SKU: SU.80101407

Three Autumn Sketches after a Watercolor by Maria Willscher (2017) are dedicated to Hans-Peter Bahr. The music is inspired by a watercolor painting by Maria (Neumann) Willscher (1922-1998) entitled Herbststimmung. The three movements explore moods and colors of autumn as reflected in the painting. In the first movement, Herbststimmung (Autumn Mood), a musical line falls under gentle undulation. A central section is a wistful chorale. The second movement, Herbstfarben (Autumn Colors), reflects on the subtle variety and gradations of autumn colors with constantly shifting armonic colors. The final movement, Sonnenuntergang (Sunset), is inspired by the serenely beautiful colors of an autumn sunset, imagining the sun's departing rays illuminating the autumn landscape. Instrumentation: Organ Duration: 16' Composed: 2017 Published by: Zimbel Press.

SKU: CN.S11042

This symphonic sketch for concert band is packed full different motives thrown around the ensemble hinting at the programmatic leitmotifs of Wagner. Every section of the ensemble gets a workout in this delightful 10-minute work.

A Symphonic Sketch for Concert Band. The resurgence of interest in George Lloyd's music must give us faith that such talent will ultimately prevail against sometimes unhappy circumstances. Lloyd was Cornish and showed precocious gifts at an early age - he had completed his first symphony by the age of nineteen. During the 1930s he completed two operas, one of which - The Serf - was produced at Covent Garden in 1938. He was set for a glittering career as a composer. The Second World War intervened and he was invalidad out of the Navy in a shell-shocked state, and having written very little serious music since 1937 went to Switzerland to recuperate, looked after by his wife, Nancy. Painfully, he began writing again - symphonies Nos. 4 and 5 - and then returned to England. He needed to earn a living and he set up a mushroom farm in Dorset. But slowly he began to compose again and drafted more symphonies in short score. By this time he was virtually unknown - despite being considered the equal of Walton, Britten, and other young stars of English music some 30 years earlier. Lloyd decided to embark on a series of recordings of his symphonies, and slowly popular acclaim enabled him to regain his position. The Forest of Arden was written in 1987 as a result of a commission by the Solihull Youth Wind Band. Although Lloyd's music feels instinctively written one should not be misled - it is carefully crafted, but the craft and structure are always subordinated to create a flow with a strongly melodic content. Instead of two or three themes, The Forest of Arden contains an abundance of ideas which can be described in two groups. The first group contains the opening rhythmic motif, quickly developed into a short rising quaver passage in the woodwinds, and later then a chromatic ostinato bass - only 8 bars at this stage but later expanded. The second group is broad and expansive, initially based on intervals of rising fifths introduced by euphonium, tubas, and baritone saxophone, immediately echoed by horns. Low brass and winds expand the theme into rising sixths and octaves. There is a hint of development, bit this is arrested as the music moves to a piu tranquillo section introduced by the alto saxophone which further develops the rising sixth theme. There follows a true development of the opening material, starting with the ostinato bass and gradually passing through different tonal centers until the rising fifths of the second theme group are heralded - fortissimo and poco piu largamente shortly before the end. The structure is almost Wagnerian (albeit on a much smaller scale), with themes being used as leitmotifs, but this is music which, even within the space of ten minutes is conceived on a grand design.

SKU: HL.4007969

Leonardo da Vinci (1452-1519) was a painter, sculptor, inventor, philosopher and researcher. He is renowned as the original “Renaissance Man.” “I will preserve the memory of myself in the minds of others” was one of his maxims. Among his most famous works of art are the Mona Lisa, The Last Supper, and the Vitruvian Man. He left an extensive collection of handwritten documents in his notebooks. These books, known as codices, survive in various volumes such as the Codex Atlanticus, Codex Madrid, Codex Trivulzianus etc.). They include sketches of ground-breaking inventions as well as studies and commentaries which span the gamut of human study. The left-handed da Vinci wrote the texts in mirror writing. Through wars and other upheavals, the documents were scattered throughout Europe and much of his work disappeared. Leonardo da Vinci wanted to leave a kind of encyclopaedia for posterity and, although it is estimated that up to 80% of his manuscripts were lost, some 6,000 individual documents survive to this day, the contents of which in many cases were only understood centuries later.

