Dialogue by Eugene Bozza is a piece for two Trumpets, lasting three minutes. Sou...(+)
Dialogue by Eugene Bozza
is a piece for two
Trumpets, lasting three
minutes. Sounding really
majestic, this work
exhibits the two Trumpets
having an exchange, like
a dialogue. The piece is
divided into three
movements: Allegro
Mastoso (4/4, tempo 120)
? Moderato (4/4, tempo
80) ? Tempo di Marcha
(2/4, tempo 120). This
piece is a great work to
play during a recital.
Eugene Bozza won
different prizes at the
Conservatoire de Paris
such as the First Prizes
for the Violin,
conducting and
composition, as well as
the Grand Prix de Rome.
He composed several
operas, chamber works and
ballets among others.
Trombone (2) SKU: HF.FH-3385 Neue Stucke fur Musikschulen. Compose...(+)
Trombone (2)
SKU:
HF.FH-3385
Neue
Stucke fur
Musikschulen.
Composed by Angelika
Thiel, C. Rene
Hirschfeld, Frank
Muller-Brys, Gisbert
Nather, Ruth Grammann
Volker Freidel, Stefan
Lienenkamper, Thiel, and
Wolfgang. Edited by
Landesverband der
Musikschule Brandenburg
e.V. Sheet music.
Friedrich Hofmeister
Musikverlag #FH 3385.
Published by Friedrich
Hofmeister Musikverlag
(HF.FH-3385).
ISBN
9790203433859. 9 x 12
inches.
1. Angelika
Thiel: Leisure Time !; 2.
Angelika Thie: Lazybones;
3. Angelika Thiel:
Cherokee Dance; 4. C.
Rene Hirschfeld: Three
sketches to an unknown
fairytale; 5. Gisbert
Nather: Three dialogues;
6. Ruth Grammann: Knights
of the Round Table; 7.
Volker Freidel: Two
variations on a minuet by
Johann Krieger; 8. Frank
Muller-Brys: Planets II;
9. Wolfgang Thiel:
Headlines for two
trombones; 10. Stefan
Lienenkamper: Two
Reflections for two
trombones.
Three trumpets & Organ SKU: SU.50008750 For three trumpets & Organ...(+)
Three trumpets & Organ
SKU: SU.50008750
For three trumpets &
Organ. Composed by
Brent Dutton. Brass,
Trumpet, Chamber Music,
Mixed Ensemble. Score.
Seesaw Music Corp
#50008750. Published by
Seesaw Music Corp
(SU.50008750).
Cello and piano (VC/PF) - intermediate to advanced SKU: HL.49008105 14...(+)
Cello and piano (VC/PF) -
intermediate to advanced
SKU: HL.49008105
14 Pieces. Edited
by Barbara Heller and Eva
Rieger. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. 128
pages. Schott Music #ED
8628. Published by Schott
Music (HL.49008105).
ISBN 9790001115964.
UPC: 196288077473.
9.0x12.0x0.355
inches.
CD. Published by Daehn Publications (DH.CDVOL11). Song List (22) Jones: An Ameri...(+)
CD. Published by Daehn
Publications
(DH.CDVOL11).
Song List (22)
Jones: An American
Songbook
Farmer: Whispers from the
Heart
Gilroy: Onward!
Vaughan Williams/Daehn:
The Lowlands of Scotland
(Alister McAlpineÃs
Lament)
Deiro/Daehn:
ÃTriesteà Overture
La Plante: Gathering
Places (Three Spirituals
for Band)
Mozart/Daehn: Symphony
No. 15 - Finale
Vaughan Williams/Grauer:
Prelude: The New
Commonwealth
Boâllmann/Daehn:
Toccata (from Suite
Gothique)
Bruckner/Kreines: Ave
Maria
Burns: Ancient Dialogue
Broeniman: Come to the
Festival Tent!
(Auf zum Zeltfest)
Burns: Regal Ceremony
Kirby: Tales of the
Minstrel Boy
La Plante: The Band in
the Square
(on the Fourth of July)
Kirby: Garden of the Gods
Grainger/Stotter: The
Sussex Mummers'
Christmas Carol
SKU: HL.48182243 Composed by Henri Tomasi. Leduc. Classical. 36 pages. Al...(+)
SKU: HL.48182243
Composed by Henri Tomasi.
