| Hava Nagila Ensemble de cuivres [Conducteur] - Facile Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-396-130 Arranged by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-396-130
Arranged by Philip
Sparke. Anglo Music
Midway Series. Original
Light Music. Score Only.
Composed 2013. 24 pages.
Anglo Music Press #AMP
396-130. Published by
Anglo Music Press
(BT.AMP-396-130). 9x12
inches.
English-German-French-Dut
ch. Hava
Nagila (the title
means ‘let us
rejoice’) is
perhaps the best known
example of a style of
Jewish music called
‘klezmer’.
Klezmer music originated
in the
‘shtetl’
(villages) and the
ghettos of Eastern
Europe, where itinerant
Jewish troubadours, known
as
‘klezmorim’,
had performed at
celebrations,
particularly weddings,
since the early Middle
Ages.‘Klezmerâ€
is a Yiddish term
combining the Hebrew
words ‘kley’
(instrument) and
‘zemer’
(song) and the roots of
the style are found in
secular melodies, popular
dances, Jewish
‘hazanut’
(cantorial music) and
also the
‘nigunim’,
the wordless melodies
intoned by the
‘Hasidim’
(orthodox Jews).Since the
16th century, lyrics
hadbeen added to klezmer
music, due to the
‘badkhn’
(the master of ceremony
at weddings), to the
‘Purimshpil’
(the play of Esther at
Purim) and to traditions
of the Yiddish theatre,
but the term gradually
became synonymous with
instrumental music,
particularly featuring
the violin and clarinet.
The melody of Hava
Nagila was adapted
from a folk dance from
the Romanian district of
Bucovina. The commonly
used text is taken from
Psalm 118 of the Hebrew
bible.
Hava
Nagila (de titel
betekent ‘laat ons
gelukkig zijn’) is
misschien wel het
bekendste voorbeeld van
klezmer, een Joodse
muziekstijl.De
klezmermuziek komt van
oorsprong uit de sjtetls
(dorpen) en de
getto’s van
Oost-Europa, waar
rondtrekkende Joodse
troubadours, bekend als
klezmorim, al sinds de
middeleeuwen hadden
opgetreden bij
feestelijkheden, en dan
met name
bruiloften.Klezmer is een
Jiddische term waarin de
Hebreeuwse woorden kley
(instrument) en zemer
(lied) zijn samengevoegd.
De wortels van de stijl
liggen in wereldlijke
melodieën,
volksdansen, de
joods-liturgische hazanut
en ook de nigunim, de
woordeloze melodieën
zoals die worden
voorgedragen
doorchassidische
(orthodoxe) joden.Sinds
de 16e eeuw zijn er aan
de klezmermuziek ook
teksten toegevoegd,
dankzij de badchen (de
ceremoniemeester bij
huwelijken), het
poerimspel (het verhaal
van Esther tijdens
Poerim/het Lotenfeest) en
tradities binnen het
Jiddische theater, maar
de term werd geleidelijk
synoniem aan
instrumentale muziek met
een hoofdrol voor de
viool en klarinet.De
melodie van Hava
Nagila is afkomstig
van een volksdans uit de
Roemeense regio
Boekovina. De meest
gebruikte tekst voor het
lied kom uit psalm 118
van de Hebreeuwse Bijbel.
Hava
Nagila (auf Deutsch
‚Lasst uns
glücklich
sein’) ist
vielleicht das
bekannteste Beispiel
für den jüdischen
Musikstil namens
‚Klezmer’.
Klezmermusik hat ihren
Ursprung in den
Shtetls“
(Städtchen) und den
Ghettos Osteuropas,
woumherziehende
jüdische Troubadours,
die man
‚Klezmorim’
nannte, schon seit dem
frühen Mittelalter auf
Feiern, vor allem
Hochzeiten, zu spielen
pflegten. Klezmer ist ein
jiddischer Begriff, der
sich aus den
hebräischen Wörtern
‚kley’(Instr
ument) und
‚zemer’
(Lied) zusammensetzt. Die
Wurzeln des Musikstils
liegen in weltlichen
Melodien, populären
Tänzen, jüdischem
‚Chasanut’
(Kantorengesang) und auch
‚Niggunim’,
Melodien ohne Text,
vorgetragen von
den‚Chassidimâ€
(orthodoxen Juden).
