Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
2 Flutes and Basso Continuo - intermediate-adv SKU: HL.44005642 For tw...(+)
2 Flutes and Basso
Continuo -
intermediate-adv
SKU:
HL.44005642
For
two flutes and basso
continuo. Composed by
Jacques-Martin
Hotteterre. Fentone
Instrumental Books.
Transcription. Book with
CD. Composed 2005.
Fentone Music #F 891.
Published by Fentone
Music (HL.44005642).
The Trio Sonata
for two recorders and
Basso continuo is one of
many successful works
from the pen of Jacques
Hotteterre, a French 17th
century composer. For The
Platinum Series, this
sonata has been adapted
for two flutes. On the CD
you will first hear all
the accompaniments on the
harpsichord, which you
can use if no accompanist
is available, followed by
demo tracks with two
flutes and harpsichord.
This beautiful piece can
also by performed by 2
flutes and cello with the
supplied cello
part.
De
triosonate voor twee
blokfluiten en basso
continuo is een van de
vele succesvolle werken
die Jacques Martin
Hotteterre heeft
geschreven. Voor The
Platinum Series is
deze sonate voor twee
dwarsfluiten bewerkt. Op
de geweldigecd hoor je
eerst alle begeleidingen
(klavecimbel en fluit 2)
- erg handig als er geen
begeleider in de buurt is
- en vervolgens de
voorbeeldtracks met twee
fluiten en klavecimbel.
De basso continuo is
bruikbaar voor zowel
pianistenals
klavecinisten; en met de
bijlagen (een eerste en
tweede fluitpartij en een
cellopartij) is deze
mooie muziek ook
speelbaar met een eigen
ensemble.
Die
Triosonate fur zwei
Blockfloten und Basso
continuo stammt von
Jacques Hotteterre, einem
franzosischen Komponisten
des 17. Jahrhunderts. Fur
die Platinum-Serie wurde
diese Sonate fur zwei
Floten bearbeitet. Auf
der CD erklingen zunachst
alle Begleitungen auf dem
Cembalo - diese konnen,
wenn kein Begleiter zur
Stelle ist, verwendet
werden. Darauf folgen
Demoversionen mit zwei
Floten und Cembalo. Der
enthaltene Basso continuo
kann sowohl auf dem
Klavier als auch auf dem
Cembalo gespielt werden.
Diese schone Musik kann
auch von einem Ensemble
(2 Floten & Cello)
aufgefuhrt werden. Die
Reihe The Platinum
Series enthalt
bekannte klassische Werke
fur
verschiedeneInstrumente,
die nun verschiedenen
Holzblasern zuganglich
gemacht wurden und sich
in ihrer neuen Form
wunderbar als
Konzertstucke eignen. Die
CDs der Platinum
Series bieten Ihnen
die Gelegenheit, zu einer
schonen Begleitung, die
live mit Klavier,
Cembalo, Kammerensemble
oder gar
Sinfonieorchester
eingespielt wurde, zu
spielen. Auf der CD
erklingen jeweils alle
Begleitungen und
Demo-Versionen. Die
Stucke mit Basso
continuo, der auf dem
Klavier oder
Cembalogespielt werden
kann, enthalten jeweils
eine separate Solo- und
Cellostimme, sodass sie
auch von einem Ensemble
aufgefuhrt werden konnen.
Alle sechs Ausgaben sind
im Schwierigkeitsgrad
mittelschwer - schwer.
La collection
Platinum Series
rassemble des œuvres
classiques composees a
l'origine pour divers
instrument et idealement
adaptees pour des
instruments a vent de la
famille des bois. Chaque
ouvrage de cette
collection est enrichi
d'un compact disc
(version integrale +
accompagnement) d'une
grande qualite musicale.
Pour vous offrir un
excellent confort de jeu,
les accompagnements ont
ete confies au piano, au
clavecin, a un ensemble
de musique de chambre et
quelquefois meme a un
Orchestre Symphonique.