Leduc. Classical. 36
pages. Alphonse Leduc
#AL23305. Published by
Alphonse Leduc
(HL.48182243).
UPC:
888680836948.
9.0x12.0x0.099
inches.
Suite is a
piece for three Bb or C
Trumpets composed by
Henri Tomasi in 1964.
This unusual suite lasts
approximately 8?30
minutes. It is divided
into three main parts: 1.
Havanaise at a Tempo di
Habanera, 2. Lento egeen
and 3. Danse Bolivienne.
The Havanaise is made of
a danse part and a more
melodious one. Its
dialogue in between the
Trumpets creates a
counterpoint. In the
second part, the three
instruments alternate the
theme with small
variations and the last
part, ?3. Danse
Bolivienne?, is a
toccata. This book
features score and parts
for Bb and C Trumpets.
Henri Tomasi was a French
composer, conductor and
winner of the Grand Prix
de Rome in 1927. He also
composed a variety of
concerti for Alto
Saxophone and for
Trombone, as well as some
ballades..
Oboe, clarinet and bassoon - Advanced SKU: FT.FM501 Composed by David S. ...(+)
Oboe, clarinet and
bassoon - Advanced
SKU: FT.FM501
Composed by David S.
Bernstein. Oboe Clarinet
and Bassoon. Score and
part. Forton Music
#FM501. Published by
Forton Music (FT.FM501).
ISBN
9790570484003.
A
Little Threeness was
composed in March of 1989
and had it's premiere at
the nternational Double
Reed Convention in
Manchester, England on
August 14th 1989. The
compostion is
approximately nine and a
half minutes in length
and explores different
combinations, ranges and
character effects that
are possible with the
oboe, clarinet and the
bassoon. My intention was
to write a relatively
light work that would
require a high degree of
rhythmic precision and
dialogue between the
players. Colour, dynamics
and articulation are
prime aspects for musical
development. I was
interested not only in
the combination of these
instruments as a trio
grouping, but also in
solo and duet
combinations.
Consequently there is a
duet for oboe and
clarinet, a duet for oboe
and bassoon, and a
movement for solo
bassoon. There is one
area of the work that
uses borrowed material
and that is the second
movement which,
essentially, is a parody
on the opening phrases of
the hymn tune 'Come, Ye
Thankful People,
Come'.
Composed by Ludwig van Beethoven (1770-1827). Arranged by Michael and Kimberly D...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Arranged by Michael and
Kimberly Davenport. For
clarinet/bass clarinet
duet. This edition: 2nd
Edition. Classical;
classical period. Duo
score and parts. 29 pages
(score); 13 pages
(parts). Published by
Alea Publishing
Three Pieces Clarinette et Piano [Conducteur et Parties séparées] Subito Music
Clarinet & Piano SKU: SU.27040210 For Clarinet & Piano. Composed b...(+)
Clarinet & Piano
SKU:
SU.27040210
For
Clarinet & Piano.
Composed by Gregory J.
Hutter. Woodwinds,
Clarinet. Score & Parts.
Subito Music Corporation
#27040210. Published by
Subito Music Corporation
(SU.27040210).
Three short
pieces exploring
primarily one musical
idea or mood in a single
movement, as the titles
of the individual
movements suggests:
Dialogue, Aria and
Ostinato.Clarinet and
Piano Duration: 8'
Composed: 1999 Published
by: Hutter Music.
Selected and edited by Denes Agay. Book. Published by Music Sales. (YK20568) B...(+)
Selected and edited by
Denes Agay. Book.
Published by Music Sales.
(YK20568)
By popular demand, a
second volume of piano
pieces for the beginner
and early grade pianist
has been compiled by Dr.
Agay. Contains rare,
original keyboard
miniatures of three
centuries, some of which
have not been in print
before.
Dialogue [Conducteur et Parties séparées] Promethean Editions
Chamber Music Marimba, Vibraphone SKU: PO.PE083 Composed by Gareth Farr. ...(+)
Chamber Music Marimba,
Vibraphone
SKU:
PO.PE083
Composed by
Gareth Farr. This
edition: softcover. Sws.