Seit dem 16. Jahrhundert
wurden die
Klezmermelodien mit
Texten versehen, was auf
die
‚Badchan’
(Zeremonienmeister bei
Hochzeiten), auf das
‚Purimshpil’
(Das Esther-Spiel zum
Purimfest) und
aufTraditionen des
jiddischen Theaters
zurückgeht. Der
Begriff Klezmer wurde
jedoch mit der Zeit
gleichbedeutend mit
Instrumentalmusik, im
Besonderen mit den
Instrumenten Violine und
Klarinette. Die Melodie
von Hava Nagila
ist eine Adaption
einesVolkstanzes aus der
rumänischen Bukowina.
Der üblicherweise
verwendete Text stammt
aus Psalm 118 der
hebräischen Bibel.
Hava
Nagila (qui signifie
Réjouissons-nous) est
sans aucun doute la
chanson traditionnelle
hébra que de style
klezmer la plus connue de
toutes.La musique klezmer
est née dans les
shtetl (villages) et les
ghettos d’Europe
de l’Est, où
les baladins juifs
ambulants, appelés
klezmorim,
célébraient toutes
sortes de
cérémonies, en
particulier les mariages,
et ce depuis le début
du Moyen- ge.Le terme
yiddish klezmer est la
combinaison de deux mots
: klei, que l’on
peut traduire par
instrument et zemer qui
veut dire chanson. Cette
tradition musicale tire
ses origines dans les
mélodies profanes, les
danses populaires, la
musique juive hazanout
(musique vocale) ainsi
que les nigunim,les
mélodies sans paroles
entonnées par les
hassidim (juifs
orthodoxes).Au cours du
XVIe siècle, les
paroles ont été
ajoutées la musique
klezmer, afin
d’illustrer le
rôle du badkhn (le
maître de
cérémonie lors des
mariages), le
pourim-shpil (monologue
où est paraphrasé
le livre d’Esther)
ou encore les traditions
liées au thé tre
yiddish, mais le terme
est progressivement
devenu synonyme de
musique instrumentale, en
particulier dans une
interprétation au
violon et la
clarinette.La mélodie
Hava Nagila a
été adaptée
partir d’une danse
folklorique de la
région roumaine de
Bucovine. Le texte,
couramment utilisé,
est extrait du Psaume 118
de la bible hébra
que. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Swedish Fiddle Tunes for Two Violins 2 Violons (duo) Greenblatt & Seay
Arranged by Deborah Greenblatt. Violin Duet. For 2 violins. Tunes for Two. Swedi...(+)
Arranged by Deborah
Greenblatt. Violin Duet.
For 2 violins. Tunes for
Two. Swedish Folk. Tune
book. Standard Notation.
58 pages
$15.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto Pour Saxophone Et Cordes Hal Leonard
(Saxophone) SKU: HL.14079292 Chant du Monde. General Merchandise. Duratio...(+)
(Saxophone) SKU:
HL.14079292 Chant du
Monde. General
Merchandise. Duration 240
seconds. Hal Leonard
#CDMSP4923. Published by
Hal Leonard
(HL.14079292).
$26.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony 3 S.s. Schott
Large orchestra (Picc. * 2 * 2 * Engl. Hr. * 2 * Bassklar. * Tenorsax. * 2 * Kfg...(+)
Large orchestra (Picc. *
2 * 2 * Engl. Hr. * 2 *
Bassklar. * Tenorsax. * 2
* Kfg. - 4 * 4 * 3 * 1 -
P. S. (Trgl. * hg. Beck.
* Beckenpaar * Tamt. *
kl. Tr. * Ruhrtr. * gr.
Tr. * Glsp. * Xyl. *
Vibr.) (4 Spieler) - Hfe.
* Cel. * Klav. - Str.)
SKU: HL.49004996
Composed by Hans Werner
Henze. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1949-1950. 80
pages. Duration 25'.
Schott Music #ED4567.
Published by Schott Music
(HL.49004996). ISBN
9790001053549. UPC:
884088099336.
8.25x11.75x0.235
inches. Dieses
Stuck habe ich 1949
komponiert mit dem
Bestreben, den Begriff
Sinfonik von der
Vorstellung klassischer
und romantischer Formen
zu trennen. Der Horer
darf also hier nicht jene
Elemente suchen wollen,
die der Sinfonie des 19.
Jahrhunderts eigen waren.