Les oeuvres avec basse
continue (adaptee pour le
piano ou le clavecin)
disposent d'une partie
soliste et d'une partie
pour violoncelle separees
afin de pouvoir
constituer unensemble
instrumental.
La
collezione >The
Platinum Series e
sinonimo di alta qualita.
Troverete le piu
importanti pagine di
musica trascritte per
strumenti a fiato. Sul CD
sono registrati dapprima
l'intero brano col
solista, e poi le sole
basi musicali
d'accompagnamento,
realizzate con strumenti
autentici che realizzano
il basso continuo al
clavicembalo. Da oggi
potrete interpretare col
saxofono le musiche di
grandi compositori come
Benedetto Marcello,
oppure suonare al
clarinetto la
trascrizione del Concerto
n.1 di Breval per
violoncello. Per le
composizioni da suonare
in duo, troverete sul CD
sia l'incisione completa
del brano, che la sola
seconda voce o il solo
Basso continuo, cosi da
potersuonare sia da soli
che assieme ad un vostro
amico.
Clarinet - easy SKU: BT.DHP-1094835-400 Arranged by Peter Kleine Schaars....(+)
Clarinet - easy
SKU:
BT.DHP-1094835-400
Arranged by Peter Kleine
Schaars. Trioflex. Book
with CD. Composed 2009.
28 pages. De Haske
Publications #DHP
1094835-400. Published by
De Haske Publications
(BT.DHP-1094835-400).
ISBN 9789043133036.
9x12 inches.
English-German-French-Dut
ch.
Trio
Flex is a clever
concept that offers you a
range of possible
options. As well as a
demo version played by
live instruments, the
enclosed CD contains two
play-along tracks for
each piece. One track
features the combo only,
and the other track
features the combo plus
the second and third
parts of the trio. Peter
Kleine Schaars has
arranged ten well-known
numbers for three wind
instruments in various
styles and genres. Play
the melody with the combo
on the CD, or play the
trio version with the
other two recorded parts.
That will sound great in
itself. But you can also
form a trio with two
co-players, and have
yourselves accompanied by
the combo on the CD. No
matterwihich variation
you choose, get ready for
a musical experience that
will amaze your audience!
Trio-Flex
is een uitgekiend concept
dat verschillende
mogelijkheden met zich
meebrengt. De
meegeleverde cd bevat -
naast een live
ingespeelde demoversie -
van elk nummer twee
begeleidingstracks. Op de
ene track hoor je
alleenhet combo en op de
andere track hoor je het
combo met daarbij de
tweede en derde stem van
het trio.Fun
Favorites Peter
Kleine Schaars bewerkte
tien bekende nummers voor
drie spelers in diverse
genres en stijlen. Speel
demelodie met het combo
op de cd, of speel de
trioversie met de
tegenstemmen. Dat klinkt
al geweldig. Maar je kunt
ook met twee medespelers
een trio vormen en je
door het combo op de cd
laten begeleiden. Welke
variant je ook
kiest:bereid je voor op
een muzikale belevenis
die je publiek versteld
zal doen
staan!
Trio-Fle
x ist ein cleveres
Konzept, das verschiedene
Möglichkeiten bietet.
Neben einer live
eingespielten Demoversion
enthält die
beiliegende CD zwei
Mitspielversionen jedes
Stückes. Eine wird nur
von der Combo gespielt,
die andere von der Combo
zusammen mit der zweiten
und dritten Stimme des
Trios.Peter Kleine
Schaars arrangierte zehn
bekannte Titel für
drei Klarinetten in
verschiedenen Genres und
Musikstilen. Die Melodie
zur Combo auf der CD
gespielt oder die
Trioversion mit den
Gegenstimmen auf der CD -
das alleine klingt schon
wunderbar. Am
schönsten ist
allerdings, wenn sich
zwei Mitspieler finden
und dann im Trio zur
Combo-Begleitung auf der
CD musiziert werdenkann.
Ganz egal, für
welche Variante man sich
entscheidet: Es wird eine
musikalische Erfahrung,
die jedes Publikum
begeistert!
