| Boccherini Studies Vol. 5 Ut Orpheus
Books and Journals SKU: UT.BS-5 Edited by Christian Speck. Paperback (Sof...(+)
Books and Journals
SKU: UT.BS-5
Edited by Christian
Speck. Paperback (Soft
Cover). Boccherini
Studies. Classical. Books
and Journals. Ut Orpheus
#BS 5. Published by Ut
Orpheus (UT.BS-5).
ISBN 9788881095049.
6.5 x 9.5
inches. Saggi di
Lluís Bertran, Carmela
Bongiovanni, Giuliano
Castellani, Thomas
Cimarusti, Remigio Coli,
Mariateresa Dellaborra,
Loukia Drosopoulou, Elisa
Grossato, Germán
Labrador, Priscille
Lachat-Sarrete, Ana
Lombardía, Alessandro
Mastropietro, Tim Pack,
Carolina Queipo
Gutiérrez, Rohan H.
Stewart-MacDonald,
Christian Speck, Polly
Sussex, Michael
Vincent
Mit
diesem fünften Band der
Boccherini Studies
wird, drei Jahre nach
Erscheinen des vierten
Bandes (New
Evidence), die Reihe
von internationalen
Forschungsarbeiten über
Luigi Boccherini in einem
weiten Spektrum
fortgesetzt. Ein relativ
großer Teil der
Beiträge — mehr als
die Hälfte — widmet
sich dem Kompositionsstil
Boccherinis — eine
Gewichtung innerhalb
dieser Sammlung, die
angesichts der
beträchtlichen Präsenz
von Boccherinis
Instrumentalmusik im
aristokratischen und
bürgerlichen Musikleben
des letzten Drittels des
18. Jahrhunderts durchaus
gerechtfertigt erscheint.
Und vergessen wir nicht
das schmeichelhafte
Urteil von Giuseppe
Carpani (1752-1825), der
im vierten Brief seiner
1812 veröffentlichten
Haydn-Biographie die
Instrumentalmusik von
Luigi Boccherini immerhin
mit der Bemerkung pries,
kein anderer Meister
seiner Zeit habe sich so
gut darauf verstanden,
die Begleitstimmen mit
der melodieführenden
Stimme zu verbinden.
Möchte man nicht
leichtfertig oder aus
einer eklektischen
Haltung heraus eine
solche Stimme der
zeitgenössischen
Rezeption übergehen, hat
man die Frage nach den
konstitutiven Elementen
von Boccherinis Stil,
nach der
Kompositionstechnik in
seinen Werken, zu stellen
und infolgedessen auch
das kompositorische
Umfeld in den Blick zu
nehmen. Am Anfang der
vorliegenden Sammlung von
Aufsätzen stehen daher
vergleichende
Untersuchungen zum
Instrumentalwerk, und
zwar mit Blick auf
diverse, im unmittelbaren
oder weiteren Umfeld
schaffende Komponisten,
wie Wolfgang Amadeus
Mozart, Giovanni Battista
Lampugnani, Pietro
Nardini, Gaetano
Brunetti, José Herrando,
Carlo Canobbio, Antonio
Montoro, , Manuel
Canales, um nur einige zu
nennen. Fortgesetzt wird
die Untersuchung des
Kompositionsstils in
einer Reihe von
Beiträgen zu einzelnen
Gattungen beziehungsweise
Werken, sowie zu Fragen
der musikalischen
Formgebung. Dem Gebiet
der musikalischen
Quellenforschung sind
vier Studien gewidmet.
Sie werfen neues Licht
auf vorhandene Quellen
und auf den schwierigen
Komplex der
Boccherini-Werkchronologi
e. Im Bereich der
Erforschung von
Boccherinis Biographie
kann eine weitere Lücke
geschlossen werden:
erstmals wird
nachgewiesen, dass der
junge Boccherini sich in
Frankfurt am Main
aufgehalten hat, wo er
ein Violoncellokonzert
öffentlich zur
Aufführung brachte.
Schließlich folgen drei
Beiträge, die sich
eingehend mit der
historischen Rezeption
von Boccherinis Musik in
Italien, Spanien und in
der Neuen Welt
befassen. $129.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Rise Again Songbook Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(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
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Arias, Duet, Trio G. Henle
Orchestra; Vocal (Study Score) SKU: HL.51489547 Solo Voice(S) & Orches...(+)
Orchestra; Vocal (Study
Score) SKU:
HL.51489547 Solo
Voice(S) & Orchestra
Study Score. Composed
by Ludwig van Beethoven.
Edited by Ernst
Herttrich. Henle Study
Scores. Classical.
Softcover. 190 pages. G.