SKU: HL.48188488

UPC: 888680866952. 8.5x11.75x0.543 inches.

“Comp osed in 1978 by Henri Dutilleux, Timbres, Space, Movement is a work for Orchestra, also named ?The starry night? after a painting by Van Gogh. It was commisioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This great orchestral work lasts approximately 20 minutes and depicts the content of the painting. It is written for a full orchestra without Violins or Violas. A sketch of the placement of the instruments is given in the book as its disposition differs from a full orchestra: The Cellos placed in a half-circle in front of the conductor. The Cellos represents the space with twirling solos and more stagnant sections while the lack of Violins and Violas is for the quiet and motionless part of the painting. The solo of the Winds and Drums characterizes the clouds and the light of the moon and the stars. It is divided in two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, amongst many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the Cello concerto 'Tout un monde lointain' (A whole distant word).”.

SKU: HL.49016185

ISBN 9790001145411. UPC: 884088202507. 9.0x12.0x0.141 inches.

As a counterpart to theOrgan Symphony No. 1 Pater Noster (ED 9937), the Organ Symphony No. 2 offers softer and more mysterious (Marian) sound worlds, sketching stages of Mary's life: an adoring Salve Regina grows from the mystic source, followed by Berceuse pour Marie as a lullaby of the Christmas events. The third movement Mater Dolorosa falls back on the well-known Gregorian sequence Stabat Mater, taking Mary's pain at the cross as its central theme. The finale treats the Ave Maris Stella in a crescendo from pp to ff in a positive and solemn manner, in memory of Mary's assumption. It is advisable to use an organ with at least three manuals.

SKU: BR.EB-9432

ISBN 9790004189092. 0 x 0 inches.

Duration: full evening Text by the composer basesd on E.T.A. Hoffmann's tale of the same name from Serapionsbrudern Translation: ital. (G. Trampus), La sposa sorteggiata Place and time: Berlin, um 1820 Characters: Der Kommissionsrat Voswinkel (baritone) - Albertine, his daughter (mezzo-soprano) - Thusman, Freier (tenor) - Edmund Lehsen, paintor, Freier (tenor) - Baron Bensch, Freier (tenor) - the goldsmith Leonhard (baritone) - the jew Manasse (bass) - the valet Voswinkels - crowd, a Chancre (silent parts) In Busoni's musical evolution, this work marks an important phase of radical change after works inspired by Brahms and Verdi. The composer's compositional style became increasingly revolutionary between the sketch of the shport score (1908) and the completion of the orchestral score (1911).Busoni took the greatest care in preparing the definitive form of the work. He asserted that there was invention in every bar, and assigned an important role to the use of music from other sources: the Hebrew march from Rossini's Mose, for example, or a German dance by Mozart, military music, American-Indian pentatonic music, Gregorian plainchant, melodies from the synagogue and even quotes from his own works. With these stylistic means, Busoni followed Hoffmann's serapiontic principle and came closer to his idea of a timeless world music without borders.

SKU: BA.BA06861

ISBN 9790260104211. 34.3 x 27 cm inches.

Leoš Janácek’s symphonic fragment Dunaj (The Danube) dates from the period of the composition of “Katya Kabanova”. The composer was not concerned with a musical-picturesque description of a river landscape, but with the mythical link between women’s destinies and water.

“Pale green waves of the Danube! There are so many of you, and one followed by another. You remain interlocked in a continuous flow. You surprise yourselves where you ended up – on the Czech shores! Look back downstream and you will have an impression of what you have left behind in your haste. It pleases you here. Here I will rest with my symphony.” Thus Leoš Janácek described the idea behind the composition project which occupied him in 1923/24. However, after further work, it remained incomplete in 1926. His “symphony” entitled Dunaj has survived as a continuously-notated, four-movement bundle of sketches in score form. It is one of the works which occupied him until his death. The scholarly reconstruction by the two Brno composers Miloš Štedron and Leoš Faltus closely follows the original manuscript.