Die Titel uber den drei
Teilen des Stucks haben
keinen beschreibenden
Charakter, sondern sind
nur als Hinweise auf ihre
musikalische Atmosphare
zu betrachten.Der 1. Teil
beginnt mit einer
Einleitung in ruhigem
Zeitmass, welcher eine
lebhafte Passacaglia
folgt, deren zweistimmige
Bassfigur, zunachst vom
Klavier vorgetragen, von
Variation zu Variation
durch verschiedene
Instrumentengruppen in
hohere Lagen gezogen
wird, bei gleichzeitigem
und regelmassigem
Sich-Steigern des Tempos,
bis sie zum Schluss durch
die hohen Violinen
hindurch in das
Anfangszeitmass
einmundet.Der 2. Teil
beginnt in der
Schluss-Stimmung des
ersten und wechselt dann
in eine vorwiegend von
Blechblasern getragene
Periode von erregten
Signalen und Rufen,
welchen ein ruhiges, auf
gleichmassiger
Achtelbewegung liegendes
Andantino folgt, in dem
Holzblaser, Harfe und
Vibraphon konzertieren.
Dieses Andantino wird in
zwei Halften geteilt
durch einen Hymnus der
Streicher und Blaser. Die
zweite Halfte des
Andantino gleitet in
einen stillen und
aphoristischen Epilog
uber.Der 3. Teil ist eine
lebhaft bewegte Folge
kleiner Gruppen und
Kurzmotive, deren formale
Herkunft sich jeweils aus
den rhythmischen und
spannungsmassigen
Gegebenheiten des
Vorhergegangenen erklart.
Kurz vor der Stretta
liegt noch eine ruhige
Strecke: Ein von
Glockeninstrumenten
umspielter Kanon der
Violoncelli und
Violinen.- Hans Werner
Henze. $48.00 - Voir plus => Acheter | | |
| Chorale and Variations Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-056-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-056-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2003. 56 pages.
Anglo Music Press #AMP
056-140. Published by
Anglo Music Press
(BT.AMP-056-140).
As the title
suggests, this piece
comprises a set of
variations on an original
chorale,which is
presented in the opening
bars.The chorale uses the
dark middle and lower
sections of the band and
is extended with minor
variations until a pause
leads to the first real
variation, marked Vivo.
This is in the form of a
moto perpetuo. The second
variation is a beautiful
Andante introduced by a
solo clarinet. Following
a full band climax the
final variation opens
with quiet, nervous
energy until its main
theme is introduced.The
chorale makes a brief
appearance until the main
theme reappears. This
leads to a triumphant
final augmented statement
of the chorale theme,
decorated by theflorid
clarinet theme in the
upper woodwinds. A
dazzling new concert
work.
Zoals de
titel al aangeeft,
bestaat het stuk uit een
aantal variaties op een
oorspronkelijk koraal,
dat aan het begin wordt
ge ntroduceerd. Het
koraal, stevig verankerd
in c mineur, komt naar
voren in de donkere
midden- en lage
sectiesvan het orkest en
wordt uitgebouwd met
variaties in mineur,
totdat een korte pauze de
overgang vormt naar de
eerste echte variatie,
Vivo getiteld. Dit is een
moto perpetuo. De tweede
variatie, een krachtige
Andante, introduceerteen
soloklarinet. Na een
climax in het hele orkest
vangt de laatste variatie
aan met een stille,
nerveuze energie totdat
het hoofdthema naar voren
komt. Het koraal duikt
even op totdat het
hoofdthema weer
verschijnt. Dit leidtnaar
een glorierijke laatste
reprise van het
koraalthema in
verbreding, omspeeld met
het zwierige
klarinetthema in het hoge
hout. Een verbluffend
nieuw
concertwerk.
In
drei sehr
unterschiedlichen
Variationen kommen in
diesem Werk alle Register
des Blasorchesters zum
Zug: Die mittleren und
tieferen Register stellen
den originalen Choral in
Moll vor, darauf folgt
die erste, lyrische
Variation im
Tenorregister. Eine
Solo-Klarinette
präsentiert die
metrische zweite
Variation, abgelöst
vom gesamten
Blasorchester. Die hohen
Holzbläser spielen
eine wichtige Rolle in
der dritten Variation,
die zunächst verhalten
einsetzt, dann aber das
Werk zu einem
triiumphalen Schluss
führt. Ein
interessantes Werk, das
keine Wünsche bei
Musikern oder Zuhörern
offen
lässt!
Chorale
and Variations est une
oeuvre de commande pour
l’École
Intercommunale de Gaillon
Aubevoye en France (Dir.
