SKU: AP.36-M312091
ISBN 9798892701907. UPC: 659359604232. English.
Camille Saint-Saëns (1835-1921), while most well-known for his chamber and orchestral works, also composed much for the organ, having himself been appointed organist at both Saint Merri (1853-1857) and Madeleine (1857-1877), the latter post he held for 20 years. He is one of the 19th century's most important composers and performers for the organ, counted together with other greats such as Gigout, Guilmant, and Widor. Saint-Saëns wrote the beautiful ÉLÉVATION, OU COMMUNION in E Major for organ or harmonium in 1859.
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SKU: AP.36-A128101
ISBN 9798892701303. UPC: 659359867675. English.
Ludwig van Beethoven (1770-1827) completed his Piano Concerto No. 3 in C minor in 1803, not long after writing the famous letter to his brothers, the Heiligenstadt Testament, in which he lamented his increasing deafness. He gave the first performance of the piece, as soloist, on April 5 in a public benefit concert at the Theater an der Wien in Vienna. The opening melody in the first movement bears striking similarity to the first theme heard in Mozart's 24th piano concerto. As a whole, the piece provides an essential link between the Mozartean charm of the two earlier concertos and the more idiosyncratic work found in his middle period. Instrumentation: 2.2.2.2: 2.2.0.0: Timp: Str (4-4-3-3-3 in set): Solo Piano.
SKU: AP.36-10550130
ISBN 9781633612358. UPC: 659359910739. English.
Little Fiesta is a fun, catchy, and short piece for solo tuba and piano accompaniment. It consists of a polka-tango, a trio, and a recapitulation of the initial polka-tango theme. Within the trio, there is a beautiful melody which utilizes alternating fast and slow tempos, making this an excellent piece for beginner-intermediate student study and recital performance.
SKU: AP.36-M334891
ISBN 9798892702157. UPC: 659359663536. English.
Camille Saint-Saëns (1835-1921), while most well-known for his chamber and orchestral works, also composed much for the organ, having himself been appointed organist at both Saint Merri (1853-1857) and Madeleine (1857-1877), the latter post he held for 20 years. He is one of the 19th century's most important composers and performers for the organ, counted together with other greats such as Gigout, Guilmant, and Widor. Saint-Saëns wrote BÉNÉDICTION NUPTIALE in F Major for organ in 1859.
SKU: AP.36-A128148
ISBN 9798892702294. UPC: 659359602160. English.
SKU: AP.36-A128102
UPC: 659359919480. English.
SKU: AP.36-A164002
UPC: 659359515002. English.
Franz Liszt (1811-1886) started work on his CONCERTO FOR PIANO AND ORCHESTRA No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition.
SKU: AP.36-A164001
ISBN 9798892703208. UPC: 659359825644. English.
SKU: AP.36-A196101
ISBN 9798892702676. UPC: 659359636882. English.
Following the death of his mother in 1888, a depressed Camille Saint-Saëns (1835-1921) decided to take a trip to his favorite destination, North Africa, travelling to Ceylon, then to Alexandria and Cairo over the period of several months. While he was in Egypt, he composed his fantasia for piano and orchestra, AFRICA, Op. 89. Dedicated to pianist Marie-Aimée Roger-Miclos, it premiered on October 25, 1891, with the dedicatee playing the solo, and the work was an immediate success both at the premiere and after, which pleased Saint-Saëns a great deal to the point that he considered AFRICA a signature work. Borrowing themes and techniques from North African music, the fantasy draws on material he heard in Algeria and Egypt, offering an exotic sound to those listening in the late 19th and early 20th centuries. This concertante is notable also as one of the first works to be recorded with the composer as soloist, with a surviving 1904 recording with Saint-Saëns at the piano. This colorful piece continues to be performed regularly today. Reprint edition. Instrumentation: 2.2.2.2: 2.0+2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): Solo Piano.
SKU: AP.36-60401001
ISBN 9798888529690. UPC: 659359658211. English.
