Format : Score and Parts
SKU: HL.49006193
ISBN 9790001067331. 9.0x12.0x0.336 inches.
For many people, Kurt Godel (1906-1978) is the most important logician of the 20th century. His epistemological theorem: 'In any sufficiently powerful logical system statements can be formulated which can neither be proved nor disproved within the system, unless possibly the system itself is inconsistent' was the central issue of Hans Magnus Enzensberger's poem Hommage a Godel which served as subject matter for the Second Violin Concerto of Hans Werner Henze.3 (auch Picc.) * 1 * Engl. Hr. * 2 (1. mit Kontaktmikr.) * Bassklar. * 2 - 2 * 2 * 1 (oder Wagnertb.) * 0 - S. ( I: Vibr. * Marimbula [oder Psalter] * 3 Gl.; II: 3 Tomt. * Log drums * Woodbl. * Guiro * hg. Bambusstabe; III: 3 hg. Beck. * gr. Tr. [mit Ped.] * 8 Boo-bams [oder Marimba mit Dampfer]; IV: 3 Tamt. * Dobaci * Flex. * 2 Mar. * hg. Donnerblech * Rohrengl.) (4 Spieler) - Git. (mit Kontaktmikr.) * Mand. (mit Kontaktmikr.) * Hfe. * Klav. * prap. Klav. (mit Kontaktmikr.) - Str. (0 * 0 * 4 * 3 * 2).
SKU: BA.BA10578-01
ISBN 9790260109056. 33 x 26.2 cm inches. Preface: Brezina, Aleš.
The two concertos contained in this volume represent two different stylistic periods within Martinu's work. TheConcerto da Camera(1941) is the last of his works inspired by the Baroque concerto grosso. TheRhapsody-Concerto, composed eleven years later (1952), was the first work of his so-calledfantasia period, marked by a more open sense of form and an expansion of tonality. The edition of theConcerto da Camerashows, for the first time, the extent of Martinu's modifications to the work since its composition and publication, particularly to the solo violin part. The edition of theRhapsody-Concertotakes into account previously unknown contemporary performance materials which have recently been discovered.This volume of the Bohuslav Martinu Complete Edition (BMCE) is based on a wealth of text and music sources, in particular autographs and contemporary copies that were recognized by the composer and early performers of the works, as well as some first editions produced under the supervision of Martinu.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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
SKU: FH.VA2
ISBN 978-1-55440-564-0.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.Concertos, Concertinas, and Fantasias:Concerto in E Minor, op. 35 - Rieding, Oskar- First MovementConcertino in the Style of Antonio Vivaldi, op. 15 - Kuechler, Ferdinand- Third MovementConcertino No. 4 in C Major, op. 22 - Breval, Jean-Baptiste- Third Movement: FinaleThe Infant Paganini: Fantasia - Mollenhauer, EduardBaroque Repertoire:Chaconne - Handel, George Frideric arr. Peter HeilbutSarabande - Handel, George Frideric arr. Christine GaleGiguetta - Bach, Johann Sebastian arr. Constance Seely-BrownOmbra mai fu (Never Was a Shade), from Serse - Handel, George Frideric arr. Gaston BorchPolonaise, BWV Anh. 119 - attr. Bach, Johann Sebastian arr. Jason NobleTwo Dances - Hasse, Johann Adolf arr. Johannes PalaschkoConcert Repertoire:Andante grazioso - Mozart, Wolfgang Amadeus arr. Jason Gray and Katharine RapoportWiegenlied (Lullaby) - Wolf, HugoDark Mood - Archer, VioletOn the Road - Teehan, RobRigadoon - Jacon, GordonMarch, from The Nutcracker - Tchaikovsky, Pyotr Il'yich arr. Jason NobleHen and Rooster - Konicek, Zdenek.
SKU: FH.VA4
ISBN 978-1-55440-566-4.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.Concertos, Concertinos, Airs Varies, and Fantasias:Concerto in G Major, TWV 51:G9 - Telemann, Georg Philipp- First Movement- Second MovementConcertino in D Minor, op. 81 - Beer, Leopold J.- Third Movement: RondoAir varie on a Theme by Rossini, op. 89, no. 2 - Dancla, CharlesThe Boy Paganini: Fantasia - Mollenhauer, EduardSonatas and Sonatinas:Sonata in A Minor, op. 2, no. 9 - Valentine, Robert arr. Harold BirstonSonata in C Major - attr. Handel, George Frideric- First Movement- Second MovementSonatina in D Minor, WoO 43a - Beethoven, Ludwig vanConcert Repertoire:Berceuse - Bridge, FrankCatch Me if You Can! - Donkin, ChristineL'Americaine - Marais, Marin arr. Marcelle SoulageOrientale, op. 50, no. 9 - Cui, CesarElfentanz - Jenkinson, EzraInterlude, op. 19, no. 2 - Chausson, Ernest.