Fun
Favorites è una
pubblicazione basata sul
concetto di TRIO-FLEX; si
può quindi fare musica
con tre strumentisti, da
soli con il combo, o da
soli con il combo e le
parti del trio.
Flute - easy SKU: BT.DHP-1094834-400 Arranged by Peter Kleine Schaars. Tr...(+)
Flute - easy
SKU:
BT.DHP-1094834-400
Arranged by Peter Kleine
Schaars. Trioflex. Book
with CD. Composed 2009.
28 pages. De Haske
Publications #DHP
1094834-400. Published by
De Haske Publications
(BT.DHP-1094834-400).
ISBN 9789043133029.
9x12 inches.
English-German-French-Dut
ch.
Trio
Flex is a clever
concept that offers you a
range of possible
options. As well as a
demo version played by
live instruments, the
enclosed CD contains two
play-along tracks for
each piece. One track
features the combo only,
and the other track
features the combo plus
the second and third
parts of the trio. Peter
Kleine Schaars has
arranged ten well-known
numbers for three wind
instruments in various
styles and genres. Play
the melody with the combo
on the CD, or play the
trio version with the
other two recorded parts.
That will sound great in
itself. But you can also
form a trio with two
co-players, and have
yourselves accompanied by
the combo on the CD. No
matterwihich variation
you choose, get ready for
a musical experience that
will amaze your audience!
Trio-Flex
is een uitgekiend concept
dat verschillende
mogelijkheden met zich
meebrengt. De
meegeleverde cd bevat -
naast een live
ingespeelde demoversie -
van elk nummer twee
begeleidingstracks. Op de
ene track hoor je
alleenhet combo en op de
andere track hoor je het
combo met daarbij de
tweede en derde stem van
het trio.Fun
Favorites Peter
Kleine Schaars bewerkte
tien bekende nummers voor
drie spelers in diverse
genres en stijlen. Speel
demelodie met het combo
op de cd, of speel de
trioversie met de
tegenstemmen. Dat klinkt
al geweldig. Maar je kunt
ook met twee medespelers
een trio vormen en je
door het combo op de cd
laten begeleiden. Welke
variant je ook
kiest:bereid je voor op
een muzikale belevenis
die je publiek versteld
zal doen
staan!
Trio-Fle
x ist ein cleveres
Konzept, das verschiedene
Möglichkeiten bietet.
Neben einer live
eingespielten Demoversion
enthält die
beiliegende CD zwei
Mitspielversionen jedes
Stückes. Eine wird nur
von der Combo gespielt,
die andere von der Combo
zusammen mit der zweiten
und dritten Stimme des
Trios.Peter Kleine
Schaars arrangierte zehn
bekannte Titel für
drei Flöten in
verschiedenen Genres und
Musikstilen. Die Melodie
zur Combo auf der CD
gespielt oder die
Trioversion mit den
Gegenstimmen auf der CD -
das alleine klingt schon
wunderbar. Am
schönsten ist
allerdings, wenn sich
zwei Mitspieler finden
und dann im Trio zur
Combo-Begleitung auf der
CD musiziert werdenkann.
Ganz egal, für
welche Variante man sich
entscheidet: Es wird eine
musikalische Erfahrung,
die jedes Publikum
begeistert!
Fun
Favorites è una
pubblicazione basata sul
concetto di TRIO-FLEX; si
può quindi fare musica
con tre strumentisti, da
soli con il combo, o da
soli con il combo e le
parti del trio.
Guitar solo - Advanced SKU: DZ.DZ-4287 Composed by Francisco Braga. Arran...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4287
Composed by Francisco
Braga. Arranged by
Luciano Lima. Score. Les
Productions d'OZ #DZ
4287. Published by Les
Productions d'OZ
(DZ.DZ-4287).
ISBN
9782898522048.