Score and parts.
Promethean Editions
#PE083. Published by
Promethean Editions
(PO.PE083).
ISBN
9781877218835.
Farr
's Dialogue (2005), for
vibraphone and marimba,
is perfect for
percussionists looking
for a duo work that is
inspired by and
incorporates elements of
Indonesian gamelan music.
Each of the three
movements centre on an
aspect of the gamelan
playing style, which
includes interlocking
techniques and virtuosic
complexity with mixed
meters and fast
syncopated rhythms.
Piano SKU: ST.AC166 Composed by Rhian Samuel. Score. Stainer & Bell Ltd. ...(+)
Piano
SKU:
ST.AC166
Composed by
Rhian Samuel. Score.
Stainer & Bell Ltd.
#AC166. Published by
Stainer & Bell Ltd.
(ST.AC166).
ISBN
9790220219542.
Ymddiddan
(pronounced
um-thee'-than) is a
virtuoso work that lives
up to its title by using
spacial separation of its
two pianos as a
powerfully dramatic
element of musical form.
Vividly capturing in
music the sense of its
three contrasting
movements, 'Hedfan'
(Flying), 'Galar' (Grief)
and 'Igamogam' (Zig-Zag),
Ymddiddan is a
welcome addition to the
small yet distinguished
contemporary repertoire
for the two-piano
medium.
Soprano saxophone and piano - Intermediate SKU: FT.FM422 Composed by Davi...(+)
Soprano saxophone and
piano - Intermediate
SKU: FT.FM422
Composed by David Osbon.
Soprano Saxophone and
piano. Score and part.
Forton Music #FM422.
Published by Forton Music
(FT.FM422).
ISBN
9790570483211.
Writ
ing for Soprano Saxophone
and Piano was a
revelation - the dialogue
between the instruments
was as if they were two
voices sharing a
converstaion on a subject
that only they really
knew about. So, I
suppose, it was
inevitable that I began
to think of the pieces as
a set of 'songs without
words'. However, there
was something rather
elusive about their
characters and it wasn't
until they were composed
that the titles, and the
order in which they
should be played, became
obvious. These songs have
been conceived in a
non-standard harmonic
language; for this reason
the saxophone part
intentionally has no key
signature. Rhythmically,
the songs are
comparatively
straightforward, although
the constantly changing
time signatures in Song
Of Sorrow require careful
counting. The range used
is not excessive, with
more use made of the
higher notes than the
lower ones.
Violin and Piano - easy SKU: BT.EMBZ6311 By Lenkei Gabriella. EMB Music f...(+)
Violin and Piano - easy
SKU: BT.EMBZ6311
By Lenkei Gabriella. EMB
Music for Beginners.
Educational Tool. Book
Only. Composed 1970. 52
pages. Editio Musica
Budapest #EMBZ6311.
Published by Editio
Musica Budapest
(BT.EMBZ6311).
English-German-Hungari
an.
The volumes of
the series 'Music for
Beginners' cover the
entire music literature
from the earliest
centurties to our days.
The material of the
individual volumes
containing short, easy
pieces to be played in
the first three-four
years of studying the
instrument has been
compiled by accomplished
music teachers. The
majority of the
contemporary works
included in the voluumes
have been published in
this series for the first
time.
Flute and piano - Advanced SKU: FT.FM477 Composed by David Bernstein. Flu...(+)
Flute and piano -
Advanced
SKU:
FT.FM477
Composed by
David Bernstein. Flute
and Piano. Score and
part. Forton Music
#FM477. Published by
Forton Music (FT.FM477).
ISBN
9790570483761.
The
first and third movements
are rather straight
forward in terms of the
specific motives they
present along with the
intense dialogue between
both players that is
frequently found among
them. The second
movement, at least at the
beginning, is much more
improvisatory in nature,
and certain unusual
harmonic effects are
created as the movement
proceeds. All the
movements display a kind
of rhythmic drive and
intensity that can be
observed and perceived by
an audience with a little
bit of curiosity thrown
in as well.