Henle #HN9547. Published
by G. Henle
(HL.51489547). UPC:
888680991333.
6.75x9.5x0.493
inches. The works
for solo voice(s) and
orchestra assembled in
this volume owe their
composition to the most
diverse occasions. Some
were tailor-made for
female singers in
Beethoven's milieu, while
with others he was
dabbling in the field of
Italian opera (under the
tutelage of none other
than Antonio Salieri).
Scarcely any of them made
it into print during
Beethoven's lifetime.
Aside from canonical
works of the repertoire
such as “Ah! perfido”
op. 65, this volume also
contains unknown gems
like the scene and aria
Beethoven revised
multiple times, “No,
non turbarti” - “Ma
tu tremi, o mio
tesoro?”. The study
score contains the text
of the scholarly Complete
Edition. Beethoven
specialist Ernst
Herttrich additionally
provides information
about the genesis and
exciting variants in the
transmission history.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| OpusBach 2 Vol. 2 MDS (Music Distribution Services)
| | |
| Musica de Cuba - Volume 17 Handelsware
For piano with voice and accordion. Vocal Music. Musica de Cuba 17. 72 pages. Pu...(+)
For piano with voice and
accordion. Vocal Music.
Musica de Cuba 17. 72
pages. Published by
Handelsware
$30.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Classics Duets For Weddings Orgue, Piano (duo) Lorenz Publishing Company
Composed by James Mansfield. Sacred. Lorenz Publishing Company #KK394. Published...(+)
Composed by James
Mansfield. Sacred. Lorenz
Publishing Company
#KK394. Published by
Lorenz Publishing Company
(LO.KK394).
$26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Six concertos for Anna Maria, volume 2 Edition HH
Violin, organ, strings & basso continuo SKU: HH.HH523-FSC Composed by Ant...(+)
Violin, organ, strings &
basso continuo SKU:
HH.HH523-FSC Composed
by Antonio Vivaldi.
Edited by Federico Maria
Sardelli. Full score.
Edition HH Music
Publishers #HH523-FSC.
Published by Edition HH
Music Publishers
(HH.HH523-FSC). ISBN
9790708185345. The
so-called 'Anna Maria
Partbook' consists of an
elegantly bound volume in
red leather containing
the violin part of 31
highly virtuoso violin
concertos, 26 of which
are by Vivaldi. The
collection represents the
personal repertoire of
the Venetian composer's
most gifted pupil, the
famous 'Anna Maria della
Pieta', who also played
the viola d'amore,
mandolin, theorbo and
harpsichord. Twenty of
the Vivaldi concertos are
known from other
manuscript sources and
are therefore familiar to
us in their complete
versions. The remaining
six -- three for violin
and three for violin and
organ -- are unique to
the Anna-Maria Partbook,
and, because they are
incomplete, have not
hitherto been part of the
Vivaldi performing canon.
Now, as a result of
Federico Maria Sardelli's
rigorous musicological
research and painstaking
work of reconstruction
based on many concordant
sources, we are at last
able to enjoy these six
concertos in startlingly
persuasive
realizations. $31.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Six concertos for Anna Maria, volume 1 Edition HH
Violin, strings & continuo SKU: HH.HH522-IPT Composed by Antonio Vivaldi....(+)
Violin, strings &
continuo SKU:
HH.HH522-IPT Composed
by Antonio Vivaldi.
Edited by Federico Maria
Sardelli. Instrumental
parts. Edition HH Music
Publishers #HH522-IPT.
Published by Edition HH
Music Publishers
(HH.HH522-IPT). ISBN
9790708185390. The
so-called 'Anna Maria
Partbook' consists of an
elegantly bound volume in
red leather containing
the violin part of 31
highly virtuoso violin
concertos, 26 of which
are by Vivaldi. The
collection represents the
personal repertoire of
the Venetian composer's
most gifted pupil, the
famous 'Anna Maria della
Pieta', who also played
the viola d'amore,
mandolin, theorbo and
harpsichord. Twenty of
the Vivaldi concertos are
known from other
manuscript sources and
are therefore familiar to
us in their complete
versions. The remaining
six -- three for violin
and three for violin and
organ -- are unique to
the Anna-Maria Partbook,
and, because they are
incomplete, have not
hitherto been part of the
Vivaldi performing canon.
Now, as a result of
Federico Maria Sardelli's
rigorous musicological
research and painstaking
work of reconstruction
based on many concordant
sources, we are at last
able to enjoy these six
concertos in startlingly
persuasive
realizations. $92.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 6 Sonate a tre per due violini o flauti traversi e Flûte traversière et Piano EMB (Editio Musica Budapest)
Violin or Flute and Piano SKU: BT.EMBZ14067 Composed by G. Klzala, Janos ...(+)
Violin or Flute and Piano
SKU: BT.EMBZ14067
Composed by G. Klzala,
Janos Malina, and Pietro
Antonio Locatelli. EMB
Urtext. Book Only.
