preludio in Do maggiore
Roberto Tagliamacco: Prelude sur le nom de Tarrega
Paolo Ugoletti: Prelude sur le nom de Tarrega

Having been invited several times onto the jury of the prestigious Certamen Tarrega in Benicasim, I thought I would involve a few composers in a gift to the father of the modern guitar. So I asked the composers to write a Prelude of the kind that Tarrega wrote and which count among his most significant compositions.
These Preludes for Tarrega, all written between August and November 2015, are very different from each other. The common feature, however, between these and the Preludes by Tarrega is their brevity, an average level of performance difficulty and guaranteed easy listening, even when written in a non-tonal language (like the meditative and melancholy piece by Emilio Calandin and the one by Marco Smaili, with its Impressionistic feel reminding one of Tarrega's most famous pupil, Miguel Llobet).
In some Preludes (the ones by Paolo Ugoletti, Roberto Tagliamacco, Claudia Montero) the reference to Lagrima, one of Tarrega's most famous Preludes, is evident in form, title and some citations. Ugoletti and Tagliamacco work well and expressively on harmony and counterpoint, while the Argentinian Claudia Montero links Tarrega to a heartbreaking Buenos Aires...
In Alessandro Spazzoli there is rather more a connection with Tarrega's sense of melody and deep simplicity, while Marco Reghezza remembers ironically what was brewing in European music when Tarrega was alive: in fact, his Como Preludio goes across the 24 keys - and even a reference to Wagner's Tristan raises its head...
I am delighted for this volume to come out at the time of the fiftieth edition of the Certamen Tarrega.
(Piero Bonaguri).

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-203-010

Composed by Claude Debussy. Arranged by Philip Sparke. Anglo Music Midway Series. Classical. Set (Score & Parts). Composed 2007. Anglo Music Press #AMP 203-010. Published by Anglo Music Press (BT.AMP-203-010).

9x12 inches. English-German-French-Dut ch.

Claude Debussy wrote his two books of piano Preludes late in life, between 1909 and 1913. The 12 short pieces in each book display a rich variety of styles, moods and emotions almost a summing up of his compositional output and each has its own evocative title. The Girl with the Flaxen Hair is the 8th Prelude in the 1st book and popular for its emotional depth, despite its technical and harmonic simplicity. Indulge your band with this delightful arrangement.

Claud e Debussy (1862-1918) schreef zijn twee boeken met pianopreludes laat in zijn leven: tussen 1909 en 1913. De twaalf korte stukken in elk boek bevatten een rijke variatie aan stijlen, stemmingen en emoties. The Girl with theFlaxen Hair (La fille au cheveux de lin) is de achtste prelude uit het eerste boek, ze is geliefd vanwege de emotionele diepgang in de muziek, ondanks de technische en harmonische eenvoud. We weten niet wie het meisje in kwestiewas, maar deze mooie miniatuur roept levensechte beelden op.

The Girl with the Flaxen Hair ist ein Präludium des französischen Komponisten Claude Debussy und berühmt für seine emotionale Tiefe, trotz seiner technischen und harmonischen Schlichtheit. Wer das im Titel genannte Mädchen mit dem flachsfarbenen Haar war, ist nicht bekannt, aber diese wunderschöne Miniatur lässt sehr lebendige Bilder vor dem inneren Auge entstehen. Bewegend!

Composés entre 1909 et 1912, les deux livres de Préludes pour Piano comptent parmi les œuvres tardives de Claude Debussy (1862-1918). Chacune des vingt-quatre compositions - douze par livre - porte un titre évocateur. Elles révèlent une grande diversité de styles, de textures, de climats et d’émotions, et constituent un condensé de toutes les particularités du langage du musicien. Debussy a pris soin de n'indiquer les titres qu'en fin de morceau, de façon permettre chacun de découvrir ses impressions propres sans être influencé par des images ou poèmes existants. Le terme « impressionniste » prend ici tout son sens.La Fille aux Cheveux de Lin est lehuitième prélude du premier livre. Il est célèbre pour sa profondeur émotionnelle malgré sa simplicité technique et harmonique. Nul ne sait qui fut la fille aux cheveux de lin, mais cette miniature merveilleusement subtile réveille notre imaginaire.