SKU: BT.DHP-1175760-010
English-German-French-Dutch.
Pfarreimusik Wünnewil-Flamatt requested a new work to be commissioned for the celebration of its 111th anniversary. They asked the composer to create a piece lasting approximately 11 minutes and 11 seconds. The band asked Jan Van der Roost to reflect on a number of aspects from the past, as well as the current state of affairs. The piece contains lyrical movements, cheerful and jubilant parts, as well as light introverted sequences. Fantasia Helvetica is a varied concert piece with a number of challenging passages, but is also fun to play!Pfarreimusik Wünnewil-Flamatt uit Zwitserland gaf de opdracht voor dit werk om haar 111-jarig bestaan gestalte te geven en verzocht de componist om er een ongeveer elf minuten en elf seconden durende compositie van te maken. Verder vroeg het orkest Jan Van der Roost om een aantal aspecten uit het verleden en de huidige samenstelling (als bloeiende vereniging met veel jeugd) weer te geven. Het werk bevat lyrische momenten en opgewekte tot zelfs uitbundige delen, maar ook ingetogen passages. Al met al is Fantasia Helvetica een afwisselend en welluidend concertwerk met een paar uitdagende passages, maar het draait vooral om het speelplezier!Die Pfarreimusik Wünnewil-Flamatt gab aus Anlass ihres 111-jährigen Bestehens ein neues Werk in Auftrag. Sie baten den Komponisten, ein Stück zu komponieren, das etwa elf Minuten und elf Sekunden dauert. Jan Van der Roost sollte außerdem einige Aspekte aus der Geschichte des Orchesters sowie aktuelle Ereignisse darstellen. Das Stück enthält lyrische Passagen, fröhliche und triumphierende Abschnitte sowie leicht introvertierte Sequenzen. Fantasia Helvetica ist ein abwechslungsreiches Konzertstück mit einigen anspruchsvollen Passagen, aber es macht vor allem Spaß, es zu spielen!La Pfarreimusik Wünnewil-Flamatt désirait commander une nouvelle œuvre pour la célébration de son 111e anniversaire et a invité le compositeur créer un morceau d’une durée approximative d’onze minutes et onze secondes. L’ensemble a souhaité que Jan Van der Roost reflète sur plusieurs aspects de son passé ainsi que sur ses affaires courantes. L’œuvre contient des mouvements lyriques, des moments joyeux et jubilatoires, et des séquences plus légères et introverties. Fantasia Helvetica est une œuvre de concert variée dont les passages exigeants ne mettent pas un frein la joie de jouer !Pfarreimusik Wünnewil-Flamatt ha voluto commissionare una nuova opera per celebrare il suo 111 ° anniversario, chiedendo al compositore di creare un pezzo della durata di circa 11 minuti e 11 secondi. La banda ha voluto che Jan Van der Roost riflettesse su una serie di aspetti del passato, oltre allo stato attuale delle cose. Il brano contiene movimenti lirici, parti allegre e festose, nonché sequenze leggere introverse. Fantasia Helvetica è un variegato pezzo da concerto con una serie di passaggi impegnativi, ma è anche divertente da eseguire!
SKU: BT.DHP-1175760-140
SKU: AP.36-A219801
UPC: 660355013270. English.
Captivated by the playing of famed Franz Liszt pupil Eugen d'Albert during the 1883-1884 concert season, Peter Ilyitch Tchaikovsky (1840-1893) began work on Concert Fantasia. After an arduous composition process, on which the composer himself remarked, I stopped playing around and came up with something... but it still sounded too poor and unoriginal... Tchaikovsky laid aside Concert Fantasia and began sketching out his Third Orchestral Suite. He eventually returned to and finished Concert Fantasia in June of 1884, with the surprising addition of the second movement Contrastes. Originally composed as the first movement of his Third Orchestral Suite but ultimately rejected, Tchaikovsky reservedly added it as a second movement to Concert Fantasia. While recognizing and wishing to use the movement for its own merits, he still harbored doubts and added an alternative solo cadenza to the end of the first movement in case Contrastes was to be omitted. The Russian Musical Society under the direction of Max Erdmannsdörfer premiered the work in 1855. In the two decades after its debut, Concert Fantasia received many performances but disappeared from the repertoire until it underwent a revival in the latter part of the 20th century. Instrumentation: 3.2.2.2: 4.2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): [Solo Piano].