Lyrics by W.S. Gilbert, music by Arthur Sullivan (1842-1900). For voice and pian...(+)
Lyrics by W.S. Gilbert,
music by Arthur Sullivan
(1842-1900). For voice
and piano reduction. From
the Broadway musical
"Mikado". Format: vocal
score. With vocal melody,
piano accompaniment,
lyrics, dialogue and
stage cues. Broadway. 232
pages. 9x12 inches.
Published by Schirmer.
Piano SKU: BT.EMBZ20083 Urtext (1932-1939). Composed by Bela Barto...(+)
Piano
SKU:
BT.EMBZ20083
Urtext
(1932-1939). Composed
by Bela Bartok. Arranged
by Yusuke Nakahara. EMB
Music of Bela Bartok.
Educational Tool. Book
Only. Composed 2021. 72
pages. Editio Musica
Budapest #EMBZ20083.
Published by Editio
Musica Budapest
(BT.EMBZ20083).
English-Hungarian.
Bartók's
Mikrokosmos has been one
of the milestones in
pedagogical piano
repertoire for 80 years -
and yet it is also far
more than a classical
piano primer. These 153
piano pieces, organized
in ascending order of
difficulty, engage not
only with technical
aspects of piano playing
but also with the
fundamentals of
composition - from
Imitation and Inversion,
Ostinato, and Free
Variations, concerning
compositional technique,
to mood pieces and pieces
with programmatic ideas
such as Notturno,
Boating, From the Diary
of a Fly, or the famous
Six Dances in Bulgarian
Rhythm. Mikrokosmos first
appeared in 1940 in six
volumes. Based on volume
40 of the Bartók
CompleteEdition published
in 2020(Z. 15040), the
present Urtext edition
offers the series
gathered in three
volumes. This edition
includes Bartók's
preface, exercises, and
notes written for the
first edition.
Furthermore, it also
features a preface and
comments by the editor,
which not only discuss
the genesis and the
compositional sources but
also provide performers,
teachers and pupils
alike, with authentic and
detailed information
about Bartók's
notation and the specific
performing problems of
Mikrokosmos.
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Concerto Capriccioso Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Flute Solo - Grade 4 SKU: BT.DHP-1053846-140 (+)
Concert Band/Harmonie and
Flute Solo - Grade 4
SKU:
BT.DHP-1053846-140
For Flute and Concert
Band. Composed by
Kees Schoonenbeek.
Soloworks. Concert Piece.
Score Only. Composed
2005. 64 pages. De Haske
Publications #DHP
1053846-140. Published by
De Haske Publications
(BT.DHP-1053846-140).
English-German-French-
Dutch.
Concerto
Cappricioso begins with a
short fanfare-like
opening. It?s three
movements then develop
with exciting dialogues
between the soloist and
the main concert band,
which both answers and
accompanies the soloist,
in addition to adding
their own new material.
The musical game between
the solis and
accompaniment will
captivate and delight
your audience every time.
Concerto
Cappricioso beginnt
mit einer kurzen
fanfareähnlichen
Einleitung. Dann
entwickeln sich drei
Sätze voll von
spannenden Dialogen
zwischen dem Solisten und
dem übrigen
Blasorchester, das mal
kommentierend, mal
antwortend und mal
begleitend agiert. Das
musikalische Spiel
zwischen Solist und
Begleitung wird Ihr
Publikum immer wieder
aufs Neue begeistern.
La breve
introduzione prepara
l’entrata del
solista che esplora il
tessuto musicale
attraverso un assolo
eseguito rubato. La
musica adotta in seguito
la forma del concertato.
L’accompagnamento
svela le sue risposte e
commenta il soggetto con
intervalli. Il secondo
movimento è una dolce
fantasia, mentre il terzo
sviluppa un dialogo tra
il solista e
l’accompagnamento.
Il gioco musicale si
dimostra per il pubblico
particolarmente piacevole
e accattivante.
Concerto Capriccioso Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-1053846-040 For Flute and Concert B...(+)
Concert Band - Grade 4
SKU:
BT.DHP-1053846-040
For Flute and Concert
Band. Composed by
Kees Schoonenbeek.