Claude Debussy scrisse i suoi due libri di Preludi per pianoforte in tarda et , tra il 1909 e il 1913. I 12 brevi pezzi di ogni libro mostrano una ricca variet di stili, umori ed emozioni, quasi un riassunto della sua produzione compositiva e ognuno ha il suo titolo evocativo. The Girl with the Flaxen Hair è l’ottavo preludio nel primo libro ed è molto popolare per la sua profondit emotiva, nonostante la sua semplicit tecnica ed armonica.

Concert Band/Harmonie - Grade 3

SKU: BT.AMP-203-140

Composed by Claude Debussy. Arranged by Philip Sparke. Anglo Music Midway Series. Classical. Score Only. Composed 2007. 12 pages. Anglo Music Press #AMP 203-140. Published by Anglo Music Press (BT.AMP-203-140).

9x12 inches. English-German-French-Dut ch.

Claude Debussy wrote his two books of piano Preludes late in life, between 1909 and 1913. The 12 short pieces in each book display a rich variety of styles, moods and emotions ? almost a summing up of his compositional output ? and each has its own evocative title. The Girl with the Flaxen Hair is the 8th Prelude in the 1st book and popular for its emotional depth, despite its technical and harmonic simplicity. Indulge your band with this delightful arrangement.

Claud e Debussy (1862-1918) schreef zijn twee boeken met pianopreludes laat in zijn leven: tussen 1909 en 1913. De twaalf korte stukken in elk boek bevatten een rijke variatie aan stijlen, stemmingen en emoties. The Girl with theFlaxen Hair (La fille au cheveux de lin) is de achtste prelude uit het eerste boek, ze is geliefd vanwege de emotionele diepgang in de muziek, ondanks de technische en harmonische eenvoud. We weten niet wie het meisje in kwestiewas, maar deze mooie miniatuur roept levensechte beelden op.

The Girl with the Flaxen Hair ist ein Präludium des französischen Komponisten Claude Debussy und berühmt für seine emotionale Tiefe, trotz seiner technischen und harmonischen Schlichtheit. Wer das im Titel genannte Mädchen mit dem flachsfarbenen Haar war, ist nicht bekannt, aber diese wunderschöne Miniatur lässt sehr lebendige Bilder vor dem inneren Auge entstehen. Bewegend!

Composés entre 1909 et 1912, les deux livres de Préludes pour Piano comptent parmi les œuvres tardives de Claude Debussy (1862-1918). Chacune des vingt-quatre compositions - douze par livre - porte un titre évocateur. Elles révèlent une grande diversité de styles, de textures, de climats et d’émotions, et constituent un condensé de toutes les particularités du langage du musicien. Debussy a pris soin de n'indiquer les titres qu'en fin de morceau, de façon permettre chacun de découvrir ses impressions propres sans être influencé par des images ou poèmes existants. Le terme « impressionniste » prend ici tout son sens.La Fille aux Cheveux de Lin est lehuitième prélude du premier livre. Il est célèbre pour sa profondeur émotionnelle malgré sa simplicité technique et harmonique. Nul ne sait qui fut la fille aux cheveux de lin, mais cette miniature merveilleusement subtile réveille notre imaginaire.

Claude Debussy scrisse i suoi due libri di Preludi per pianoforte in tarda et , tra il 1909 e il 1913. I 12 brevi pezzi di ogni libro mostrano una ricca variet di stili, umori ed emozioni, quasi un riassunto della sua produzione compositiva e ognuno ha il suo titolo evocativo. The Girl with the Flaxen Hair è l’ottavo preludio nel primo libro ed è molto popolare per la sua profondit emotiva, nonostante la sua semplicit tecnica ed armonica.

Guitar - intermediate to advanced

SKU: M7.GHE-702-96

Composed by Manuel Ponce. Edited by Stefano Grondona. This edition: Saddle-wire stitching. Sheet music with Online material. Critical Edition. MDS (Music Distribution Services) #GHE 702-96. Published by MDS (Music Distribution Services) (M7.GHE-702-96).

ISBN 9783890447056. English.

