SKU: BT.DHP-1064042-404
ISBN 9789043164511. English-German-French-Dutch.
The 25 pieces in Beatmüller have been composed by Fons van Gorp as an alternative or homage to the popular 25 romantic studies Opus 100 by good old Friedrich Burgmüller. They are written in twentieth centuryidioms: rock, swing, latin and funk styles are all there, but romance is also present. All the pieces in Beatmüller are meant to be played solo, but the audio tracks available online in MP3 format are a perfect tool tohelp develop the right drive and beat. De 25 stukken in Beatmüller zijn gecomponeerd als alternatief voor of aanvulling op de aloude, geliefde 25 romantische etudes (opus 100) van Friedrich Burgmüller. Ze zijn geschreven in idiomen van de twintigsteeeuw: de stijlen rock, swing, latin en funk passeren de revue, maar ook de romantiek is present. Alle stukken in Beatmüller zijn bedoeld om solo te spelen, maar de online in mp3-formaat beschikbare audiotracks zijn eenprima hulpmiddel om de juiste ‘drive’ en ‘beat’ te ontwikkelen.Die 25 Stücke in Beatmüller wurden als Alternative oder Ergänzung zu den beliebten 25 romantischen Etüden opus 100 des guten alten Friedrich Burgmüller komponiert. Fons van Gorp ist es gelungen, die wertvollenklaviertechnischen Lerninhalte aus Burgmüllers Etüden in neue Stücke zu übertragen. Diese wurden alle in Stilidiomen des 20. Jahrhunderts geschrieben: Rock, Swing, Latin und Funk sind vertreten, aber ebenso auch die Romantik. AlleStücke in Beatmüller sind für das Solospiel gedacht die online im MP3-Format verfügbaren Audiotracks sind jedoch die perfekte Unterstützung, um den richtigen Drive und Beat zu entwickeln.Les 25 pièces rassemblées dans Beatmüller constituent une alternative et/ou un complément aux célèbres 25 Études romantiques Opus 100 de Friedrich Burgmüller. Ces 25 nouvelles pièces ont été écrites dans un amalgamede styles musicaux du XXe siècle tels que le rock, le swing, les musiques latino-américaines, le funk sans pour autant négliger le côté romantique. Toutes les pièces du recueil sont destinées être jouées en solo. Les pistesd’accompagnement disponibles en ligne au format MP3 sont idéales pour développer le sens du rythme et le bon mouvement.I 25 studi contenuti in Beatmüller sono stati composti come alternativa o supplemento ai famosi 25 romantici Studi Opus 100 di Friedrich Bergmüller. Sono stati scritti negli stili cardini del XX secolo: rock, swing,latin e funk, non dimenticando lo stile romantico. Tutti i pezzi di questo libro sono pensati per l’esecuzione in assolo. Le tracce audio disponibili online in formato MP3 fornisce il giusto supporto per sviluppare il “Drive andBeatâ€.
SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: BT.1945-14-400-M
ISBN 9789043135573. 9x12 inches. International.
The pieces collected in LA FLAUTA ROMANTICA were written by three of the greatest Spanish instrumental virtuosi of their time: the pianists Isaac Albéniz and Enrique Granados as well as the violinist Pablo de Sarasate. When transcribing their piecesthe aim was to both create convincing chamber music works for flute and to preserve the typical Spanish sound idiom of this music. The CD provides demo tracks as well as the accompaniments of each piece.
Contents: Tango in D (Albéniz) • Intermezzo (Granados) • Malagueña (Albéniz) • Prière et Berceuse (De Sarasate) • Oriental (Granados) • Serenata española (Albéniz) • Danza melancólica (Granados).De werken die in La flauta romántica zijn samengebracht, zijn afkomstig van drie van de grootste Spaanse instrumentale virtuozen van hun tijd: de pianisten Isaac Albéniz en Enrique Granados evenals de violist Pablo de Sarasate. Bij detranscriptie van hun composities heeft Franco Cesarini zijn speciaal gericht op het creëren van authentieke kamermuziek voor fluit, waarbij ik tegelijkertijd het kenmerkende Spaanse klankidioom heb gehandhaafd.Op de meegeleverde cd staat van elk stuk een demoversie, gevolgd door een play-alongversie met alleen de pianobegeleiding.
Inhoud: Tango in D (Albéniz) • Intermezzo (Granados) • Malagueña (Albéniz) • Prière et Berceuse (De Sarasate) • Oriental (Granados) • Serenata española (Albéniz) • Danza melancólica (Granados).Die Stücke, die in LA FLAUTA ROMANTICA versammelt sind, wurden von drei der bedeutendsten spanischen Virtuosen komponiert: von den Pianisten Isaac Albéniz und Enrique Granados sowie vom Violinisten Pablo de Sarasate. Der versierte Arrangeur FrancoCesarini war bei der Schaffung der Kammermusikversionen besonders darauf bedacht, den spanischen Charakter der Stücke zu bewahren. Auf der beiliegenden CD sind sowohl Demoversionen als auch Play-Along Tracks für die Begleitung enthalten.