: Thierry Patel). Cette
pièce est
structurée selon la
forme du choral suivi de
trois variations sur le
thème. Ancré dans
la tonalité de Do
mineur, le choral se
développe dans les
registres médium et
grave de
l’orchestre puis
est élargi avec une
succession de variations
lyriques, florissantes,
triomphantes et
ornementées. $35.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Querflotenfibel: Kanons & Trios Flûte traversière Hug
Flute SKU: HG.PE-1010 Erganzungsband 1. Composed by Alexander Hans...(+)
Flute SKU:
HG.PE-1010
Erganzungsband 1.
Composed by Alexander
Hanselmann. Performance
score. Hug Musikverlage
#PE 1010. Published by
Hug Musikverlage
(HG.PE-1010). ISBN
9790202823170. Die
Stucke in KANONS & TRIOS
beginnen ausserst einfach
im 3-Tonraum und weiten
sich didaktisch analog
zum ersten Band der
QUERFLOETENFIBEL aus. Der
ganze Trioband umspannt
ungefahr die ersten drei
bis vier Jahre im
Querflotenensemble-Unterr
icht. Der Erganzungsband
1 enthalt wunderbare
Stucke zum gemeinsamen
Muszieren mit mindestens
drei Schulern. Schon die
ganz leichten Stuckchen
im 3-Tonraum klingen
interessant und fordern
das mehrstimmige
Zusammenspiel im
Gruppenunterricht. Mit
den Kanons und Trios
lasst sich das
Ensemblespiel auf den
verschiedenen
Unterrichtsstufen sehr
leicht in den Unterricht
integrieren. Flote
AKTUELL 01/08. $17.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Psalmspruche (1969/1972) Chorale SATB SATB, Orgue [Vocal Score] Barenreiter
(5 kurze Spruchmotetten). By Rolf Schweizer. For Mixed Choir, Organ. Musica sacr...(+)
(5 kurze Spruchmotetten).
By Rolf Schweizer. For
Mixed Choir, Organ.
Musica sacra nova.
Motetten, Kirchenmusik
(Motets, Sacred). Singing
Score; Playing Score.
Published by Baerenreiter
Verlag
$12.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Horen und Nachdenken Breitkopf & Härtel
SKU: BR.MN-715 Composed by Urs Martin Egli. Softbound. Musikverlag Nepomu...(+)
SKU: BR.MN-715
Composed by Urs Martin
Egli. Softbound.
Musikverlag Nepomuk.
Music pedagogy; Romantic.
Book. Composed 2003. 244
pages. Breitkopf and
Haertel #MN 715.
Published by Breitkopf
and Haertel (BR.MN-715).
ISBN 9783765199134. 6
x 9 inches. Die
etwas andere
Harmonielehre ein Buch,
das entrumpelt und mit
einigen offiziellen
Lehrmeinungen nicht
gerade zimperlich
umspringt.Das Buch
richtet sich an
musikalisch interessierte
Menschen. Vorausgesetzt
wird die Lust am
Notenlesen, denn es soll
durchaus auch ein
musikalisches Bilderbuch
vorgelegt werden.
Methodisch wird jedoch
moglichst bei Null
begonnen: Was ist ein
Einklang? Aus wie vielen
Tonen besteht ein
Dreiklang? In welcher
Tonart steht das beruhmte
B-Moll-Scherzo? Warum ist
Notenlesen so schwer?
Wieso hat eine Leiter
Stufen? Gibt es Birnen an
einem Apfelbaum?Die
Aha-Erlebnisse des
Verstandes fuhren zu
Aha-Erlebnissen des Ohrs
und umgekehrt. Es ist
durchaus moglich, dass
die Lernenden grossere
Freude an diesem Buch
haben als die Lehrenden.
Mit einigen ewigen
Wahrheiten aus dem
Kuriositatenkabinett der
offiziellen Lehrmeinung
wird namlich nicht gerade
zimperlich umgesprungen.
Liegt es immer an den
Schulerinnen und
Schulern, wenn sie ihre
Theorielehrer nicht
verstehen? $31.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Stimmspass mit dem kleinen Singfrosch Breitkopf & Härtel
Voice(s) solo SKU: BR.BV-455 Learning to sing creatively with stories,...(+)
Voice(s) solo SKU:
BR.BV-455 Learning
to sing creatively with
stories, exercises, and
songs. Composed by
Stefanie Fersch. Voice.
Buchverlag Breitkopf &
Hartel (Music Books).
The new book for
children's vocal-training
- recommended by Diana
Damrau For further
information and news
about the Singfrosch
please visit www.kleiner
-singfrosch.de
Music pedagogy. Book. 124
pages. Breitkopf and
Haertel #BV 455.