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.1-ADV8608
ISBN 9783892218388. UPC: 805095086089. English.
The first movement of the dance suite Concerto for Clarinets, Fantasia features various soloists with clarinet choir. The B-flat clarinet solo showcases that instrument's vigor and suppleness. Arranged for B-flat clarinet solo and clarinet choir.
SKU: AP.6-401480
ISBN 9780486401485. English.
This volume contains two of Beethoven's most unusual, highly innovative and original works: the Concerto in C Major, Op. 56, for piano, violin, cello and orchestra; and the Fantasia in C Minor, Op. 80, for piano, chorus and orchestra.
SKU: BT.CMP-1223-07-030
A4 (210X297) inches. English.
This work for Tuba and Brass Band was commissioned by and written for internationally renowned tuba soloist Steve Sykes. The Tuba plays four notes (F, Bb, G, C) during the opening. All the themes and much of the harmonic structure are based on these fours notes and their permutations. The soloist receives ample opportunity to showcase his or her technical prowess and expressive capabilities. Fantasia for Tuba also provides plenty of interaction between the soloist and brass band.In de loop der eeuwen is schitterende kerstmuziek geschreven. In de dertiende eeuw ontstond March of the Three Kings. Deze melodie, die wordt toegeschreven aan een anonieme monnik, is nog altijd geliefd. In Fantasia on a13th Century Carol is de melodie verwerkt in diverse variaties en stijlen, met als hoogtepunt een symfonische mars.Dieses Werk für Tuba und Brass Band entstand im Auftrag des international renommierten Tubasolisten Steve Skyes. Zu Beginn intoniert die Tuba die vier Noten F, B G und C, auf welchen alle Themen, viele Harmonien und Permutationen basieren. Vor dem kraftvollen Schluss hat der Solist viel Gelegenheit, sein technisches Können und seine Ausdruckskraft unter Beweis zu stellen, aber auch für den Dialog mit anderen Solisten und der gesamten Brass Band ist Raum in dieser kunstvollen Fantasia.
SKU: BT.CMP-1223-07-130
SKU: LM.27954
ISBN 9790230979542.
Joshua Fit the Battle of Jericho (trad.) - TCHAIKOVSKI P.I. : Fantasia, Valse des Fleurs extr. de Casse-noisette - CARMEN E. : All by Myself - BETTI H. / HORNEZ A. : C'est si bon - MENDELSSOHN F. : Les Visiteurs, Concerto pour violon - Nobody Knows The Trouble l've Seen (Trad.) - MANCINI H. : The Pink Panther - SCHIFFRIN L. : Mission impossible - WILLIAMS J. : Les Aventuriers de l'Arche perdue, Raider's March - ALBINONI T. : Quatre mariages et un enterrement, Adagio.
SKU: FP.FHP05
ISBN 9790570504039.
Peter Hope's Recorder Sonata is the most substantial piece in his growing body of work for the recorder, published by Forsyth. Hope has written and arranged for many internationally known names, including Jose Carreras and Kiri te Kanawa, and other composers including John Williams and James Horner. His original compositions include the Suite: Ring of Kerry (which won an Ivor Novello Award in 1968/9), a Trumpet Concerto, performed by Elgar Howarth, a Concertino for bassoon and orchestra, recorded by Graham Salvage with the Royal Ballet Sinfonia, and a Recorder Concerto, recorded by John Turner with the Manchester Camerata Ensemble. His Bramall Hall Dances, for recorder and guitar/piano are published by Forsyth has become a standard repertoire work for the recorder.
SKU: LM.27958
ISBN 9790230979580.
SKU: BO.B.3106
ISBN 9788480201940.
