Matériel : Partition
100 ans de musique populaire chronique la plus grande musique du siècle dernier. Ce livre contient plus de 70 chansons des années 1930 arrangé pour piano, voix et guitare, fournissant un aperçu fascinant de la musique de l'époque. Une liste des nouvelles inventions d'abord vu durant les années 1930 est également incluse./ Recueil / Piano, Chant et Guitare
SKU: M7.GHE-915
ISBN 9783890449159. English.
Miguel Llobet's famous Catalan plucked string orchestra called the 'Lira Orfeo' was active in Barcelona from 1899-1906. Here we present a new engraving of all the surviving original scores, set in the same performing score format in which they were originally used 120 years ago. The Lira Orfeo quickly became an important part of Barcelona's cultural scene; with Tárrega as its honorary president the Lira Orfeo society was founded in 1898 and an official inaugural concert, shared between Manuel Burgés (pno) and Miguel Llobet (gtr) took place in Barcelona in 1898. The aim of the society was to offer a full musical education, both theoretical and instrumental, for guitarists and players of other plucked instrument family, with eventually with a place in its Catalan plucked instrument orchestra of the same name. The teachers for guitar were Miguel Llobet, Pedro Lloret and Domingo Prat. Prominent musicians such as Manuel Burgés and Baldomera Cateura were also on the teaching staff. Classes were given three times a week, and as the players were mainly amateurs with day jobs, these took place in the evening and often went on until 2 o'clock in the morning. The debut of the orchestra took place in 1903 and it gave regular concerts at top venues right up to the society's dissolution in 1907, mainly due to lack of funding. For the instruments used see the list of works below. The repertoire is varied, selected, arranged by Miguel Llobet it was mainly drawn from traditional and impressionist Iberian music, as well as the German classics, it includes a specially commissioned work Triomphe d'Orphée' by the famous Catalán pianist Manuel Burgés. We at Guitar Heritage are proud to present the first publication of this huge cultural contribution to music in its original form and prepared from the source manuscripts which were the work of Miguel Llobet. The edition has many illustrations, rare documents and photographs as well as a comprehensive critical commentary by Stefano Grondona - whose knowledge of Miguel Llobet, as well as of Catalonian culture, has made an edition of this scope possible. These arrangements are superb and presented as they originally were in the same score form. The now relatively rare instruments called for can be replaced by suitable alternatives - this is ideal and interesting material for adapting to guitar orchestra/ensemble or mandolin orchestra, or similar.
SKU: BT.EMBZ6312
Hungarian-English-Germ an-French.
ABRSM Syllabus title - Grade 2.This is a collection of popular classics and European folk tunes arranged for beginning cellists.The volumes 'Music for Beginners' series cover the entire music literature from the earliest centuries to our days. The contents of the individual volumes, comprising short, easy pieces to be played in the first three-four years of instrumental study, has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time.Eine Sammlung von beliebten Klassikern und Volksmelodien aus Europa für Celloanfänger.
SKU: BT.EMBZ14505A
English-German-Hungari an.
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research results, numerous manuscript facsimiles and critical notes make this volume of the New Liszt Edition a specially important publication of scholarly value. Simultaneously withthe Complete Edition volume in colth-bound, its paperback for practical purposes is also published, the contents of which, except for the critical notes, is identical with the Complete Edition volume.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: BT.EMBZ14505
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface inHungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Of the early versions of works included in Supplementary Volume 10, particular interest is expected in the first versions of the notably popular Consolations cycle and the monumental Grand solo de concert of 1850. In the first version of Consolationsthe third movement was a style hongrois piece whose thematic material Liszt used again later in the first piece of the Hungarian Rhapsodies published in 1851. The first version of the Grand solo de concert shows that the original concept did notinclude the slow “movement†that would be placed in the middle of the work and recapitulated towards the end in the final version - a characteristically Lisztian feature that would reappear a few years later in the Sonata in B flat minor.A detailed preface in Hungarian, English and German, including new research result and, numerous manuscript facsimiles make the practical paperback version of this volume of the New Liszt Edition a specially important publication of scholarly value.Von den im vorliegenden Band veröffentlichten Werkversionen dürften der außerordentlich populäre Consolations-Zyklus sowie die Erstfassung des 1850 entstandenen Grand solo de concert (Großes Konzertsolo) auf besonderes Interesse stoßen. In der ersten Fassung der Consolations stand an dritter Stelle noch ein Stück im ungarischen Stil, dessen Thematik Liszt später im 1851 herausgegebenen 1. Stück der Ungarischen Rhapsodien verwendete. Die erste Version des Großen Konzertsolos belegt, dass der in der Mitte der Komposition angelegte und kurz vor Ende rekapitulierte langsame Teil, welcher zum typisch Lisztschen Element der endgültigen Fassung des Konzertsolos - und einige Jahre späterauch der H-Moll-Sonate - wird, noch kein Bestandteil der ursprünglichen Konzeption war.