Ant
nio Francisco Braga
(1868-1945) belongs to
the generation of
Brazilian composers of
the first republican
period, aesthetically
tied to romanticism,
alongside Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914), and Barrozo
Neto (1881-1941). Born in
Rio de Janeiro, on April
15th, 1868, he began his
musical studies at the
Asilo dos Meninos
Desvalidos, in 1876. In
1883, he enrolled at the
Imperial Conservatório
de Música where he
studied harmony and
counterpoint with Carlos
de Mesquita – a former
student of César Franck,
Durand, and Massenet –
and clarinet with
Antônio Luís de Moura.
Braga's first
compositions date from
this period: Sonho de
Dante (1885), Dolce far
niente (1886), the first
Valse Romantique for
piano (1886), among
others. In 1887, he
premiered his first
symphonic work,
Fantasia-Abertura. In
1890, being one of the
finalists in a
competition to choose the
new Brazilian national
anthem, Braga was awarded
a scholarship to study in
Europe, where he took
classes with Jules
Massenet at the Paris
Conservatory. During this
period, he wrote some of
his most important
symphonic works, Paysage,
Cauchemar, Episódio
Sinfônico, and Marabá
(which was performed by
Richard Strauss and the
Vienna Philharmonic in
1920, in Brazil). His
opera Jupyra is
considered one of the
greatest Brazilian
compositions of that
genre. Back in Brazil,
he was appointed
professor of
counterpoint, fugue, and
composition at the
Instituto Nacional de
Música, in 1902. There,
some of the finest
Brazilian composers
studied with him, like
Glauco Velásquez and
Lorenzo
Fernândez. Braga
wrote operas, symphonic
works, songs, sacred
music, two Masses, music
for piano, different
chamber formations, band,
and choir. He is the
author of many patriotic
hymns, the most popular
of which is Hino à
Bandeira (with lyrics by
Olavo Bilac). He explored
Brazilian nationalist
elements in some of his
works, as in Variações
sobre um Tema Brasileiro
and in the Trio for
violin, cello and piano,
whose third movement is
based on a lundu (a
musical genre and dance
of Afro-Brazilian
origin). In addition
to being a composer,
Braga was one of the most
active conductors of his
time, having been ahead
of three orchestras in
Rio de Janeiro: Instituto
Nacional de Música,
Sociedade de Concertos
Sinfônicos, and Theatro
Municipal. Braga
conducted the Brazilian
premiere of major
symphonic works such as
La Mer (Debussy), Pacific
231 (Honegger) besides
other numerous Brazilian
compositions. In 1938,
he retired from Instituto
Nacional de Música. He
passed away on March
14th, 1945, in Rio de
Janeiro. Unfortunately
, Francisco Braga never
wrote for the guitar.
However, over a century
ago his music had already
been incorporated to its
repertoire. According to
information found in
newspapers of the time,
Spanish guitarist
Josefina Robledo included
transcriptions of pieces
by Braga in her programs
when she performed in
Brazil: Gavota e Minuete
(from the melodrama
Contratador de
Diamantes), in 1919, in
São Paulo, and the
waltz-caprice Corrupio,
in 1921, in Rio de
Janeiro. The piano
score of Madrigal Pavane
was dedicated to Alexina
Leitão and published by
Casa Vieira Machado, in
1901. According to the
composer’s catalogue,
there are two other
versions of this piece:
strings orchestra (1901)
and quartet (which is
still in manuscript).
Dedicated to Braga’s
childhood friend José de
Souza Rocha, Timburibá
(the name of a Brazilian
tree) is a tango for
piano from 1886,
published by Narciso &
Arthur
Napoleão.
