The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Published by Hal Leonard.

Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages. Published by Hal Leonard.

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...

(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson and Peter Blood. For Vocal. Vocal. Softcover. 304 pages. Published by Hal Leonard

(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. Format: fakebook (spiral bound). With vocal melody (excerpts) and chord names. Lassical. Series: Hal Leonard Fake Books. 646 pages. 9x12 inches. Published by Hal Leonard.

by Stacy Phillips. For fiddle. All styles, fiddle tunes. Level: Multiple Levels. Book. Solos. Size 8.75x11.75. 268 pages. Published by Mel Bay Pub., Inc.

Concert Band/Harmonie - Grade 6

SKU: BT.DHP-1185847-010

Composed by Dirk Brossé. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2018. De Haske Publications #DHP 1185847-010. Published by De Haske Publications (BT.DHP-1185847-010).

English-German-French- Dutch.

The Last Friend of Napoleon is based on a true piece of Dutch history. In October 1813, when Napoleon was beaten after his unsuccessful Russian campaign, the French withdrew from the Netherlands. At the beginning of 1814, the whole country had been liberated except for the town of Delfzijl, still occupied by French troops. This programmatic work is about political and military stubbornness, chasing dreams, and about love always following its own unequalled way. Being one of the most acknowledged composers of today, Dirk Brossé has created an epic work that depicts a dramatic story, using the full range of the symphonic band resulting in challenging brass passages, a widerange of percussion and a lot of strong, beautiful and melodic material.

The Last Friend of Napoleon is gebaseerd op een waargebeurd stukje Nederlandse geschiedenis. Als Napoleon in oktober 1813 na zijn mislukte Russische veldtocht wordt verslagen, trekken de Fransen zich terug uit Nederland. Begin 1814 is heel het land bevrijd, behalve de plaats Delfzijl, die nog bezet wordt door Franse troepen. Dit programmatische werk gaat over politieke en militaire stijfkoppigheid, over het najagen van dromen en over de liefde, die altijd haar eigen, onnavolgbare weg gaat. Dit werk van Dirk Brossé, een van de meest gerenommeerde hedendaagse componisten, vertelt een dramatisch verhaal door middel van volledig symfonisch blaasorkest waarin koper, eenscala van slagwerk en vooral veel prachtig melodisch materiaal de hoofdrol spelen.

The Last Friend of Napoleon basiert auf einer wahren Episode aus der niederländischen Geschichte. Als Napoleon im Oktober 1813 nach seinem erfolglosen Russlandfeldzug geschlagen wurde, zogen sich die Franzosen aus den Niederlanden zurück. Anfang 1814 wurde das ganze Land befreit, mit Ausnahme der Stadt Delfzijl, die noch von französischen Truppen gehalten wurde. Dieses programmatische Werk handelt von politischer und militärischer Starrköpfigkeit, vom Verfolgen von Träumen, und darum, dass die Liebe immer ihren eigenen Weg geht. Dirk Brossé, der zu den bekanntesten zeitgenössischen Komponisten zählt, stellt mit diesem epischen Werk eine dramatischeGeschichte dar. Er verwendet hierfür das große Spektrum des Sinfonischen Blasorchesters: Er hat anspruchsvolle Episoden für die Blechbläser, eine große Bandbreite für Schlagwerk und zahlreiche wunderschöne Melodien geschaffen.

The Last Friend of Napoleon est basé sur une histoire vraie néerlandaise.Alors que Napoléon est vaincu après sa campagne infructueuse en Russie en octobre 1813, les Français se retirent des Pays-Bas. Au début de 1814, le pays entier a été libéré l’exception de la ville de Delfzijl, toujours occupée par les troupes françaises. Cette œuvre programme aborde l’entêtement politique et militaire, la poursuite de rêves, et l’amour qui suit toujours son propre chemin. De l’un des compositeurs les plus reconnus de nos jours, cette œuvre épique de Dirk Brossé met en musique une histoire dramatique. Il profite pleinement de la palette complète d’un orchestre d’harmoniesymphoni que, ce qui entraîne des épisodes stimulants pour les cuivres, une grande variété de percussion et une abondance de matériau mélodique magnifique et puissant.