SKU: DZ.DZ-4262
ISBN 9782898521799.
In this ambitious series, Bryan Johanson and Jesse McCann seek to address this missing element in the study of classical guitar. In light of the sheer volume of guitar music written over the centuries, not to men- tion early works by the guitar’s plucked-string relatives, the authors’ choices were by necessity limited to a select group of standards. These might be considered among the most popular works in the guitar canon, admired over the years by performers, students, and audiences alike for their beauty, musical expression, and idiomatic sonority. There are, of course, other pieces that could have been included. But by choosing works that give a broad survey of styles across musical periods (Renaissance, Baroque, Classical, Romantic, and early 20th century) written by some of the guitar’s most important composers, the authors present a com- prehensive cross-section of the essential repertoire for the instrument.- William KanengiserDans cette série ambitieuse, Bryan Johanson et Jesse McCann cherchent à aborder cet élément manquant dans l'étude de la guitare classique. En raison du volume considérable de musique pour guitare écrite au fil des siècles, sans mentionner les œuvres anciennes des instruments à cordes pincées apparentés à la guitare, les choix des auteurs étaient nécessairement limités à un groupe restreint de « standards ». Ces œuvres peuvent être considérées parmi les plus populaires du répertoire de la guitare, admirées au fil des ans par les interprètes, les étudiants et les auditoires pour leur beauté, leur expression musicale et leur sonorité idiomatique. Il existe, bien sûr, d'autres pièces qui auraient pu être incluses. Mais en choisissant des œuvres qui offrent un large panorama des styles à travers les périodes musicales (Renaissance, Baroque, Classique, Romantique et début du 20e siècle) écrites par certains des compositeurs les plus importants pour la guitare, les auteurs présentent une section transversale complète du répertoire essentiel pour l'instrument.- William Kanengiser.
SKU: HL.14006569
The two volumes comprising Children's Singing Games were first published in 1894. They were collected by Cecil John Sharp (1859-1924) and Alice Bertha Gomme (1853-193 8), both of whom were highly regarded for their work in recording and preserving folk music and lore during the last years of the nineteenth century. Gomme was also one of the first people to study children's games, publishing two volumes of The Traditional Games of England, Scotland, and Ireland.
Volume One of Children's Singing Games contains six musical games for infant or junior age children. They are sure to bepopular with today's children, having entertained countless generations before them!
SKU: SU.12800060
BachScholar Editions Vol. 60: JOSEPH F. LAMB: 12 Classic Rags for Piano (editor's preface, 51 pages of music) presents Joseph F. Lamb's twelve popular rags published by John Stark from the years 1908-1919. These beautiful and meticulous engravings are reproduced from the original editions, making this an historically accurate Urtext of the highest quality (no fingerings provided). In addition, corrections and editorial notes are provided in the informative preface by the editor. Pianists, students, teachers, and ragtime aficionados will marvel at the clarity and legibility of this fine authoritative edition of some of the highest caliber works from the classic ragtime era. Contents include: 1. Sensation Rag (1908) 2. Ethiopia Rag (1909) 3. Excelsior Rag (1909) 4. Champagne Rag (1910) 5. American Beauty Rag (1913) 6. Contentment Rag (1915) 7. Ragtime Nightingale (1915) 8. Cleopatra Rag (1915) 9. Reindeer Rag (1915) 10. Top Liner Rag (1916) 11. Patricia Rag (1916) 12. Bohemia Rag (1919) Composed: 1908-1919 Published by: BachScholar.
SKU: HL.50610018
Of the early versions of works included in this volume the first versions of the notably popular Consolations cycle and Grand solo de concert (published in 1850) are of particular interest. In the first version of Consolations the third movement was a style hongrois piece whose thematic material was later used by Liszt in his Hungarian Rhapsody No. 1 (published in 1851). The first version of Grand solo de concert shows that the work did not originally include a slow middle section to be recapitulated towards the end as seen in the final version. This is a characteristically Lisztian feature that would reappear a few years later in his Sonata in B minor. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included.
SKU: HL.51481531
UPC: 840126989311. 9.25x12.25x0.361 inches.
Mendelssohn is considered a self-critical composer, who repeatedly reworked a number of his pieces until he deemed them worthy to be published. The path to his first Piano Trio was particularly rocky: only after several attempts was he able to complete it in the summer of 1839; it appeared in 1840 after further revisions. This perfectionism paid off, for Mendelssohn's D Minor Trio was immediately received with enthusiasm. Robert Schumann wrote: “It is the master trio of the present day, like those of Beethoven in Bb and D and that of Franz Schubert in Eb were in their time; a very beautiful composition which after years will still delight grandchildren and great-grandchildren.†Which was to prove true: even today, it numbers among the most popular works in the trio repertoire in general. The trio, taken from the volume Mendelssohn • Piano Trios HN 957, is now available from Henle for the first time also as a practical single edition.
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