Antôni
o Francisco Braga
(1868-1945) appartient à
la génération des
compositeurs brésiliens
de la première période
républicaine,
esthétiquement liés au
romantisme, aux côtés
de Henrique Oswald
(1852-1931), Leopoldo
Miguez (1850-1902),
Glauco Velásquez
(1884-1914) , et Barrozo
Neto (1881-1941). Né à
Rio de Janeiro, le 15
avril 1868, il commence
ses études musicales à
l'Asilo dos Meninos
Desvalidos, en 1876. En
1883, il s'inscrit au
Imperial Conservatório
de Música où il étudie
l'harmonie et le
contrepoint avec Carlos
de Mesquita – ancien
élève de César Franck,
Durand et Massenet – et
clarinette avec Antônio
Luís de Moura. De cette
période datent les
premières compositions
de Braga : « Sonho de
Dante » (1885), « Dolce
far niente » (1886), la
première « Valse
Romantique » pour piano
(1886), entre
autres. En 1887, il
crée sa première œuvre
symphonique, «
Fantasia-Abertura ». En
1890, étant l'un des
finalistes d'un concours
pour choisir le nouvel
hymne national
brésilien, Braga obtient
une bourse pour étudier
en Europe, où il suit
les cours de Jules
Massenet au Conservatoire
de Paris. Durant cette
période, il écrit
certaines de ses œuvres
symphoniques les plus
importantes, « Paysage
», « Cauchemar », «
Episódio Sinfônico »
et « Marabá »
(interprétée par
Richard Strauss et la
Philharmonie de Vienne en
1920, au Brésil). Son
opéra « Jupyra » est
considéré comme l'une
des plus grandes
compositions
brésiliennes de ce
genre. De retour au
Brésil, il fut nommé
professeur de
contrepoint, de fugue et
de composition à
l'Instituto Nacional de
Música, en 1902. Là,
certains des meilleurs
compositeurs brésiliens
étudièrent avec lui,
comme Glauco Velásquez
et Lorenzo
Fernândez. Braga a
écrit des opéras, des
œuvres symphoniques, des
chansons, de la musique
sacrée, deux messes, de
la musique pour piano,
différentes formations
de chambre, un orchestre
et une chorale. Il est
l'auteur de nombreux
hymnes patriotiques, dont
le plus populaire est «
Hino à Bandeira » (avec
des paroles d'Olavo
Bilac). Il a exploré des
éléments nationalistes
brésiliens dans
certaines de ses œuvres,
comme dans « Variações
sobre um Tema Brasileiro
» et dans le Trio pour
violon, violoncelle et
piano, dont le troisième
mouvement est basé sur
un « lundu » (un genre
musical et une danse
afro-américaine).
Origine
brésilienne). En plus
d'être compositeur,
Braga a été l'un des
chefs d'orchestre les
plus actifs de son
époque, ayant dirigé
trois orchestres à Rio
de Janeiro : « Instituto
Nacional de Música »,
« Sociedade de Concertos
Sinfônicos » et «
Theatro Municipal ».
Braga a dirigé la
première brésilienne
d'œuvres symphoniques
majeures telles que « La
Mer » (Debussy), «
Pacific 231 » (Honegger)
ainsi que de nombreuses
autres compositions
brésiliennes. En
1938, il prend sa
retraite de l'Instituto
Nacional de Música. Il
est décédé le 14 mars
1945 à Rio de
Janeiro. Malheureuseme
nt, Francisco Braga n’a
jamais écrit pour la
guitare. Cependant, il y
a plus d'un siècle, sa
musique était déjà
incorporée à son
répertoire. Selon des
informations trouvées
dans les journaux de
l'époque, la guitariste
espagnole Josefina
Robledo incluait des
transcriptions de pièces
de Braga dans ses
programmes lorsqu'elle se
produisait au Brésil :
« Gavota e Minuete »
(du mélodrame «
Contratador de Diamantes
»), en 1919, à São
Paulo, et la
valse-caprice « Corrupio
», en 1921, à Rio de
Janeiro. La partition
pour piano de « Madrigal
Pavane » a été
dédiée à Alexina
Leitão et publiée par
« Casa Vieira Machado
», en 1901. Selon le
catalogue du compositeur,
il existe deux autres
versions de cette pièce
: orchestre à cordes
(1901) et quatuor (qui
est encore manuscrit).
Dédié à José de Souza
Rocha, ami d'enfance de
Braga, « Timburibá »
(nom d'un arbre
brésilien) est un tango
pour piano de 1886,
publié par « Narciso &
Arthur Napoleão
». Envoyer des
commentaires Panneaux
latéraux HistoriqueEnregistrées.