English comments: With reference to the melody used to write the Fanstasia-Concerto, the composer Jordi Cervello says: A few years ago, a friend of mine, Jorge Wagensberg sang me a beautiful old Jewish melody inspired by the hymn Leja Dodi (Come, my beloved) by the Sefardie cabbalist Solomon Alkabez (1505-1576), who is buried in Israel. I was immediately entranced by its two extensive thematic ideas which complement each other perfectly. Its melodic and folk qualities seemed to me to make it an ideal theme for a work for guitar and orchestra. The orchestration is a fine thread of metallic timbres, which are present both in the very delicate subtleties of the pianissimi passages and the brilliant tutti. Moreover, the cler tonal definition of the melody contrasts with audacious harmonic contrapunctual textures, characteristic of the most advanced musical styles of our times. The solo guitar part is a model piece of compositon for the guitar, both for its melody and harmony. It puts forward extremely original formulas which are very effective from an instrumental point of view. Its abundant use of arpeggios, chords, harmonic pedals and other instrumental resources ensure that the dialogue with the orchestra is based completely on guitar-playing techniques, putting the guitarist's expressive skill and mastery to the test. This work was first performed on December 3 1997 in Sabadell's La Farandula Theatre performed by the Valles Symphonic Orchestra conducted by its permanent conductor Salvador Brotons. The guitar solo part was played by Jaume Torrent, to whom the work is dedicated.Comentarios del Espanol:En relacion al origen de la melodia utilizada en este Concierto-Fantasia, el compositor Jordi Cervello comenta: Hace ya algunos anos, mi amigo Jorge Wagensberg me canto una antigua y deliciosa melodia judia compuesta sobre el himno Leja Dodi (Ven mi bien amada) del cabalista sefardi Solomon Alkabez (1505-1576), cuya tumba se encuentra en Israel. En seguida me cautivo por las dos amplias ideas tematicas que contiene, las cuales se complementan muy armoniosamente. Por sus caracteristicas melodicas y por su caracter popular me parecio un tema ideal para una obra de guitarra y orquesta. La orquestacion de este concierto es una filigrana de sugerencias timbricas, presentes tanto en las mas delicadas sutilezas de los pianissimi como en los efusivos tutti. Asimismo, la clara definicion tonal de la melodia contrasta con audaces texturas armonicas y contrapuntisticas propias de la estetica musical de nuestros dias. La parte del instrumento solista en un modelo de escritura guitarristica, tanto desde el punto de vista melodico como del armonico y propone formulas que resultan de una gran originalidad y eficacia instrumental. La prodigalidad de arpegios, acordes, pedales armonicos y otros recursos instrumentales, garantizan un dialogo con la orquesta desde un lenguaje plenamente guitarristico, a traves del cual, el interprete pone a prueba tanto su capacidad expresiva como la vituosistica. El estreno de esta obra tuvo lugar el dia 3 de octubre de 1997 en el Teatro La Farandula de Sabadell, interpretada por la Orquesta Sinfonica del Valles bajo la direccion de su director titular Salvador Brotons, y actuando como solista el guitarrista Jaume Torrent a quien esta dedicada la obra.
SKU: BO.B.3105
ISBN 9788480202350.
SKU: BR.OB-14660-16
ISBN 9790004335611. 10 x 12.5 inches.
All conducting scores and orchestral parts as well as piano-vocal scores and choral parts are thus obtainable exclusively from Breitkopf & Hartel. The piano reductions of Beethoven's solo concertos and the study scores (,,Studien-Editionen) remain within the G. Henle Verlag and can be ordered there.
Ludwig van Beethoven komponierte seine Missa solemnis zwischen 1819 und 1822.
Die vorliegende Ausgabe legt als Hauptquelle die Arbeitskopie der Partitur zugrunde die Beethoven wohl unmittelbar nach Fertigstellung der Komposition in Auftrag gab. Sie ist die alteste Abschrift des Werks und die einzige Kopie die das heute unvollstandige Autograph zur Vorlage hatte. Da die Arbeitskopie im Zuge des weiteren Kopierens immer wieder selbst revidiert und korrigiert wurde kommt sie heute einer Fassung letzter Hand am nachsten.
Beethovens komplexe Veroffentlichungsstrategie einer gleichzeitigen Herausgabe in England Frankreich und Deutschland bei der er nach der grosstmoglichen Verbreitung seiner Werke trachtete wirft die schwierige Frage nach der richtigen Datierung der Originalausgabe auf.
So konnte Hans-Werner Kuthen bei seiner Urtextausgabe der Ouverture zu Coriolan nachweisen dass es sich bei der ursprunglich als authentisch bewerteten Quelle vom 1. September 1807 doch um einen Nachdruck Simrocks handelt den Beethoven in einem Brief vom 16. Juni 1807 offensichtlich als ein toleriertes Relikt erwahnt. Verbindlich fur die Neuausgabe ist allein der Wiener Originaldruck des Industriekontors der vor der Simrock-Ausgabe entstanden sein muss. Die Neubewertung der Quellen brachte schliesslich auch Anderungen in der Artikulation mit sich.
SKU: BR.OB-14660-30
ISBN 9790004335659. 10 x 12.5 inches.