HIS IS THE FIRST CRITICAL EDITION OF THESE WORKS AND IT OFFERS WE HOPE A STANDARD READING WHICH EXAMINES, WITH SOLUTIONS, MANY UNEXPLAINED DIFFERENCES BETWEEN THE COMPOSER'S MANUSCRIPTS, OUR EDITED MUSIC TEXT, AND PREVIOUS EDITIONS. 70 years after Ponce's death in 1948, we celebrate his life with a new critical-performing edition of his 24 Preludios newly prepared from the original manuscripts by Stefano Grondona. We proudly present a totally new edition with audio files of the 24 Preludios para guitarra. This is the first critical edition of the 24 Preludios para guitarra. The audio files of all 24 Preludios are played by Stefano Grondona and for download with a code printed in the book. This edition is really two editions in one. Not only is it a performing edition meticulously fingered by Stefano Grondona, but as well it is also an Urtext edition of the original manuscripts. Our pragmatic critical apparatus permits the player simply and clearly to see also what was in the original manuscripts, and what was not. With this publication it is now possible to clarify some long-standing issues relevant to our aim of presenting an accurate final music text; it is now possible to see where previous publications of this repertoire have varied with the manuscripts and how we have treated these situations in our edition, and how these were treated differently in previous editions. A comprehensive critical commentary is included together with copious historical and informative notes about the selection of the works and how and why our edition took its present form and content. At last we believe to have an edition which takes the form which the composer intended and new source material is also included, such as the Ramaugé ms for Prelude no. 6.

Mixed Choir (SATB) with Children's Choir, with Soloists ad libitum, Speakers, Organ or Wind- and String Instruments and other instruments (Carillonse, Percussion) (Score) - intermediate

SKU: HL.49006584

Das Ottowinder Christspiel. Composed by Franz Mö and ckl. Sheet music. Edition Schott. Classical. Score. 52 pages. Schott Music #ED 6724. Published by Schott Music (HL.49006584).

ISBN 9790001071338.

Eine ganze Gemeinde die Geburt Christi feiern zu lassen und dabei die unterschiedlichen Fahigkeiten musikalischer und gestalterischer Art von Kindern, Jugendlichen und Erwachsenen zusammenzufassen und zur Geltung zu bringen, wurde dieses Stuck geschrieben und in den Jahren von 1946 bis 1954 jeweils am Heiligen Abend in der Kirche zu Ottowind bei Coburg aufgefuhrt. Die von Kindern getragene Spielhandlung, die eigentlich nur darin besteht, ein lebendes Krippenspiel aufzubauen, greift die Tradition der Christgeburtsspiele auf; die Besucher werden einbezogen durch den gemeinsamen Gesang von Weihnachtschoralen; die liturgische Bindung ist durch Schriftlesungen und Vertonungen von Bibeltexten gewahrt. [] Die vorliegende Ausgabe ist zugleich auch als ein weihnachtliches Sing- und Spielbuch gedacht, das im hauslichen Kreise ebenso wie in Schule oder Verein gute Dienste leisten wird.' (Franz Mockl) Fur Kinder ab 6 Jahren geeignet; der gemischte Chor und die Solo-Partien konnen mit Jugendlichen besetzt werden.

50 Favorites by 26 Composers. Arranged by Joseph Harris. Creative Concepts Publishing. Guitar tablature. 168 pages. Published by Creative Concepts.

Composed by Lily Afshar. Squareback saddle stitch. Classical. Book. 116 pages. Mel Bay Publications, Inc #30832. Published by Mel Bay Publications, Inc

Flute and Piano - very easy, easy

SKU: BT.DHP-1196116-404

Flauto. Arranged by Markus Schenk. Ascolta, Leggi e Suona. Classical. Book with Part and Audio-Online. Composed 2019. 74 pages. De Haske Publications #DHP 1196116-404. Published by De Haske Publications (BT.DHP-1196116-404).

ISBN 9789043157261. Italian.

Ascolta , leggi & suona rappresenta oggi il testo di riferimento dedicato all’insegnamento della musica per ottoni e legni. Questo fantastico metodo, costituito da libro e CD, include canzoni, indovinelli musicali e giochiche permetteranno all'allievo principiante di progredire nella conoscenza della musica, fornendogli al contempo utilissime informazioni sul suo strumento e numerosi brani da suonare divertendosi. I tre volumi che compongonol’opera sono i primi della collana e sono affiancati da testi contenenti materiale supplementare per i differenti livelli del corso.