Composed by Giuseppe Cambini (1746-1825). Edited by Michael Elphinstone. For Flu...(+)
Composed by Giuseppe
Cambini (1746-1825).
Edited by Michael
Elphinstone. For Flute,
Oboe, Bassoon. Full score
and parts. 34 3x16(xiii)
pages. Published by
Edition HH Music
Publishers
String Trio (V1, V2, Cello) and continuo SKU: HH.HH587-FSP Composed by Fr...(+)
String Trio (V1, V2,
Cello) and continuo
SKU: HH.HH587-FSP
Composed by Frederich
Ernest Fisher. Edited by
Michael Talbot. Full
score and parts. Edition
HH Music Publishers
#HH587-FSP. Published by
Edition HH Music
Publishers
(HH.HH587-FSP).
ISBN
9790708213024.
Fish
er’s Op. 2 set is
externally very similar
to its Op. 1 predecessor
in its combinations of
movement types and
musical language, but now
has an added spaciousness
and audacity born of
greater maturity.
Everything is wonderfully
blended: the fugal
movements are melodious;
the ‘singing
allegros’ are
harmonically rich and
contrapuntally charged;
the dance-like movements,
full of happy surprises,
fizz and purr. Op. 2
appeared in print only in
the year following
Fisher’s death.
Surprisingly in the
circumstances, the level
of accuracy in the
engraved parts matched
the high standard set by
Op. 1. This would have
gratified the composer,
who was so evidently a
perfectionist in all he
undertook.
By Johannes Brahms (1833-1897). Edited by Christopher Hogwood. This edition: Urt...(+)
By Johannes Brahms
(1833-1897). Edited by
Christopher Hogwood. This
edition: Urtext edition.
Stapled. Score with
parts. Language:
German/English. Published
by Baerenreiter Verlag
Piano Trio: piano, violon, violoncelle [Partition] G. Henle
Composed by Johannes Brahms (1833-1897), edited by Ernst Herttrich. Set of perfo...(+)
Composed by Johannes
Brahms (1833-1897),
edited by Ernst
Herttrich. Set of
performance parts and
collection for Piano
Trios (piano, violin, and
cello). With introductory
text and performance
notes. Urtext
edition-paper bound. 302
pages. Published by G.
Henle.
Flute Trio SKU: PR.ZM23590 Composed by Ludwig van Beethoven. Floete zwisc...(+)
Flute Trio
SKU:
PR.ZM23590
Composed
by Ludwig van Beethoven.
Floete zwischen Rokoko
und Romantik. With
Standard notation.
Zimmermann #ZM23590.
Published by Zimmermann
(PR.ZM23590).
Trio in C Major, Op. 87 (Two Violins and Viola Set of Parts). By Ludwig van Beet...(+)
Trio in C Major, Op. 87
(Two Violins and Viola
Set of Parts). By Ludwig
van Beethoven
(1770-1827). Edited by
Egon Voss. Henle Music
Folios. Softcover. G.
Henle #HN948. Published
by G. Henle
Composed by Johannes Brahms (1833-1897), edited by Gerhard Schumann. Collection ...(+)
Composed by Johannes
Brahms (1833-1897),
edited by Gerhard
Schumann. Collection and
set of performance parts
for violin (clarinet,
viola), cello (horn,
viola) and piano. With
bowings and fingerings.
Op.8, Op.40, Op.87,
Op.101, Op.114. 298
pages. Published by C.F.
Peters.
Violin, Cello and Piano SKU: BT.PWM51600029 National Edition. Comp...(+)
Violin, Cello and Piano
SKU:
BT.PWM51600029
National Edition.
Composed by Frederic
Chopin. Chopin National
Edition. Classical. Book
Only. Polskie Wydawnictwo
Muzyczne #PWM51600029.
Published by Polskie
Wydawnictwo Muzyczne
(BT.PWM51600029).
Tom zawiera g
osy skrzypiec, altówki
i wiolonczeli.
Opracowanie g osów
smyczkowych: Krzysztof
Jakowicz, Roman Jab o
ski. Wspó praca:
Marceli Szczerek
(altówka).