Camille Saint-Saëns (1835-1921) wrote this TARANTELLE (TARANTELLA), Op. 6 for flute, clarinet, and piano in 1857, and the salon piece showcases the composer's mature style despite his young age, which is not a surprise given his child prodigy status. The zesty work won universal acclaim largely due to a generous and clever ruse from the retired Rossini. Rossini, holding a party in his Parisian solon, invited Saint-Saëns to premiere the piece on April 28, 1857 with Louis Dorus on flute, Adolphe Leroy playing clarinet, and Saint-Saëns at the piano. Rossini pretended that he had written the piece and forced the young composer to sit next to him as the guests all showered praise on Rossini for the new work, only admitting to the party that Saint-Saëns had actually written it when all of the praise had already been given. Saint-Saëns orchestrated the work himself in 1879.
SKU: AP.36-A932890
UPC: 676737618148. English.
This edition of EL AMOR BRUJO (LOVE, THE SORCERER) is the 1924 revision of the 1915 version by Spanish composer Manuel de Falla (1876 - 1946). Originally a collaboration between de Falla, the flamenco dancer Pastora Imperio, and librettist María Martínez Sierra, the ballet follows Candela, a recent widow who attempts to dispel her abusive late husband's ghost so she can remarry. The original version of the ballet was not well-received, so de Falla dialed back the Roma cultural elements prominent in the original version and expanded the size of the orchestra to appeal to contemporary audiences. The 1924 version premiered in Paris on May 1925. Reprint Edition. Instrumentation: 2(2nd dPicc).1(dEH).2.1: 2.2.0.0: Timp.Perc(1): Pno: Str (4-4-3-3-3 in set): Contralto Voice.
SKU: AP.36-A196102
UPC: 659359795107. English.
SKU: AP.36-S014201
ISBN 9781608740055. UPC: 659359973819. English.
Franz Liszt (1811-1886) started work on his Concerto for Piano and Orchestra No. 2 in A major, S. 125, in 1839 and 1840. Putting it through a series of revisions, he dedicated the concerto to his student Hans von Bronsart von Schellendorf. The composer conducted the first performance in Weimar on January 7, 1857 with Bronsart as soloist. Liszt completed a 4th revision in 1861. Less virtuosic than his first piano concerto, it is played without break and serves as a masterful example of thematic transformation. Instrumentation: 3(3rd dPicc).2.2.2: 2.2.3.1: Timp.Perc(1-2): Str (9-8-7-6-5 in set): Solo Piano. Reprint edition. Study score.
SKU: KJ.GP485
ISBN 9780849799204.
Progressive Piano Repertoire, Volume Four, is a collection of late intermediate piano pieces from the 18th to 20th centuries arranged in relative order of difficulty. It is specifically designed to be used after Progressive Piano Repertoire, Volume Three (GP484.) After completing Volume Four, students will be prepared for Level Eight of Keith Snell�s Piano Repertoire (Baroque and Classical, Romantic and 20th Century) or Essential Piano Repertoire series.
SKU: AP.36-60783002
ISBN 9798888528655. UPC: 659359997112. English.
The piano trio version of LA MUSE ET LE POÈTE, Op. 132 was written by Camille Saint-Saëns (1835-1921) in 1910 during a vacation to North Africa, and that version premiered at Queen's Hall on June 7, 1910, with Eugene Ysaÿe on violin, Jospeh Hollmann on cello, and the composer at the piano. Saint-Saëns transcribed the version for violin, cello and orchestra that same year, and the same two string players premiered that version on October 20 at the Sarah Bernhardt Theater in Paris under Fernand Le Borne. Despite the title (which was later added by the publisher to make it more marketable), no program is intended for the work and neither instrument represents either the muse or the poet. Saint-Saëns himself referred to the piece as a conversation between the two instruments instead of a debate between two virtuosos.
SKU: HL.51481640
UPC: 196288215868. 8.25x11.75x0.071 inches.