A whole conglomeration of motifs stands behind the incomplete work. What at first seems like a counterpart to Smetana’s Vltava, in fact doesn’t turn out to be a musical depiction of the Danube. On the contrary, the fateful link between the destiny of women, water and death permeates the range of motifs found in the work. It seems to be no coincidence that Janácek, whilst working on the opera Katya Kabanova, in which the Volga, as the river bringing death plays an almost mythical role, planned a Danube symphony, and that its content was linked with the destiny of women: in the sketches, two poems were found which may have provided the stimulus for several movements of the symphony. He copied a poem by Pavla Kriciková into the second movement, in which a girl remarks that whilst bathing in a pond, she was observed by a man. Filled with shame, the young naked woman jumps into the water and drowns. The outer movements likewise draw on the poem “Lola” by the Czech writer Sonja Špálová, published under the pseudonym Alexander Insarov. This is about a prostitute who asks for her heart’s desire: she is given a palace, but then goes on a long search for it and is finally no longer wanted by anyone. She suffers, feels cold and just wants a warm fire. Janácek adds his remark “she jumps into the Danube” to the inconclusive ending.

To these tangible literary models is added Adolf Veselý’s verbal account which reports that the composer wanted to portray “in the Danube, the female sex with all its passions and driving forces”. The third movement is said to characterise the city of Vienna in the form of a woman.

It is evident that in his composition, Janácek was not striving for a simple, natural lyricism. The River Danube is masculine in the Slavic language – “ten Dunaj” – and assumes an almost mythical significance in the national character, indeed often also a role bringing death. The four movements are motivically conceived. Elements of sound painting, small wave-like figures in the first movement, motoric, driving movements in the third are obvious evocations of water. And the content and the literary level are easy to discover. The “tremolo of the four timpani”, which was amongst Janácek’s first inspirations, appears in the second movement. It is not difficult to retrace in it the fate of the drowning bather. The oboe enters lamentoso towards the end of the movement over timpani playing tremolo, its descending figure is taken over by the flute, then upper strings and intensified considerably. The motif of drowning – Lola’s despair – returns again in the fourth movement in the clarinet, before the work ends abruptly and dramatically.

One special effect is the use of a soprano voice in the motor-driven third movement. The singer vocalises mainly in parallel with the solo oboe, but also in dialogue with other parts such as the viola d’amore, which Janácek used in several late works as a sort of “voice of love”.

About Barenreiter Urtext

What can I expect from a Barenreiter Urtext edition?< /p>

MUSICOLOGICA LLY SOUND
- A reliable musical text based on all available sources
- A description of the sources
- Information on the genesis and history of the work
- Valuable notes on performance practice
- Includes an introduction with critical commentary explaining source discrepancies and editorial decisions

... AND PRACTICAL
- Page-turns, fold-out pages, and cues where you need them
- A well-presented layout and a user-friendly format
- Excellent print quality
- Superior paper and binding

SKU: HL.103138

SKU: SU.00220528

This CD Sheet Music™ collection surveys the wealth of American concert music from the 19th and 20th centuries. Includes over 150 works for solo piano, piano duo, and piano four-hands by forty familiar and lesser-known American composers. Includes works by: Beach (Four Sketches, Valse Caprice); Bowles (Folk Preludes); Carpenter (Krazy Kat); Chadwick (Caprice); Colderidge-Taylor (Forest Scenes); Cowell (Three Irish Legends); Crawford ; Farwell; Foote (Five Poems after Omar Kayyam); Foster (Quadrilles, Soirée Polka); Gottschalk (Bamboula, Souvenir de Porto Rico); Grainger (Country Garden, Shepherd's Hey); Griffes (Roman Sketches); Herbert; Ives (Some South-Paw Pitching); MacDowell (Woodland Sketches, New England Idyls); Ornstein; Paine; Persichetti (Poems Vols. 1-3); Piston (Passacaglia); Riegger (Petit Etude); Ruggles (Evocations); Sousa (Hail to the Spirit of Liberty, The Stars and Stripes Forever); and more. Also includes composer biographies and relevant articles from the 1911 edition of Grove’s Dictionary of Music and Musicians 2200+ pages

Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.

SKU: HL.49045996

ISBN 9781540033901. UPC: 888680786991. 9.25x12.0x0.314 inches.

