| Today's Hits Piano, Voix et Guitare Hal Leonard
30 Streaming Favorites. By Various. Piano/Vocal/Guitar Songbook. Pop. Softcove...(+)
30 Streaming Favorites.
By
Various.
Piano/Vocal/Guitar
Songbook. Pop. Softcover.
Duration 330 seconds.
Published by Hal Leonard
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sting Paroles et Accords [Partition] Hal Leonard
By Sting. Guitar Chord Songbook. Softcover. 136 pages. Published by Hal Leonard...(+)
By Sting. Guitar Chord
Songbook. Softcover. 136
pages. Published by Hal
Leonard.
$27.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata XXIV (Dresden nr.4) for Solo Guitar Guitare Metropolis Music Publishers
Guitar Solo SKU: IS.G6765EM Composed by Silvio Leopold Weiss. Arranged by...(+)
Guitar Solo SKU:
IS.G6765EM Composed
by Silvio Leopold Weiss.
Arranged by Ben Beuming.
Plucked - Guitar.
Metropolis Music
Publishers #G6765EM.
Published by Metropolis
Music Publishers
(IS.G6765EM). ISBN
9790365067657. This
sonata (WeissSW No. 4,
Dresden) is one of a new
series of eight sonatas
by Silvius Leopold Weiss
arranged for the first
time for guitar and
published by Metropolis
Music. Sonata XXIV comes
from a set of tablature
manuscript volumes in the
Sächsisches
Landesbibliothek in
Dresden (Ms. Mus.
2841-â?V-â?1).
There are five volumes
with a total of 34
sonatas of Weiss for solo
lute. The sonatas are
ordered by key and
further sorted by size or
complexity. Sonata XXIV
comes from Weissâ??s
late â??productiveâ??
period, after 1730. The
Sonata has six movements:
Prelude, Ouverture
(including allegro and
largo), Courante,
Bourée, Menuet and
Gavotte. There is another
copy of this Sonata,
known as Parte (or
Partita) no. 11, in a
London Manuscript
(British Library Ms. Add.
30387). The London
Manuscript seems to be
incomplete. It does not
include a Menuet and a
Gavotte. The Sonata in
this Edition is based on
the Dresden Manuscript.
However, both the Prelude
and the Bourée are
coming from the London
copy. The Dresden Prelude
is regarded as spurious,
and the London Bourée
is more lively and in
balance with the other
movements. In a few
passages of the Ouverture
and the Courante I have
made some adaptions on
the basis of the London
manuscript, to create the
best of the two versions.
In the Ouverture I have
omitted the repeat
indications. There are
two Menuets in the
Dresden Sonata. One has
been crossed in the
original manuscript with
the accompanying note:
ist nicht von Mr Weis.
The other one has been
added later, probably by
the compiler of the
volumes. The original
London Prelude of this
particular Sonata is
composed in a
â??simplifiedâ?? style;
a common practice for
adding preludes to lute
sonatas in the 18th
century. I have added the
original example to my
transcribed version.
Perhaps it invites others
to make their own
arrangement. Originally,
the Sonata is written in
B flat major, a key often
used by Weiss as it is
appropriate for playing
the lute. With the
guitar, however, the key
is rather awkward. For
ease and effectiveness of
playing, I have
transposed the Sonata a
minor third lower to G
major. To create more
concordance with the
baroque tuning of the
lute, the G string is
lowered by a semitone to
F sharp. I suggest using
a capodastro to achieve
the original pitch. Based
on the present standard
of A at 440 Hertz, the
capo should be placed at
the 3rd fret. However,
during Weissâ??s
lifetime, it was more
common in many parts of
Germany to use a standard
of A at 415 Hertz -â?
a semitone lower. So, to
hear the pitch heard by
Weiss and his
contemporaries, the capo
should then be positioned
at the 2nd fret. $22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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