Gounod had no qualms about arranging well-known works by earlier masters after his own fashion. Thus in 1852 he added a melody with its own operatic climax to the famous arpeggios of the C-major Prelude BWV 846 from Bach's Well-Tempered Clavier. He first published instrumental versions of it under the title “Méditation”, then tried fitting various texts to the melody until in 1859 he arrived at the definitive vocal version using the text of the Ave Maria. Already by the 1890s it was claimed that “[we] have heard this sweet melody innumerable times from the best lady singers”, and its popularity has continued to the present day. Reason enough, then, for Henle Verlag to publish an Urtext edition of this worldwide hit, based on the sources and with appropriate critical commentary. In 1859, at the same time as the original edition for high voice, editions for middle and low voice, presumably commissioned by the publishers, were also issued. Following this model, the Henle Urtext edition of “Ave Maria” is also offered in two transpositions for the lower register.
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SKU: HL.1122017
ISBN 9781705181744. UPC: 196288108986.
A Good Understanding (2005) was written for Tim Brown and the choir of Clare College, Cambridge with the generous cooperation of John Scott and the Boys of Saint Thomas Church Fifth Avenue. A Good Understanding, with texts culled from two psalms, is designed to share a program with Rutter's expansive and expressive Mass of the Children. The piece unfolds episodically short choral phrases alternating with longer instrumental interludes. The first half of the text is typical psaltry praise-making: outlining agreements, explaining the rules; the music is, accordingly, severe but practical. The second half of the text begins, The fear of the Lord is the beginning of wisdom/a good understanding have all they that do his commandments.?I find the idea of a good understanding?to be an especially exciting reward for following the rules; the boys sing pulsed syllables and long descants to celebrate the covenant while the choir sings a lilting, repetitive refrain. (Psalm 111, 10). - Nico Muhly.
SKU: KJ.WP1210
ISBN 9780849799075.
Piano students are sure to be engaged by these nine adventurous and highly diverse solos. Common meters and key signatures are included. Playful pieces in 6/8 time include Happy-Go-Lucky and Folklore and Fairytales. Two ballads (Reminiscing and Floating on the Breeze) contrast with a graceful waltz (Dancing Under the Stars) and the impressionistic Sparkling Snow. A lively show- piece (The Wild Ride) and two syncopated works reminiscent of ragtime (Spicy! and Uptown) round out this attractive set.
SKU: KJ.GP692
ISBN 9780849764271.
This course provides a solid foundation in reading notes, intervals, and rhythms, as well as a comprehensive understanding of scales, chords, and key signatures. With an appealing variety of musical styles and the support of online resources, students will become proficient up to an early intermediate level — and prepared for a lifetime of enjoyment at the piano!A new piano course by Keith Snell designed especially for adults! This new course is designed with adult capabilities in mind. It will navigate students through the process of becoming musically literate and technically proficient, with the ultimate goal of achieving the competence to play whatever music they like. The course is comprised of two books, divided into 10 units in each book. Each unit consists of three sections: • Lessons for introducing concepts; • Theory to reinforce concepts, and gain a deeper understanding of music; • Technic for developing the coordination and fluency needed to play well. Through a variety of musical styles, students will learn about scales, chords, and key signatures, and how these elements are used as the building blocks of music. Combined with a solid foundation in reading notes and rhythms, the skills acquired from this course are fully transferable to many types of music and music making, and will ensure a lifetime of enjoyment at the piano. For added enjoyment and instruction each book includes FREE access to online resources such as audio accompaniments, YouTube demonstration videos, answer keys, and more!
SKU: KJ.WP1203
ISBN 9780849799006.
Much of Jeanine Yeager�s original music allows sensitive performers to richly express experiences and feelings where words fall short. This is equally true of the nine diverse piano solos found in this collection. Represented styles including 1. Intensely personal (Of Things Not Spoken, Remember Me, Intense Journey, Longing), 2. Introspective works (My Space, A Gentler Time, Just a Song!) and 3. Showy, energetic �barn-burners� (Lighten Up!, and Running Wild) for contrast.
SKU: GI.G-11102
English.
SKU: BR.OB-32093-11
ISBN 9790004351826. 10 x 12.5 inches.