Light, Line, Shadow is a response to Edward Hopper's iconic painting Road and Trees, a painting donated to the Philadelphia Museum of Art by Daniel Dietrich II, and the first Hopper painting acquired by the museum. My piece is in three contrasting movements, each referring to and inspired by an aspect of Hopper's painting.The first movement, Landscape in Motion, refers to the dynamic movement of the landscape when traveling in a car and looking at the landscape passing by in the window. Hopper loved to take road trips, experiencing America by car, and in one of his initial sketches for Road and Trees, there was a car in the painting. The first movement tries to capture that moving landscape as experienced in a car in motion. The second movement, Brush Strokes, focuses on the darker forest in the painting, as the trees become denser and the technique of brush strokes creates deep layers. There is a spiritual aspect to Hopper's paintings, a kind of isolation and emptied out space, and the third movement, Open Road, dwells on that aspect of the painting before reprising material from the dynamic first movement.- Pierre Jalbert.

SKU: FP.FDC24

ISBN 9790570504336.

An imaginative first violin book, featuring 12 music sketches with fingering and tips on technique and reading music, inspired by the composer's experience teaching a young boy named Peter, and the musical pictures they painted together.


Comp oser and critic Cyril Carr Dalmaine graduated from the Royal College of Music and was Music master at Uppington School before going on to become chorus master to the BBC. He is most famous for coining the term 'Lord Haw-Haw' in his work as radio critic of the Daily Express under the pseudonym Jonah Barrington, in reference to the Nazi propaganda broadcasts of William Joyce during the Second World War.

Dalmaine was also a record presenter in the pre-1955 days and responsible for the 'discovery' of the then deceased Italian tenor, Alessandro Valente, giving Valente enjoyed a considerable posthumous vogue. As a composer Dalmaine wrote chamber music, and transcribed the cantatas of J.S. Bach to piano as well as a wide range of piano and string works published by Forsyth. His works such as Variation from Versailles and Pathway to the Proms remain in print and are well worth re-discovering, while his arrangements of popular classics in our Silhouette Series remain best sellers.

SKU: FG.55011-754-9

ISBN 9790550117549.

Yrj� �¶ Kilpinen (1892-1959) is most known for his hundreds of lieds and song cycles. His instrumental compositions have been less know, ie. the six piano sonatas and suite for gamba and piano. Large-scale Sonata for violin and piano is dated in 1935 with opus number 87. The work was never finished, and National Library in Helsinki holds several sketches and versions in its Kilpinen collection.

In 2015 violinist Frida Backman commissioned a completion of the Sonata from composer Walter Wolff. Wolff worked on the sketches and versions until 2018, when the work was completed and the Sonata premiered.

The present publication is the first publication of the Sonata. It sheds light to Kilpinen as an instrumental composer.

The movements are: Allegro - Andante - Andante Moderato - Allegro

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Yrjö Kilpinen (1892-1959) tunnetaan lähinnä lied-sävellyksistä� �¤n, joita aktiivisina sävellysvuosina syntyikin satoja. Vähemmälle huomiolle ovat jääneet hänen instrumentaalisävellyk sensä, mm. kuusi pianosonaattia, sellosonaatti, sarja gamballe ja pianolle sekä muutamat pikkukappaleet.

Vuodelle 1935 päivätty neliosainen, laajamuotoinen sonaatti viululle ja pianolle (op. 87) jäi keskeneräiseksi. Suomen Kansalliskirjaston Kilpinen-kokoelmassa oli useita luonnoksia ja eri versioita. Sonaatin osista neljäs oli keskeneräisin.

Viulutaiteilija Frida Backman tilasi konserttiaan varten sonaatin täydennöksen säveltäjä Walter Wolffilta. Hän sai työnsä päätöksen 2018, jonka jälkeen sonaatti kantaesitettiin.

Fennica Gehrmanin julkaisu on sonaatin ensipainos, ja siten laajentaa kuvaamme Yrjö Kilpisestä instrumenttiteosten säveltäjänä.

Teoksen osat: Allegro - Andante - Andante Moderato - Allegro.

SKU: BT.EMBZ1762

English-German.

The work was composed in 1908-1910. 'Bartók may have chosen to call these sketches because most of the pieces are indeed like a painter's sketch for a later, larger work: quickly executed creative works, capturing the magic of the moment.' (HCD 32525 Bartók New Series Vol. 25, László Somfai).