Inhalt: Tango in D (Albéniz) • Intermezzo (Granados) • Malagueña (Albéniz) • Prière et Berceuse (De Sarasate) • Oriental (Granados) • Serenata española (Albéniz) • Danza melancólica (Granados).
Sommaire: Tango in D (Albéniz) • Intermezzo (Granados) • Malagueña (Albéniz) • Prière et Berceuse (De Sarasate) • Oriental (Granados) • Serenata española (Albéniz) • Danza melancólica (Granados).
SKU: PR.140401340
ISBN 9781491134450. UPC: 680160684953.
Best known for his settings of spirituals and influence on Dvorák, Henry T. Burleigh was a celebrated baritone, and a prolific composer of original works. FROM THE SOUTHLAND is a suite of six atmospheric scenes of the American south, inspired by Black musical and cultural traditions. FROM THE SOUTHLAND is within reach of intermediate pianists and artistically suited for professional recitals.In 1835, Henry T. Burleigh’s maternal grandfather purchased his own release from slavery for the sum of $50, and traveled north out of Maryland to begin a new life as a free man. He established his family in Ithaca, NY, and then moved to the bustling lakefront city of Erie, PA, where three decades later his grandson Henry would be born and raised.For Burleigh, the “Southland†that inspired this collection of piano sketches was a distant place that could not have been more different from the physical world he knew, up there in the northern snowbelt. And yet these southern landscapes and vignettes must have been intensely present in his consciousness, absorbed through the stories and songs he first learned at his grandfather’s knee.The music of the South – the spirituals and work songs he heard as a child –would travel with Burleigh throughout his long and illustrious musical life. Even as he progressed through his early classical training, his career as a baritone soloist in Erie’s churches and synagogue, his move to New York to study at the National Conservatory of Music, and his rise to national prominence as a concert soloist, these ancestral melodies stayed firmly centered in his musical identity.When he wrote From the Southland, his only composition for solo piano, Burleigh was just beginning his career as a composer. The art songs that would establish him as one of America’s best known composers in the genre were still to come. And so were his iconic arrangements of spirituals that would bring the songs of slavery onto concert stages around the world, transformed into timeless and uniquely American music.These little piano sketches bring together all the things that made Burleigh the musician he was – the lush, late-romantic style of his time; a broad vision for American music; and a profound respect for his heritage, a memory of the world his grandfather left behind, and a love of the music he brought with him.
SKU: PR.UE021455
ISBN 9783702475659. UPC: 803452072768.
Cornick is back with five more solid piano duet arrangements. For his romantic set, he has chosen Martini's Plaisir d'amour, Nola (by Felix Arndt), Santa Lucia, Fascination (instantly recognizable waltz by Fermo Marchetti), and Jerome Kern's They Didn't Believe Me. Each of these intermediate-level duets has a connection to love and romance. The included CD features full performances of all five, plus play-along tracks for both primo and secondo piano parts. Suitable for concert events or personal enjoyment.
SKU: CY.CC2094
This work is very beautifully transcribed in a simple straight forward setting in the key of Db, down a minor 3rd from the original. It features the 1st and 3rd trombone parts. Use it to feature one player or perform it with a whole choir. The highest note is Ab, so there isn't a lot of fatigue involved like the original key for the horn solo.
SKU: BT.1956-13-400-M
ISBN 9789043137546. 9x12 inches. English-German.
Aniko Drabon, the editor of this book of piano masterworks, is also the pianist on the accompanying CD recordings. She is known among other things as the author of the successful Tastenzauberei piano tutor method. PIANO MASTERWORKS richtet sich an fortgeschrittene Klavierspieler, die eine pianistische Grundausbildung absolviert haben, wie z. B. die bekannte Klavierschule TASTENZAUBEREI von Aniko Drabon. Während ihrer langjährigen Tätigkeit als Klavierpädagogin sammelte die Herausgeberin die Lieblingsstücke ihrer Schüler. Die schönsten Titel wählte sie nun für dieses Buch aus. Die Audio-CD dient als Beispiel für eine Interpretation der Werke.
SKU: BT.1238-05-070-MS
ISBN 9789043133296. 9x12 inches. English-German-French-Dutch.
The Lady in Red, one of the most popular love songs ever, wasreleased in 1986 by the world famous Irish singer Chris de Burgh.It quickly climbed to number one in the charts in 25 countriesselling over a million copies. This arrangement for trumpet quartetwill prove a welcome ‘slow item’ in any concert. Eine der großen Kuschelmelodien“ des weltweit berühmten irischen Sängers Chris de Burgh. Roland Kernen bearbeitete die romantische Liebeserklärung an eine Frau in Rot“, die in 25 Ländern auf Platz 1 der Hitparaden kletterte, für Trompetenquartett. Chris de Burgh connaît la consécration avec The Lady in Red, une ballade romantique qu’il illumine de son timbre vocal sensible et unique. Roland Kernen en a réalisé un arrangement quatre voix pour quatuor de Trompettes. Chris de Burgh conosce la consacrazione con Lady in Red, una ballata romantica che s’illumina col suo timbro vocale sensibile e unico. Roland Kernen ha realizzato un arrangiamento a quattro voci per quartetto di trombe.