Published by Breitkopf
and Haertel (BR.BV-455).
ISBN 9783765104558.
8.5 x 11.5 inches.
German. Discovering
the voice for the very
youngest childrenThe
little Singing Frog was
conceived and brought to
life by the soprano
Stefanie Fersch from
years of experience
teaching many young
singing talents. Around
her theme character the
author devises stories
with concealed
vocal-training exercises
and songs of her own
composition. In the
process she is able in an
appealing way to train
holistically the singing
voices of children aged 4
to 8 with first body and
breathing exercises.
Available are an
illustrated storybook
with CD, a supporting
teacher's manual complete
with methodological
suggestions and piano
part, together with the
separate piano part.
Ideal for teaching voice
in kindergarten, music
school and primary
school, in choruses and
other groups, even for
pedagogues with no
background in teaching
children Ideal gift for a
child-friendly
introduction to
singing
The new
book for children's
vocal-training -
recommended by Diana
DamrauFor further
information and news
about the Singfrosch
please visit
www.kleiner-singfrosch.de
. $51.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Gelobet seist du, Jesu Christ Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1094717-140 Praise to Thee...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1094717-140
Praise to Thee, Jesus
Christ. Arranged by
John Blanken. Christmas
Collection. Hymns &
Chorals. Score Only.
Composed 2009. 16 pages.
De Haske Publications
#DHP 1094717-140.
Published by De Haske
Publications
(BT.DHP-1094717-140).
9x12 inches.
English-German-French-Dut
ch. Gelobet
seist du Jesu Christ
(We Praise You Jesus
Christ) is an old
Christmas hymn dating
from the 16th century,
which can still be found
in many hymnbooks today.
John Blanken has created
a varied and imaginative
arrangement on four
verses of the hymn. After
the introduction, derived
from the opening notes,
the hymn is first
accompanied by an agile
harmonisation. Next, we
hear the chorale in a
four-part setting with a
percussion accompaniment.
Then follows a short
prologue to the third
verse and finally its
time for fireworks as the
arrangement takes a
stylistic leap in time
with the festive prelude
to the fourth and last
verse.
Gelobet
seist du Jesu Christ
ist ein altes
Weihnachtslied, das aufs
16. Jahrhundert
zurückgeht und heute
noch in vielen
Liederbüchern zu
finden ist. John Blanken
bearbeitete vier Strophen
dieses Liedes in ganz
verschiedenen Weisen:
Nach der Einleitung
erklingt es zunächst
komplett, von einer
beweglichen
Harmonisierung begleitet,
und dann als
vierstimmiger Choral mit
Schlagzeug. In der
dritten Strophe liegt der
Cantus firmus im Tenor
und wird vom hohen
Register umspielt. Der
grandiose Schluss
führt thematisch
wieder zum Beginn des
Werkes
zurück.
Gelo
bet seist du, Jesu
Christ è un brano
natalizio tedesco del XVI
secolo. John Blanken ne
ha realizzato un
arrangiamento pieno di
diversit . Dopo una breve
introduzione, la melodia
è esposta nella sua
integrit . Viene quindi
inserita in un corale a
quattro voci con
percussioni. La terza
strofa porta il cantus
firmus nel cuore del
registro tenore. Il
finale è semplicemente
maestoso. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Midsummer Marriage Schott
(2 (2pic).2.2.2-4.2.3.0-timp .2perc (s.d., b.d., cym., tri., gng, tub.bells)-hp....(+)
(2
(2pic).2.2.2-4.2.3.0-timp
.2perc (s.d., b.d., cym.,
tri., gng,
tub.bells)-hp.cel-str)
SKU: HL.49002518
Vocal Score.
Composed by Sir Michael
Tippett. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Piano
reduction. Composed
1947-1952. 413 pages.
Duration 150'. Schott
Music #ED 10778.
Published by Schott Music
(HL.49002518). ISBN
9790220120466. UPC:
073999913347.
9.0x12.0x1.015 inches.
English. Like few
other theatre worksThe
Magic Flute, A Midsummer
Night's DreamTippett's
first opera creates a
wholly other place, one
where human actions can
be seen as in a tilted
mirror. Since this is
indeed an opera, the
place, or dreamspace, is
conjured by music: by
luminescent music that,
in its flowing abundance,
radiant harmonies and
evocative wind
colourings, represents
the natural world within
which the characters have
to integrate themselves.