Soloworks. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053846-040. Published by
De Haske Publications
(BT.DHP-1053846-040).
English-German-French-
Dutch.
Concerto
Cappricioso begins with a
short fanfare-like
opening. It?s three
movements then develop
with exciting dialogues
between the soloist and
the main concert band,
which both answers and
accompanies the soloist,
in addition to adding
their own new material.
The musical game between
the solis and
accompaniment will
captivate and delight
your audience every time.
Concerto
Cappricioso beginnt
mit einer kurzen
fanfareähnlichen
Einleitung. Dann
entwickeln sich drei
Sätze voll von
spannenden Dialogen
zwischen dem Solisten und
dem übrigen
Blasorchester, das mal
kommentierend, mal
antwortend und mal
begleitend agiert. Das
musikalische Spiel
zwischen Solist und
Begleitung wird Ihr
Publikum immer wieder
aufs Neue begeistern.
La breve
introduzione prepara
l’entrata del
solista che esplora il
tessuto musicale
attraverso un assolo
eseguito rubato. La
musica adotta in seguito
la forma del concertato.
L’accompagnamento
svela le sue risposte e
commenta il soggetto con
intervalli. Il secondo
movimento è una dolce
fantasia, mentre il terzo
sviluppa un dialogo tra
il solista e
l’accompagnamento.
Il gioco musicale si
dimostra per il pubblico
particolarmente piacevole
e accattivante.
Concerto Capriccioso Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie and Flute Solo - Grade 4 SKU: BT.DHP-1053846-010 (+)
Concert Band/Harmonie and
Flute Solo - Grade 4
SKU:
BT.DHP-1053846-010
For Flute and Concert
Band. Composed by
Kees Schoonenbeek.
Soloworks. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053846-010. Published by
De Haske Publications
(BT.DHP-1053846-010).
English-German-French-
Dutch.
Concerto
Cappricioso begins with a
short fanfare-like
opening. It?s three
movements then develop
with exciting dialogues
between the soloist and
the main concert band,
which both answers and
accompanies the soloist,
in addition to adding
their own new material.
The musical game between
the solis and
accompaniment will
captivate and delight
your audience every time.
Concerto
Capriccioso begint
met een fanfareachtige
introductie, waarna een
korte ‘solo
rubato’ volgt. Dan
begint het echte
‘concertato’
. De begeleiding
antwoordt en
becommentarieert met
tussenpozen. De
introductie duikt weerop,
waarna dezelfde opzet nog
eens volgt. Deel twee
presenteert een tweede
thema, als een dialoog
uitgewerkt. Het
beginthema keert terug,
maar met een anders
opgezette begeleiding.
Het derde deel is een
brede dialoog tussen
solisten begeleiding. De
opnieuw fanfareachtige
inleiding komt steeds als
een refrein terug tussen
de tarantella-achtige
solopassages. Het spel
tussen de solist en de
begeleiding blijft steeds
boeiend.
Concer
to Cappricioso
beginnt mit einer kurzen
fanfareähnlichen
Einleitung. Dann
entwickeln sich drei
Sätze voll von
spannenden Dialogen
zwischen dem Solisten und
dem übrigen
Blasorchester, das mal
kommentierend, mal
antwortend und mal
begleitend agiert. Das
musikalische Spiel
zwischen Solist und
Begleitung wird Ihr
Publikum immer wieder
aufs Neue begeistern.
La breve
introduzione prepara
l’entrata del
solista che esplora il
tessuto musicale
attraverso un assolo
eseguito rubato. La
musica adotta in seguito
la forma del concertato.
L’accompagnamento
svela le sue risposte e
commenta il soggetto con
intervalli. Il secondo
movimento è una dolce
fantasia, mentre il terzo
sviluppa un dialogo tra
il solista e
l’accompagnamento.
Il gioco musicale si
dimostra per il pubblico
particolarmente piacevole
e accattivante.
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt.
Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a...
Orchestra (Orchestra) SKU: HL.48187841 Composed by Henri Dutilleux. Leduc...(+)
Orchestra (Orchestra)
SKU: HL.48187841
Composed by Henri
Dutilleux. Leduc.