The cantata Es steh Gott auf is intended for Easter. The editor was able to identify a poem by Christian Weise (1642–1708), which has received little attention to date, as the source text. Kuhnau was in close contact with Weise in Zittau, so the cantata could have been written in direct chronological connection with the printing of the original text in 1682. However, the earliest date of performance noted on the title page of the cantata is only 1703 in Grimma, thus already in his time as Thomaskantor (from 1701). On the other hand, no further church music contributions are documented from this early period of his tenure, and such a large gap to the origin of the text seems unlikely. The cantata is well suited for use in church services because of its short length and not-too-large instrumentation. Through the transmission in the form of a set of parts, the participation of ripieno singers, which can be taken over by a choir, is also proven.
SKU: MB.31086
ISBN 9781513477763. 8.75X11.75 inches.
We all have experienced devotion at varying levels of intensity within our lives. Sometimes it is temporary, but in other cases it is lasting and perhaps even permanent.Devotion can be directed toward an idea, a purpose, plan, pet or person, a concept, a sport or hobby, a philosophy, or a feeling or relationship, but we all have known it in some measure.It can be so pathetically shallow as devotion to an object or possession, but its highest expression is found in devotion to the most noble of lasting and eternal values and in pursuit of knowing the awesome Creator of the universe- - - God himself. Hopefully, these piano pieces will inspire a greater measure of devotion from each of us.
SKU: AP.36-A932801
ISBN 9781638879886. UPC: 676737912154. English.
SKU: AP.36-60760005
ISBN 9798888521670. UPC: 676737910259. English.
Hungarian composer, pianist and ethnomusicologist Béla Bartók (1881-1945) wrote this collection of five fairly difficult piano pieces in 1926, his 'piano year.' Although often referred to as a suite, IM FREIEN (OUT OF DOORS) appears to have not been thought of as a suite by Bartók himself. The work is a rarity also in that Bartók's works did not commonly use programmatic titles: 1. With Drums and Pipes, 2. Barcarolla, 3. Musettes, 4. Musiques Nocturnes, 5. The Chase.
SKU: AP.36-A816701
ISBN 9798892703253. UPC: 659359825590. English.
As an inexhaustible proponent of Beethoven's life and work, Franz Liszt (1811-1886) produced a number of arrangements and transcriptions in homage to the great composer. His FANTASIE ÜBER MOTIVEN AUS BEETHOVENS RUINEN VON ATHEN, S. 122 (FANTASY ON BEETHOVEN'S RUINS OF ATHENS) for piano and orchestra is one of three existing versions, all of which he dedicated to Nikolay Rubinstein. The work on which the piece is based, incidental music for a play by August von Kotzebue, was written in 1811 in Pest, Hungary for the dedication of a new theater. The first performance of the FANTASY took place, also in Pest, on June 1, 1853. Instrumentation: 2+Picc.2.2.2: 2.2.3.0: Timp.Perc(2-3) Str (9-8-7-6-5 in set): Solo Pno in Score. Reprint edition.
SKU: CA.1025049
ISBN 9790007329808. Key: D major. English.
“Hail! bright Cecilia, hail to thee. Great patroness of us and harmony!” – this exclamation opens the final chorus of Henry Purcell’s eponymous Ode to St. Cecilia from 1692. A paean to the power of music, the work is one of the undoubted masterpieces of English choral odes of that time. A resolution of the Musical Society of London in 1683 launched the great tradition of annual celebrations for St. Cecilia’s Day (November 22), featuring a church service followed by performances of specially composed music. Over the years, Purcell wrote several odes for the occasion, of which this example from 1692 is one of the most popular. Four decades later, Handel would also contribute to the celebrations with his Alexander’s Feast, HWV 75 (Carus 55.075), and his Ode for St. Cecilia’s Day, HWV 76 (Carus 55.076).Purcell’s magnificent music, which features a huge range of tonal color and form, offers delightful parts for a variety of solo, ensemble, and choral settings. With its richly expressive palette, the Ode to St. Cecilia is an extremely rewarding work by the “Orpheus Britannicus”, as Purcell was admiringly called by contemporaries.- Festive, rousing ode to music- Highlight of the choral ode genre in the 17th century. Score and part available separately - see item CA.1025000.
SKU: CA.1025014
ISBN 9790007329792. Key: D major. English.
SKU: KJ.GP691
ISBN 9780849764240.
SKU: AP.36-A816702
UPC: 659359502255. English.