The central couple, those
whose marriage is at
first subverted and then
gloriously celebrated,
are Mark and Jenifer: he
a young man of the earth
and the senses, she a
young woman of lofty
spirituality. Each is
only half a person, and
before they can be united
they have to be made
whole, have to find
within themselves an
understanding of the
other. Overseeing their
mythic initiation and
psychic healing are two
Ancients, votaries of a
temple on a wooded
hilltop.As in the Mozart
precedent, which the
composer certainly had in
mind, there is also a
more workaday couple,
Jack and Bella. The other
principals are Jenifer's
businessman father King
Fisher, who wants to stop
the wedding for reasons
of his own, and an
Erda-like seer. There is
also a dancer, Strephon,
leading the exuberant
ballet in which the
orchestra completes the
story of enlightenment
and passion. It is
ultimately a victory of
love and, before love,
self-knowledge.(Paul
Griffiths). $101.00 - 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,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mellemspil Wilhelm Hansen
SKU: HL.14021158 Composed by Vagn Holmboe. Music Sales America. Choral Sc...(+)
SKU: HL.14021158
Composed by Vagn Holmboe.
Music Sales America.
Choral Score. Composed
2005. Edition Wilhelm
Hansen #WH28208.
Published by Edition
Wilhelm Hansen
(HL.14021158). ISBN
9788759873243.
Danish. $11.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Moussaka Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 2 SKU: BT.GOB-000640-010 Composed by Peter ...(+)
Concert Band/Harmonie -
Grade 2 SKU:
BT.GOB-000640-010
Composed by Peter Martin.
Set (Score & Parts). 57
pages. Gobelin Music
Publications #GOB
000640-010. Published by
Gobelin Music
Publications
(BT.GOB-000640-010).
Greek dishes
are mouth-watering. The
nation's traditional dish
could not be omitted from
the menu. And the Greek
dishes are still
affordable. The Sirtaki
is the musical
accompaniment during your
culinary trip to Greece.
Griekenland heeft
een keuken die doet
watertanden. Het
traditionele gerecht van
dit land mocht op de
menukaart niet ontbreken.
De Griekse keuken is
bovendien (nog)
betaalbaar. De sirtaki is
de muzikale omspeling bij
uw culinaire
uitstapjenaar
Griekenland. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ex Tribus Fontis Fanfare [Conducteur] - Intermédiaire De Haske Publications
Fanfare Band - Grade 5 SKU: BT.DHP-1196180-120 Legend - Theme - Choral...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-1196180-120
Legend - Theme -
Chorale. Composed by
Stijn Roels. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Score Only.
Composed 2019. 44 pages.
De Haske Publications
#DHP 1196180-120.
Published by De Haske
Publications
(BT.DHP-1196180-120).
English-German-French-
Dutch. The title
Ex Tribus Fontis
(Latin for ‘from
three sources’)
refers to the three
sources of inspiration
that were used for this
composition. The legend
of Saint Donatus, patron
saint of the
commissioning band
describes how he and his
soldiers prayed to God
during a losing battle,
the result of which being
a thunderstorm which
annihilated the Teutonic
opponents. This three
movement piece is
extremely impressive and
very much suitable for
both concerts and
contests.
De titel
Ex Tribus Fontis
(Latijn voor ‘uit
drie bronnen’)
verwijst naar de drie
inspiratiebronnen die aan
deze compositie ten
grondslag liggen. Ten
eerste beschrijft de
legende van Sint-Donatus,
patroonheilige van het
opdrachtgevende orkest,
hoe hij en zijn soldaten
tijdens een uitzichtloze
omsingeling baden tot
God, waarna er een onweer
losbrak dat de Germaanse
tegenstander met
blikseminslagen versloeg.
Het tweede thema is
gebaseerd op de drie
noten van de website van
het orkest:
www.fasido.be. Tot slot
is er het
Sint-Donatuskoraal, dat
in deel drie volledig tot
uiting komt, waar het
feestelijk omspeeld
weerklinkt in een groots
tutti en uitmondt in een
spetterend
slot.
Der Titel
Ex Tribus Fontis
(lateinisch für aus
drei Quellen“)
verweist auf die drei
Inspirationsquellen, die
für diese Komposition
verwendet wurden. Die
Legende vom Heiligen
Donatus, dem Schutzpatron
des Auftrag gebenden
Orchesters, beschreibt,
wie seine Soldaten und er
während eines
verlorenen Kampfes zu
Gott beteten. Das
Ergebnis war ein
Gewitter, welches die
germanischen Gegner
vernichtete. Dieses
dreisätzige Stück
ist äußerst
beeindruckend und eignet
sich bestens sowohl
für Konzerte als auch
für
Wettbewerbe.