The Last Friend of Napoleon (L'ultimo amico di Napoleone) si basa su un episodio di storia olandese. Dirk Brossé ha creato un'opera epica che descrive una storia drammatica, utilizzando tutte le potenzialit della banda che si esprimono in impegnativi passaggi degli ottoni, nell’ampia gamma di percussioni e in molto materiale bello e melodico.

Composed by Various. World's Favorite (Ashley). Classical. Softcover. 160 pages. Ashley Mark Publishing Company #AS10008. Published by Ashley Mark Publishing Company

Low Voice. By Robert Schumann. Vocal Collection. Size 7.5x10.7 inches. 208 pages. Published by G. Schirmer, Inc.

(GEH)

SKU: HL.49023861

Composed by Kunterbund. This edition: Saddle stitching. Sheet music. Kunter-bund-edition. Melody line (with chords). 96 pages. Schott Music #BUND 71155. Published by Schott Music (HL.49023861).

ISBN 9783766311559. 5.75x8.25x0.24 inches. German.

Die Liederhefte und Songbooks aus der kunter-bund-edition spiegeln ein Stuck Zeitgeschichte in Noten wider. Rund 1.300 Lieder und Songs warten darauf (wieder) entdeckt zu werden: lustige, besinnliche, engagierte und solche zum Mitmachen. Darunter sind viele Titel, die nur in der kunter-bund-edition veroffentlicht sind. Ob Popsongs, Volks- oder Kinderlieder: Allen ist gemeinsam, dass es einfach Spass macht, sie zu singen und mit der Gitarre zu begleiten. Viele Titel von international bekannten Pop-Grossen wie Joe Cocker, Eric Clapton, BAP, Bon Jovi oder den Beatles, aber auch Folksongs und Liedermacher-Stucke laden ein zum Mitsingen oder Mitspielen. Ausserdem gibt es zu vielen Liedern interessante Infos uber ihre Entstehungsgeschichte oder ihren Inhalt. Endecken Sie die bunte Welt der kunter-bund-Lieder und machen Sie sich auf die Reise!

Bass. Arranged by Richard Walters. Vocal Collection. Beginning/Intermediate Classical, Classical. Softcover Audio Online. 128 pages. Published by Hal Leonard

The Piano Bench of Easy Classical Music arranged by Amy Appleby. For Piano Solo. Music Sales America. Classical. Softcover. 400 pages. Music Sales #AM967549. Published by Music Sales

Guitar - easy

SKU: HL.49019327

58 Easy Pieces for Guitar. Arranged by Martin Hegel. This edition: Saddle stitching. Sheet music with CD. Guitar. Dieses Heft enthalt alles, was man fur den Gitarrenunterricht braucht: 58 leichte originale Gitarrenstucke von Aguado, Mertz, Diabelli, Carulli, Sor oder Carcassi, aber auch leicht spielbare Bearbeitungen der klassischen Musik aus den Bereichen Orchesterm. Softcover with CD. 46 pages. Schott Music #ED21305. Published by Schott Music (HL.49019327).

ISBN 9783795747558. UPC: 841886018204. 9.0x12.0x0.2 inches.

This volume contains everything needed for guitar lessons: 58 easy original guitar pieces by Aguado, Mertz, Diabelli, Carulli, Sor or Carcassi, but also easy-to-play arrangements of classical music from the fields of orchestral music, chamber music or opera. Among them are themes from Vivaldi's Four Seasons, from Handel's Music for the Royal Fireworks, Mozart's Magic Flute, Beethoven's Symphony No. 9 or Verdi's Chorus of the Hebrew Slaves. It is this volume's concern to make classical masterpieces of concert literature accessible to children by means of such rather easy arrangements and make them enjoy classical music. All pieces are recorded on the accompanying CD to make it easier for the pupils to study and master the works.

