SKU: M7.VOGG-808

ISBN 9783802408083. English.

From the basics of music notation, the correct playing position and simple pieces covering a fifth, to mastery of the complete octave and a refined playing technique: This book covers everything the beginning pianist should know. To prevent piano playing from ever becoming boring, it covers a wide range of musical styles from Classical music to Jazz.Other topics include music theory and the acoustic basics of piano tone, thus laying a solid foundation for future studies in piano playing.The included CD makes practicing easy and fun!

SKU: CF.CM9734

ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol.

A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!.
A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales:  “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .”.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.”I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!

SKU: BT.AMP-324-030

9x12 inches. English-German-French-Dutch.

Christmas is full of customs and traditions, both old and new. This is especially evident in Christmas songs, some of which have been part of Christian worship for centuries. A Medieval Christmas combines three ancient melodies that are stillpopular around the world today. Philip Sparke chose Gaudete, a song of praise from the middle ages, Coventry Carol, an English song from the 14th century, and In dulci jubilo, which can also be traced back to the 14th century, toform this joyous suite.

Kerst is een feest van tradities en gebruiken. Dit komt vooral naar voren uit de kerstliederen die al eeuwenlang een centrale plaats innemen binnen de christelijke cultuur. In A Medieval Christmas staan drie oude melodieën centraal diewereldwijd nog steeds populair zijn. Het zijn het middeleeuwse loflied Gaudete, het Engelse Coventry Carol en het bekende In dulci jubilo.

Weihnachten ist auch ein Fest des Brauchtums und der Tradition. Dies zeigt sich ganz besonders in den Weihnachtsliedern, die oft schon seit Jahrhunderten einen zentralen Platz in der christlichen Kultur einnehmen. A Medieval Christmasverwendet drei dieser alten Melodien, die sich heute noch weltweit größter Beliebtheit erfreuen: das mittelalterliche Loblied Gaudete, das englische Coventry Carol aus dem 14. Jahrhundert und das bekannte In dulci jubilo, dasebenfalls auf das 14. Jahrhundert zurückgeht.

Dans de nombreux pays, Noël est un moment privilégié, célébré par de nombreux chants et mélodies dont beaucoup constituent un élément central du culte chrétien. Le fait que ces chants anciens subsistent depuis si longtemps témoigne de leur attraitimmuable, formant un lien tangible avec les festivités de Noël qui se déroulaient il y a des centaines d'années. A Medieval Christmas emprunte trois de ces ancestrales mélodies, demeurées populaires dans le monde entier : Gaudete,Coventry Carol, et In Dulci Jubilo.

Il Natale é la festa delle tradizioni e ciò si riscontra facilmente nei canti natalizi che da secoli occupano un posto di primo piano nella tradizione cristiana. A Medieval Christmas propone tre antiche melodie, ancora oggi moltoattuali: il canto di lode Gaudete, Coventry Carol e In Dulci Jubilo, entrambe del XIV secolo.

SKU: BT.DHP-1135396-020

9x12 inches. English-Dutch.

This musical fantasy depicts the history of the Dutch fortified town of Elburg. The work begins with an atmospheric medieval picture of the Convent of St Agnes, the nunnery that was built in the first half of the 15th century. We hear the sound of the convent bells together with an upward motif, which will reappear later in the work. Next, the rest of Elburg is featured, including the fortress - from which the bells of the Sint-Nicolaaskerk (Saint Nicholas Church) are ringing. Then, cheerful sounds can be heard at the Vischpoort (Fish Gate), where a dancing group is performing a 16th century French folk dance (a branle des chevaux). We also hear old wagons rumbling over the town’scobble stones. Trade made this Hanseatic town a lively place. The repetitive upward motif first heard in the introduction now develops into a more distinct feature, reflecting the mercantile spirit of the town residents.Then follows the slow middle movement, in which the clock has been turned back to the time when Elburg was still lying on the Zuiderzee (which was a bay of the North Sea), and was struggling with floods. After the second St. Marcellus Flood (1362) and the water flood of 1367 it was decided that the town would be relocated. We now hear the theme of branle des chevaux in a minor key, followed by a death bell sounding in remembrance of the drowned citizens of the former town. Back in our own time, a slow, expressive theme in Baroque style mirrors Elburg’s tranquil places, such as the Feithenhof (Feithen Court) and the Weduwenhofje (Widow Court). Then the bustle returns with motifs from the introduction, followed by an attractive theme in which present-day Elburg is portrayed with its many tourists. Now, suddenly, there is an echo from the past, depicting the dramatic floods and wars that once plagued the town. This leads to the grand closing theme: branle des chevaux is heard for a final time from the perspective of the historic town centre.