Composed 1996. 176 pages.
Editio Musica Budapest
#EMBZ14067. Published by
Editio Musica Budapest
(BT.EMBZ14067).
English-German-Hungari
an. The present
volume in the EMB Urtext
series is the first
complete practical
edition of the set of
trio sonatas for two
violins or two flutes by
the prominent Italian
violin player of the late
Baroque. The six trio
sonatas do not belong to
the usual Corellian type
but introduce bold
novelties with regard to
form, harmony and melody
alike. The sixth sonata
proves to be particularly
interesting since each of
the solo instruments
conducted in canon have
their own continuo
part. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music Group 5**pop** Schott
SKU: HL.49014462 Composed by John Horton. Edited by John Horton. This edi...(+)
SKU: HL.49014462
Composed by John Horton.
Edited by John Horton.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Student book. 78 pages.
Schott Music #ED
11132-01. Published by
Schott Music
(HL.49014462). ISBN
9790220129698.
English. $5.95 - Voir plus => Acheter | | |
| The Movie Fake Book - 3rd Edition
Fake book [Fake Book] - Intermédiaire Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 448 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 448 pages.
Published by Hal Leonard.
(1)$39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fingerstyle Guitar Gig Book Guitare notes et tablatures [Partition] - Intermédiaire Mel Bay
By Bill Piburn. For Guitar (Fingerpicking). Solos. Bluegrass and Country. Level:...(+)
By Bill Piburn. For
Guitar (Fingerpicking).
Solos. Bluegrass and
Country. Level:
Intermediate. Book. Size
9.5x11.75. 384 pages.
Published by Mel Bay
Publications, Inc.
(2)$39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Six concertos for Anna Maria, volume 2 Edition HH
Violin, organ, strings & basso continuo SKU: HH.HH523-IPT Composed by Ant...(+)
Violin, organ, strings &
basso continuo SKU:
HH.HH523-IPT Composed
by Antonio Vivaldi.
Edited by Federico Maria
Sardelli. Instrumental
parts. Edition HH Music
Publishers #HH523-IPT.
Published by Edition HH
Music Publishers
(HH.HH523-IPT). ISBN
9790708185406. The
so-called 'Anna Maria
Partbook' consists of an
elegantly bound volume in
red leather containing
the violin part of 31
highly virtuoso violin
concertos, 26 of which
are by Vivaldi. The
collection represents the
personal repertoire of
the Venetian composer's
most gifted pupil, the
famous 'Anna Maria della
Pieta', who also played
the viola d'amore,
mandolin, theorbo and
harpsichord. Twenty of
the Vivaldi concertos are
known from other
manuscript sources and
are therefore familiar to
us in their complete
versions. The remaining
six -- three for violin
and three for violin and
organ -- are unique to
the Anna-Maria Partbook,
and, because they are
incomplete, have not
hitherto been part of the
Vivaldi performing canon.
Now, as a result of
Federico Maria Sardelli's
rigorous musicological
research and painstaking
work of reconstruction
based on many concordant
sources, we are at last
able to enjoy these six
concertos in startlingly
persuasive
realizations. $92.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Conversational Solfege, Level 3 CD GIA Publications
SKU: GI.G-1050 Composed by John M. Feierabend. Conversational Solfege. Mu...(+)
SKU: GI.G-1050
Composed by John M.
Feierabend.
Conversational Solfege.
Music Education. GIA
Publications #1050.
Published by GIA
Publications (GI.G-1050).
UPC:
785147005025. Conve
rsational Solfege is a
curriculum for developing
music literacy skills. It
is organized around
increasingly complex
rhythmic and melodic
content. Each new
rhythmic or melodic
element is discovered
first in patterns and
then reinforced with folk
songs, rhymes, and
classical examples. This
CD provides 29 classical
selections referenced in
Conversational Solfege
Level 3. These examples
provide reinforcement for
emerging literacy skills,
and they also enable
students to listen to
wonderful classical
examples with greater
attention. Listening to
classical music can be
challenging for
elementary students. With
nothing to hang onto, the
many notes can be too
much to comprehend and
attention soon wanes. But
with minimal literacy
skills, students will
have enough musical
information to discover
that classical music can
be accessible and
appealing. In the
booklet, timings are
given for each selection.
The portions of the music
that are readable by the
students are reproduced.