Baritone/Bass. Composed by Various. Edited by Philip Brunelle. Boosey and Hawkes Voice. Play Along. Softcover Audio Online. 204 pages. Boosey and Hawkes #M051933662. Published by Boosey and Hawkes

Band concert band - Grade 4.5

SKU: CF.SPS71

Composed by Carl Strommen. Set of Score and Parts. With Standard notation. 2+16+4+8+8+8+4+4+2+4+4+4+ 4+6+6+6+4+4+4+4+6+6+6+6+4 +8+3+2+12+2+4+28 pages. Duration 6 minutes, 26 seconds. Carl Fischer Music #SPS71. Published by Carl Fischer Music (CF.SPS71).

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .

Mezzo-Soprano. Arranged by Richard Walters. Vocal Collection. Beginning/Intermediate Classical, Classical. Softcover Audio Online. 144 pages. Published by Hal Leonard

Guitar - Intermediate

SKU: MB.WBM58M

Traditional, Wire bound, Celtic. Folk. Book and online audio. 216 pages. Mel Bay Publications, Inc #WBM58M. Published by Mel Bay Publications, Inc (MB.WBM58M).

ISBN 9781736363058. 8.75x11.75 inches.

A comprehensive collection of 172 guitar solos for the flatpick or plectrum guitarist. All solos are written in standard notation with accompanying online recordings by the author. The solos include beautiful American, British and Celtic airs and ballads, Celtic dance tunes, lute and early music, popular classical repertoire and contemporary etudes. Includes access to online audio.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1094670-140

Composed by Thierry Deleruyelle. Concert and Contest Collection CBHA. Concert Piece. Score Only. Composed 2009. 44 pages. De Haske Publications #DHP 1094670-140. Published by De Haske Publications (BT.DHP-1094670-140).

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

With Emperor, French composer Thierry Deleruyelle wanted to create a descriptive musical work depicting the life of Napoleon Bonaparte. The first movement represents the idiosyncrasies of this famous personality as well as his dramatic mood swings. The second movement is dedicated to his great love, Josephine Beauharnais. A contrasting third movement depicts Napoleon the fearless general and the countless battles he waged. A truly powerful work about one of histories truly powerful men.

Mit Emperor schuf der französische Komponist Thierry Deleruyelle ein deskriptives Werk nach dem Leben von Napoleon Bonaparte. Der erste Satz hebt die Charakterzüge des Kaisers von Frankreich hervor, wozu Heldenmut und Brillanz ebenso wie Schwermut gehören. Der zweite Satz ist seiner großen Liebe Josephine Beauharnais gewidmet und im Kontrast dazu der dritte Satz dem Feldherrn Napoleon und seinen zahlreichen Schlachten. Ein schillerndes Werk über eine große historische Figur!

Avec Emperor (L’Empereur), le compositeur français Thierry Deleruyelle signe une fresque musicale en trois tableaux, consacrée Napoléon Ier (1769-1821) qui fut Empereur des Français de 1804 1815. Le premier tableau, « l’Aigle », illustre deux facettes du caractère de l’Empereur : héro que et éblouissant lorsqu’il mène ses troupes la victoire, sombre et mélancolique dans la tourmente de l’histoire. Le deuxième mouvement est consacré Joséphine de Beauharnais, la grande et unique passion de Bonaparte, sa première épouse, son incomparable impératrice. La courbe mélodique est noble et élégante, l’orchestration riche en couleurs sonores. Le troisième et derniertableau - D’Austerlitz Waterloo - est un récit de batailles, de la grande victoire la chute définitive. Le climat musical est dominé par un esprit de conquête. Les rythmes soutenus de la caisse-claire symbolisent la chevauchée infernale de la cavalerie impériale. Nous suivons l’itinéraire militaire de l’un des hommes les plus célèbres et les plus controversés de l’histoire de France.