Le
titre Ex Tribus
Fontis (« de trois
sources » en latin) se
rapporte aux trois
sources
d’inspiration pour
cette composition. Selon
la légende, Saint
Donatus, saint patron de
l’orchestre
commanditaire, aurait
incité ses soldats
prier Dieu pendant un
combat qui semblait perdu
d’avance,
provoquant ainsi un orage
qui anéantit
l’ennemi. Très
impressionnante, cette
pièce en trois
mouvements sera tout
aussi appréciée en
concert que lors
d’un concours. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gelobet seist du, Jesu Christ Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1094717-020 Praise to Thee, Jesus C...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1094717-020
Praise to Thee, Jesus
Christ. Arranged by
John Blanken. Christmas
Collection. Christmas.
Set (Score & Parts).
Composed 2009. De Haske
Publications #DHP
1094717-020. Published by
De Haske Publications
(BT.DHP-1094717-020).
9x12 inches.
English-German-French-Dut
ch. Gelobet
seist du Jesu Christ
(We Praise You Jesus
Christ) is an old
Christmas hymn dating
from the 16th century,
which can still be found
in many hymnbooks today.
John Blanken has created
a varied and imaginative
arrangement on four
verses of the hymn. After
the introduction, derived
from the opening notes,
the hymn is first
accompanied by an agile
harmonisation. Next, we
hear the chorale in a
four-part setting with a
percussion accompaniment.
Then follows a short
prologue to the third
verse and finally its
time for fireworks as the
arrangement takes a
stylistic leap in time
with the festive prelude
to the fourth and last
verse.
Gelobet
seist du Jesu Christ
ist ein altes
Weihnachtslied, das aufs
16. Jahrhundert
zurückgeht und heute
noch in vielen
Liederbüchern zu
finden ist. John Blanken
bearbeitete vier Strophen
dieses Liedes in ganz
verschiedenen Weisen:
Nach der Einleitung
erklingt es zunächst
komplett, von einer
beweglichen
Harmonisierung begleitet,
und dann als
vierstimmiger Choral mit
Schlagzeug. In der
dritten Strophe liegt der
Cantus firmus im Tenor
und wird vom hohen
Register umspielt. Der
grandiose Schluss
führt thematisch
wieder zum Beginn des
Werkes
zurück.
Gelo
bet seist du, Jesu
Christ è un brano
natalizio tedesco del XVI
secolo. John Blanken ne
ha realizzato un
arrangiamento pieno di
diversit . Dopo una breve
introduzione, la melodia
è esposta nella sua
integrit . Viene quindi
inserita in un corale a
quattro voci con
percussioni. La terza
strofa porta il cantus
firmus nel cuore del
registro tenore. Il
finale è semplicemente
maestoso. $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gemeinsam Lernen und Spielen Band 2 Euphonium [Partition + Accès audio] Hal Leonard
Euphonium SKU: BT.BSV117-032 Euphonium. Gemeinsam Lernen und Spiel...(+)
Euphonium SKU:
BT.BSV117-032
Euphonium.
Gemeinsam Lernen und
Spielen 2. Method. Book
with Online Audio.
Composed 2017. 72 pages.
Hal Leonard Europe
#BSV117-032. Published by
Hal Leonard Europe
(BT.BSV117-032).
German. Nach dem
Riesenerfolg der
Instrumentalschule
Hören, lesen and
spielen widmeten sich
Michiel Oldenkamp und
Jaap Kastelein einem
Unterrichtswerk, welches
sowohl im
Euphoniumunterricht als
auch in einer
Bläserklasse
eingesetzt werden kann:
Gemeinsam lernen
and spielen -
eine komplett neue Schule
für junge Bläser
und Schlagzeuger ab der
dritten Klasse. Die
Schule wurde in enger
Zusammenarbeit mit
hochqualifizierten
Musikern und Lehrern aus
der Bläserklassenwelt,
von Musikschulen und
Musikhochschulen in den
Niederlanden und in
Deutschland
entwickelt. Gemeinsam lernen
and spielen
enthält Lehrgänge
für
denInstrumentalunterricht
und die Bläserklasse
in einem Band. Der
Lehrgang für Euphonium
bietet hauptsächlich
Euphoniumspezifische
Themen wie neue Töne
und technische Ã?bungen
an. Dieser Lehrgang
unterstützt die
Lernlinie der
Bläserklasse, bei
welcher der Schwerpunkt
auf musikalischen
Lernzielen wie Rhythmus,
Melodie, Form und auf dem
gemeinsamen Musizieren
liegt. Gemeinsam lernen
and spielen
umfasst zwei Bände.