Whether using this CD
with Conversational
Solfege instructional
materials or simply as a
resource of classical
music with simple-to-read
rhythmic and melodic
material, both teachers
and students will delight
in discovering this
wonderful music through
literacy. CONTENTS
Conversational Solfege
Unit 14: 1. March of the
Toreadors • Georges
Bizet, 2. Slavonic Dance
• Antonín Dvorák, 3.
Russian Dance • Igor
Stravinsky, 4. Dance of
the Reed Pipes • Peter
Tchaikovsky
Conversational Solfege
Unit 15: 5. Morning •
Edvard Grieg, 6. Minuet
• George Frideric
Handel, 7. Waltz •
Johann Strauss II, 8.
Minuet in G • J. S.
Bach Conversational
Solfege Unit 18: 9.
Westminster Chimes, 10.
Ode to Joy • Ludwig van
Beethoven Conversational
Solfege Unit 20: 11. The
Moldau • Bedrich
Smetana, 12. The Wild
Horseman • Robert
Schumann, 13. Anitra’s
Dance • Edvard Grieg
Conversational Solfege
Unit 22: 14. Violin
Concerto in D • Ludwig
van Beethoven, 15.
Symphony No. 6 • Ludwig
van Beethoven, 16. Roses
from the South • Johann
Strauss II, 17. Symphony
No. 1 • Johannes
Brahms, 18. Polovtsian
Dance • Alexander
Borodin, 19. Eine Kleine
Nachtmusik • Wolfgang
Amadeus Mozart, 20.
Etude for Piano •
Frédéric Chopin
Conversational Solfege
Unit 23: 21. Natoma’s
Dagger Dance • Victor
Herbert Conversational
Solfege Unit 24: 22.
Ground in D Major •
Henry Purcell
Conversational Solfege
Unit 25: 23. Violin
Concerto in D • Ludwig
van Beethoven, 24. Sumer
Is Icumen In, 25.
Symphony No. 9, “From
the New World” •
Antonin Dvorak
Conversational Solfege
Unit 26: 26. Pachelbel
Canon • Johann
Pachelbel, 27. Kaiser
Waltz • Johann Strauss
II, 28. Marmotte •
Ludwig van
Beethoven, 29. Autumn
— Four Seasons •
Antonio Vivaldi John M.
Feierabend, PhD, has
spent decades compiling
songs and rhymes from the
memories of the American
people, in hopes that
those treasures would be
preserved for future
generations. Those
resources have served as
the basis of his two
music education
curricula: First Steps in
Music and Conversational
Solfege. John Feierabend
is Professor Emeritus and
former Director of Music
Education at The Hartt
School of the University
of Hartford. $15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music Group 5**pop** Schott
SKU: HL.49014461 Composed by John Horton. Edited by John Horton. This edi...(+)
SKU: HL.49014461
Composed by John Horton.
Edited by John Horton.
This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical.
Teacher's edition. 84
pages. Schott Music #ED
11132. Published by
Schott Music
(HL.49014461). ISBN
9790220129681.
English. $7.99 - Voir plus => Acheter | | |
| Transcriptions of Lieder Piano seul Carl Fischer
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,
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Bartók centennial,
MUSIQUE NOCTURNES is
inspired by one of his
most characteristic and
original works, the
fourth piece (by the same
title), from the suite
Out of Doors. Both pieces
feature overlapping
“night musics” –
atmospheric cluster
figures, sharply
contrasting motifs
suggesting nocturnal
bird, frog, or insect
sounds, and an element of
human, folksong-like
melody as Levinson
alludes to the authentic
Hungarian folksong,
“Tiszán innen, Dunán
túl.”. This simple
piece was written in 2015
as a birthday present for
the composer’s wife,
poet and fellow bird
lover Nanine Valen, and
is a distant sequel to
Canons and Chorale, which
he wrote for her in 1969.
The ornithological
character is an
affectionate tribute as
well to his teacher
Olivier Messiaen. The
titular birds are a
highly stylized chickadee
and two song
sparrows.First public
performance: Swarthmore
College, November 13,
2016, by Marcantonio
Barone, whose editorial
assistance in the
preparation of this
edition is gratefully
acknowledged. Recorded by
Marcantonio Barone on
Innova 948. $8.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Easy Duos for Cello - Vol. 1 2 Violoncelles (duo) - Facile Schott
Easy Duos for Cello - Vol. 1 by Various. Edited by Edwin Koch. For Cello Duet. S...(+)
Easy Duos for Cello -
Vol. 1 by Various. Edited
by Edwin Koch. For Cello
Duet. Schott. Playing
score. 24 pages. Schott
Music #ED6273. Published
by Schott Music
$18.99 - Voir plus => Acheter | | |
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