Deze muzikale fantasie vertelt de geschiedenis van de Nederlandse vestingstad Elburg. Het werk begint met een middeleeuws sfeerbeeld vanuit het Agnietenklooster, het nonnenklooster dat in de eerste helft van de 15e eeuw werd gebouwd. We horen de kloosterklok samen met een opwaarts motief, dat ook later in het werk terugkomt. Vervolgens komt de rest van Elburg aan bod, inclusief de vesting - van waaruit de klokken van de Grote of Sint-Nicolaaskerk weergalmen. Dan klinken bij de Vischpoort de vrolijke geluiden van een dansgroep die daar een 16e-eeuwse Franse volksdans (branle des chevaux) uitvoert. Ook horen we oude karren over de kinderkopjes van de stad denderen. Dehandel maakt deze Hanzestad tot een levendige plaats. Het zich steeds herhalende opwaartse motief uit de inleiding krijgt hier een nadrukkelijker karakter en verbeeldt de handelsgeest van de stedelingen.Dan volgt het langzame middendeel, waarin de klok wordt teruggedraaid naar de tijd dat Elburg nog direct aan de Zuiderzee lag en te kampen had met overstromingen. Na de tweede Sint-Marcellusvloed (1362) en de watervloed van 1367 werd besloten dat de stad verplaatst zou worden. We horen het thema van de branle des chevaux in mineur, gevolgd door een doodsklok, die de verdronken inwoners van de voormalige stad herdenkt. Terug in onze eigen tijd verklankt een langzaam, expressief thema in barokke stijl de verstilde plekken in de stad, zoals het Feithenhof en het Weduwenhofje. Dan keert de levendigheid terug met motieven uit de inleiding, gevolgd door een aansprekend thema waarin het Elburg van nu met zijn vele toeristen doorklinkt. Plotseling is er dan nog even een echo uit het verleden: de dramatiek van de overstromingen en oorlogen die de stad ooit teisterden. Hieruit vloeit het grootse slotthema voort: de branle des chevaux is voor de laatste keer te horen vanuit het perspectief van de historische binnenstad.

SKU: MN.50-4031

UPC: 688670540318.

Based on Victimae Paschali laudes. Moves from chant to polyphony, Latin to English. Modal cadences recall late Medieval style.

SKU: BT.MUSM570360208

English.

Thomas Simaku ’s composition Clarimbasso was first published in 2008. The piece received it’s debut performance in June that year at the York Late Music Festival. Simaku dedicated this piece to Maria and Damien Harron. For over a decade, Albanian-born British composer, Thomas Simaku ’s music has been reaching audiences all over Europe and the USA, winning a number of prestigious awards such as the Serocki International Prize, AHRC Fellowship, DAAD Award, as well as an Honourable Mention at the Musical Personalities International Competition. Many notable performances include , among others, those given by Kreutzer Quartet, English Northern Philharmonia, European Union ChamberOrchestra, the New London Orchestra, Amsterdam New Music Ensemble, Tokyo Phonosphere Musicale, Capricorn Ensemble, Norwegian Medieval Trio and the Austrian 'Ticom' Ensemble . Simaku ’s style combines avant-gardism and modality in his own way, often with a deeply convincing inner strength, structural integrity and impressive character.