PARTITIONS GRATUITES :
- Worldly World

Composed by Johann Sebastian Bach (1685-1750), edited by Riemenschneider. For piano. Format: piano solo book. With piano reduction, introductory text, instructional text, lyrics and performance notes. Baroque. 184 pages. 9x12 inches. Published by Schirmer

By Franz Liszt. (DVD). Performance video. DVD . Published by Devine Entertainment Corporation.

SKU: ST.B889

Composed by Gillian R Warson. Books & Study Scores. Gillian R. Warson. Book. Stainer & Bell Ltd. #B889. Published by Stainer & Bell Ltd. (ST.B889).

ISBN 9780852498897.

No contemporary hymnwriter has participated as centrally as Fred Kaan in the events shaping the life of the Christian churches in the past four decades. From childhood under anti-Nazi occupation in Holland to poet of the Christian anti-war movement, from British Congregationalist pastor writing hymns to send his Sunday parish into their worldly life, to Geneva-based ecumenical officer helping Asian Christians create an English version for their indigenous new songs of faith, to lyricist for the Hannover 2000 World's Fair. We must all be grateful to author Gillian R. Warson, who has taken up this fascinating story, and given us a book that is a must-read for all of us who care about Christian life and witness in our global, inter-faith world.

[R . Gerald Hobbs. Professor of Church History & Music, Vancouver School of Theology]

Woodwind quintet

SKU: P2.10015

Composed by Reed A. Hanna. Chamber music, 20th century, Woodwind Quintet. Published by Potenza Music (P2.10015).

Composer Reed A. Hanna writes, Red Lights! is a coming-of-age story about a young man and his attempt to find himself. In each of the three movements, the listener follows the young man on his journey through the exotic world of the red light district, which may at first seem to have an allure of excitement and novelty, but might end up being a mysterious realm of plausible scandal and ill-repute. The young man, blinded by his voracious desire to experience the unknown, encounters many things in his journey that are 'eye-opening' (to say the least). This eye-opening impression is bestowed on him most notably through his encounter with 'Madame', a character who offers the more worldly perspective that is the object of the young man's desire - or so he thinks..

Books and Journals

SKU: UT.QC-4

Edited by Roberto Illiano and Rohan H. Stewart-MacDonald. Paperback (Soft Cover). Quaderni Clementiani. Essays by Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanova, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDo. Classical. Books and Journals. 568 pages. Ut Orpheus #QC 4. Published by Ut Orpheus (UT.QC-4).

ISBN 9788881094783. 6.5 x 9.5 inches.

Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott


The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys.
The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition.
This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.

(for Two Amplified Pianos) Composed by George Crumb (1929-). For piano duet (2 pianos, 4 hands). Two copies needed for performance. Format: piano duet book. With standard notation and performance notes. 20th century. 7 pages. 17x11 inches. Duration 6m. Published by C.F. Peters.