Con Emperor, Thierry Deleruyelle firma un affresco musicale dedicato a Napoleone. Seguiamo il destino militare e personale di Bonaparte. Il primo affresco, “l’Aigle< /I>”, illustra due aspetti del carattere dell’Imperatore: eroico quando conduce le sue truppe alla vittoria, malinconico nella tormenta della storia. Il secondo movimento è dedicato a Josephine di Beauharnais, la grande e unica passione di Napoleone. Il movimento finale - Da Austerlitz a Waterloo - è un racconto delle battaglie, delle grandi vittorie e della caduta definitiva.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1094670-010

Composed by Thierry Deleruyelle. Concert and Contest Collection CBHA. Concert Piece. Set (Score & Parts). Composed 2009. De Haske Publications #DHP 1094670-010. Published by De Haske Publications (BT.DHP-1094670-010).

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

With Emperor, French composer Thierry Deleruyelle wanted to create a descriptive musical work depicting the life of Napoleon Bonaparte. The first movement represents the idiosyncrasies of this famous personality as well as his dramatic mood swings. The second movement is dedicated to his great love, Josephine Beauharnais. A contrasting third movement depicts Napoleon the fearless general and the countless battles he waged. A truly powerful work about one of histories truly powerful men.

Mit Emperor schuf der französische Komponist Thierry Deleruyelle ein deskriptives Werk nach dem Leben von Napoleon Bonaparte. Der erste Satz hebt die Charakterzüge des Kaisers von Frankreich hervor, wozu Heldenmut und Brillanz ebenso wie Schwermut gehören. Der zweite Satz ist seiner großen Liebe Josephine Beauharnais gewidmet und im Kontrast dazu der dritte Satz dem Feldherrn Napoleon und seinen zahlreichen Schlachten. Ein schillerndes Werk über eine große historische Figur!

Avec Emperor (L’Empereur), le compositeur français Thierry Deleruyelle signe une fresque musicale en trois tableaux, consacrée Napoléon Ier (1769-1821) qui fut Empereur des Français de 1804 1815. Le premier tableau, « l’Aigle », illustre deux facettes du caractère de l’Empereur : héro que et éblouissant lorsqu’il mène ses troupes la victoire, sombre et mélancolique dans la tourmente de l’histoire. Le deuxième mouvement est consacré Joséphine de Beauharnais, la grande et unique passion de Bonaparte, sa première épouse, son incomparable impératrice. La courbe mélodique est noble et élégante, l’orchestration riche en couleurs sonores. Le troisième et derniertableau - D’Austerlitz Waterloo - est un récit de batailles, de la grande victoire la chute définitive. Le climat musical est dominé par un esprit de conquête. Les rythmes soutenus de la caisse-claire symbolisent la chevauchée infernale de la cavalerie impériale. Nous suivons l’itinéraire militaire de l’un des hommes les plus célèbres et les plus controversés de l’histoire de France.

Con Emperor, Thierry Deleruyelle firma un affresco musicale dedicato a Napoleone. Seguiamo il destino militare e personale di Bonaparte. Il primo affresco, “l’Aigle< /I>”, illustra due aspetti del carattere dell’Imperatore: eroico quando conduce le sue truppe alla vittoria, malinconico nella tormenta della storia. Il secondo movimento è dedicato a Josephine di Beauharnais, la grande e unica passione di Napoleone. Il movimento finale - Da Austerlitz a Waterloo - è un racconto delle battaglie, delle grandi vittorie e della caduta definitiva.

Composed by John Brimhall and Jonathon Robbins. Collection; Classical. Book. Santorella Publications #O114. Published by Santorella Publications

Composed by Various. Super Easy Songbook. Classical. Softcover. 120 pages. Published by Hal Leonard (HL.194693).

Original Version for high Voice and Piano - with Comments in English. By Robert Schumann. Edited by K. Ozawa. Voice. Pages: XIII and 59. Urtext edition (Paper-bound). Published by G. Henle.