Classical. Softcover. 232
pages. Heugel & Cie
#HE31721. Published by
Heugel & Cie
(HL.48187841).
UPC:
888680873813.
7.5x10.75x0.547
inches.
Symphonie
No. 2,?Le Double, is a
symphonic piece for
oOrchestra and chamber
orchestra composed by
Henri Dutilleux. It was
commissioned for the 75th
birthday of the Boston
Symphony Orchestra in
1959. The piece features
three movements, which
consists in dialogues
between the Orchestra and
the Chamber Orchestra: I.
Animato, ma misterioso
II. Andantino sostenuto
III. Allegro fuocoso.
Calmato This is the
conductor's score which
also includes all parts.
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 Cello
concerto 'Tout un monde
lointain' (A whole
distant world), the
Violin concerto 'L'arbre
des songes' (The tree of
dreams) and the string
quartet 'Ainsi la nuit'
(Thus the night)..
Trumpet, trombone, piano SKU: NR.62359 For piano, trumpet in C and tro...(+)
Trumpet, trombone, piano
SKU: NR.62359
For piano, trumpet in
C and trombone.
Composed by Filip
Khristov Pavlov. Chamber
music (3-9 instruments).
For piano, trumpet in C
and trombone. Score.
Noten Roehr #62359.
Published by Noten Roehr
(NR.62359).
Ivoire Piano seul [Conducteur et Parties séparées] Furore Verlag
Piano SKU: FV.FUE-10258 Composed by Florentine Mulsant. Contemporary. Sco...(+)
Piano
SKU:
FV.FUE-10258
Composed
by Florentine Mulsant.
Contemporary. Score and
parts. Furore Verlag #FUE
10258. Published by
Furore Verlag
(FV.FUE-10258).
It is written
almost orchestrally and
offers possibilities for
extended dialogues as
well as rich harmonies.
The work consists of
three movements. The
first movement, with a
more harmonic character,
is in a mysterious and
gentle atmosphere.
Horn and Chamber Orchestra SKU: BT.EMBZ14485 Composed by Zsolt Serei. EMB...(+)
Horn and Chamber
Orchestra
SKU:
BT.EMBZ14485
Composed
by Zsolt Serei. EMB
Contemporary Music.
Contemporary Music. Book
Only. Composed 2006. 40
pages. Editio Musica
Budapest #EMBZ14485.
Published by Editio
Musica Budapest
(BT.EMBZ14485).
English-Hungarian.
In view of its
arrangement Serenade,
written for horn and
chamber orchestra of
fourteen instruments, may
be regarded as a chamber
concert. The one-movement
piece written on command
of horn player
László Rákos is
at the same time related
to the notturno music of
the 18th-19th centuries.
It is a character piece
in which a subdued,
subtle irony makes itself
felt alongside the
characteristically
night-time atmosphere.
The solo role of the horn
is obvious throughout,
though the initial
impetus is not sustained,
and in the course of the
movement the instrument
falls silent. The
instruments of the
accompanying group join
in with the horn in three
ways: the clarinet, the
English horn,the bassoon,
the viola, the
violoncello play the
melodies of the horn,
delicately repeating
them, supplementing them
or slowing them down, the
flute, the violin, the
trumpet and the double
bass counterpoint the
horn?s solos or hold
dialogues with it, the
third group ? the harp,
the guitar, the
vibraphone, the cimbalom
and the piano ? plays
soft, veiled, evenly
progressing harmonies. In
the last section of the
piece, when the first and
second group of
instruments are no longer
playing, these veiled
sounds hold together,
their rhythm gradually
breaks up - the sound
environment is reduced,
progressively emptied.
World premi?re: June 2,
1993, Budapest,
László Rákos -
horn, Componensemble,
cond. Zsolt Serei.
Clarinet SKU: HL.35023532 Clarinet Trio. Composed by Polk. Shawnee...(+)
Clarinet
SKU:
HL.35023532
Clarinet Trio.
Composed by Polk. Shawnee
Press. Print on demand -
publisher prints this
title after order is
received. Concert,
Contest, Trio. Part.
Shawnee Press #LD0202.
Published by Shawnee
Press (HL.35023532).