Band 1 beginnt mit den
ersten Tönen und
arbeitet auf das Spielen
von Duetten hin. Im
zweiten Band werden
hauptsächlich
dreistimmige Stücke
gespielt. Auf der
ausführlichen Website
wird
Ergänzungsmaterial
angeboten, beispielsweise
Demo- und Begleittracks
zu allen Stücken,
zusätzliche
Spielstücke (bekannte
Lieder) und Lernvideos.
Gemeinsam lernen
and spielen
ist logisch aufgebaut und
kindgerecht illustriert
eine optimale Motivation
für alle jungen
Musiker! $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ex Tribus Fontis Fanfare [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Fanfare Band - Grade 5 SKU: BT.DHP-1196180-020 Legend - Theme - Choral...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-1196180-020
Legend - Theme -
Chorale. Composed by
Stijn Roels. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Set (Score &
Parts). Composed 2019. De
Haske Publications #DHP
1196180-020. Published by
De Haske Publications
(BT.DHP-1196180-020).
English-German-French-
Dutch. The title
Ex Tribus Fontis
(Latin for ‘from
three sources’)
refers to the three
sources of inspiration
that were used for this
composition. The legend
of Saint Donatus, patron
saint of the
commissioning band
describes how he and his
soldiers prayed to God
during a losing battle,
the result of which being
a thunderstorm which
annihilated the Teutonic
opponents. This three
movement piece is
extremely impressive and
very much suitable for
both concerts and
contests.
De titel
Ex Tribus Fontis
(Latijn voor ‘uit
drie bronnen’)
verwijst naar de drie
inspiratiebronnen die aan
deze compositie ten
grondslag liggen. Ten
eerste beschrijft de
legende van Sint-Donatus,
patroonheilige van het
opdrachtgevende orkest,
hoe hij en zijn soldaten
tijdens een uitzichtloze
omsingeling baden tot
God, waarna er een onweer
losbrak dat de Germaanse
tegenstander met
blikseminslagen versloeg.
Het tweede thema is
gebaseerd op de drie
noten van de website van
het orkest:
www.fasido.be. Tot slot
is er het
Sint-Donatuskoraal, dat
in deel drie volledig tot
uiting komt, waar het
feestelijk omspeeld
weerklinkt in een groots
tutti en uitmondt in een
spetterend
slot.
Der Titel
Ex Tribus Fontis
(lateinisch für aus
drei Quellen“)
verweist auf die drei
Inspirationsquellen, die
für diese Komposition
verwendet wurden. Die
Legende vom Heiligen
Donatus, dem Schutzpatron
des Auftrag gebenden
Orchesters, beschreibt,
wie seine Soldaten und er
während eines
verlorenen Kampfes zu
Gott beteten. Das
Ergebnis war ein
Gewitter, welches die
germanischen Gegner
vernichtete. Dieses
dreisätzige Stück
ist äußerst
beeindruckend und eignet
sich bestens sowohl
für Konzerte als auch
für
Wettbewerbe.
Le
titre Ex Tribus
Fontis (« de trois
sources » en latin) se
rapporte aux trois
sources
d’inspiration pour
cette composition. Selon
la légende, Saint
Donatus, saint patron de
l’orchestre
commanditaire, aurait
incité ses soldats
prier Dieu pendant un
combat qui semblait perdu
d’avance,
provoquant ainsi un orage
qui anéantit
l’ennemi. Très
impressionnante, cette
pièce en trois
mouvements sera tout
aussi appréciée en
concert que lors
d’un concours. $191.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Karins latar Violon SATB, Orchestre Gehrmans Musikforlag
Violin SKU: GH.CG-6693 Composed by Karin Gibson. Educational. Gehrmans Mu...(+)
Violin SKU:
GH.CG-6693 Composed
by Karin Gibson.
Educational. Gehrmans
Musikforlag #CG 6693.
Published by Gehrmans
Musikforlag (GH.CG-6693).
ISBN 9790070006538. A4
inches. Tio harliga
latar for den som inte
spelat fiol sa lange.
Passar utmarkt som
komplement vid
suzukiundervisning!
Eftersom ingen av latarna
ligger pa E-strangen gar
det bra med samspel med
nyborjare pa viola och
cello. Av Karin
Gibson. $21.89 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
1 ... 121 151 181 |