Incontra i classici offre utile materiale complementare a tutti e tre i volumi dellaserie Ascolta, leggi & suona e include melodie proposte secondo un ordine di difficolt crescente. In un fantastico viaggio nella storia della musica, l’allievo incontrer i più importanti compositori classici, da TielmanSusato ad Anton n Dvo ák. Ogni volume include per ogni brano cenni storici e l’accompagnamento pianistico, arrangiato sapientemente a un moderato livello di difficolt : tale accompagnamento è anche disponibile online e può essereutilizzato per il download o in streaming.

Composed by Delia Estrada. For guitar. Classical. Score and CD. 30 pages. Published by Editions Henry Lemoine

Trumpet and Piano - very easy, easy

SKU: BT.DHP-1196121-404

Tromba. Arranged by Markus Schenk. Ascolta, Leggi e Suona. Classical. Book with Part and Audio-Online. Composed 2019. 74 pages. De Haske Publications #DHP 1196121-404. Published by De Haske Publications (BT.DHP-1196121-404).

ISBN 9789043157315. Italian.

Ascolta , leggi and suona rappresenta oggi il testo di riferimento dedicato allâ??insegnamento della musica per ottoni e legni. Questo fantastico metodo, costituito da libro e CD, include canzoni, indovinelli musicali e giochiche permetteranno all'allievo principiante di progredire nella conoscenza della musica, fornendogli al contempo utilissime informazioni sul suo strumento e numerosi brani da suonare divertendosi. I tre volumi che compongonolâ??opera sono i primi della collana e sono affiancati da testi contenenti materiale supplementare per i differenti livelli del corso.

Incontra i classici offre utile materiale complementare a tutti e tre i volumi dellaserie Ascolta, leggi and suona e include melodie proposte secondo un ordine di difficolt crescente. In un fantastico viaggio nella storia della musica, lâ??allievo incontrer i più importanti compositori classici, da TielmanSusato ad Anton n Dvo ák. Ogni volume include per ogni brano cenni storici e lâ??accompagnamento pianistico, arrangiato sapientemente a un moderato livello di difficolt : tale accompagnamento è anche disponibile online e può essereutilizzato per il download o in streaming.

Oboe and Piano - very easy, easy

SKU: BT.DHP-1196117-404

Oboe. Arranged by Markus Schenk. Ascolta, Leggi e Suona. Book with Part and Audio-Online. Composed 2019. 74 pages. De Haske Publications #DHP 1196117-404. Published by De Haske Publications (BT.DHP-1196117-404).

ISBN 9789043157278. Italian.

Ascolta , leggi & suona rappresenta oggi il testo di riferimento dedicato all’insegnamento della musica per ottoni e legni. Questo fantastico metodo, costituito da libro e CD, include canzoni, indovinelli musicali e giochiche permetteranno all'allievo principiante di progredire nella conoscenza della musica, fornendogli al contempo utilissime informazioni sul suo strumento e numerosi brani da suonare divertendosi. I tre volumi che compongonol’opera sono i primi della collana e sono affiancati da testi contenenti materiale supplementare per i differenti livelli del corso.

Incontra i classici offre utile materiale complementare a tutti e tre i volumi dellaserie Ascolta, leggi & suona e include melodie proposte secondo un ordine di difficolt crescente. In un fantastico viaggio nella storia della musica, l’allievo incontrer i più importanti compositori classici, da TielmanSusato ad Anton n Dvo ák. Ogni volume include per ogni brano cenni storici e l’accompagnamento pianistico, arrangiato sapientemente a un moderato livello di difficolt : tale accompagnamento è anche disponibile online e può essereutilizzato per il download o in streaming.

Composed by Isaac Albeniz (1860-1909), edited by John Zaradin. Guitar solo book for guitar. With standard notation (no tablature). 96 pages. Published by Music Sales.

Perfect binding. Exercises. Book. Mel Bay Publications, Inc #30782. Published by Mel Bay Publications, Inc