SKU: PR.114419990
ISBN 9781491134825. UPC: 680160685516.
An extraordinary addition to the saxophone repertoire, Pann’s concerto is alternately tender and wild, yet idiomatic even in the most challenging pyrotechnics and altissimo. The four movements show off and romance the soprano saxophone from a remarkable range of angles, while always maintaining beauty. The published piano reduction is fully suitable for public performances.My Soprano Saxophone Concerto (2019) was written for Christopher Creviston and commissioned by Chris, the ASU Symphony Orchestra, and the SUNY Potsdam Symphony Orchestra. The work lasts about 15 minutes and does what it can to show the many sides of one of my favorite musicians on the planet. The work is cast in four movements and makes use of a varied orchestral palette.I. The Old Line (orchestra without brass) presents the soloist almost immediately, akin to the technique in Mendelssohn’s beloved Violin Concerto. The saxophone weaves a song-like melody throughout, often reaching for the highest register of the instrument.II. Aria: Injurious Graffito (full orchestra) was the first movement to be written, inspired by a line in the old television series Frasier. I fell in love with the two words “Injurious Graffito†the way they are delivered on the show. The music, like the TV show, is lofty and somewhat arrogant.III. Jump (full orchestra) is a written-out improvisation on the saxophone. Chris is particularly adept at the leaps and quick changes found throughout the movement, which culminates in a straight-ahead tune incorporating shapes that foreshadow the tune in the last movement.IV. Hymn: A Love Supreme (string orchestra and harp) is a torch song of unabashed sentimentality. A surprising admission: I was not thinking of John Coltrane’s famed album of the same name when naming this last movement. Perhaps it was a subconscious decision, but I was startled to put two and two together upon reacquainting myself with the Coltrane once the concerto was completed.
SKU: UT.HS-231
ISBN 9790215324558. 9 x 12 inches.
Tarascone; Tarantella Capuanese; Valzer; Polka di Vittorio; Tarantella StiglianeseThe history of the Viggianesi, strolling musicians, winds over a period of about four centuries and esprimeun ‘unicum’ musically and anthropologically. Heirs of a travelling musical tradition that from the late Middle Ages inhabited more than just the streets of the Kingdom of Sicily and Naples, the harpists of this extraordinary story made their first appearances as early as the end of the 1600s engaged in musical practices at shrines.Armed with an urgent need to make a living together with a strong musical inclination, adaptability and versatility, the groups of musicians, almost always belonging to the same family circle, became the promoters of the great Italian musical tradition (Southern in particular), and with their harps on their shoulders they became the identification symbol of a well-defined and limited area of Italy: the Agri Valley, in Basilicata.From the many documents examined, a very wide and varied musical repertoire emerges mixing the pastoral tradition with classical tradition (mainly opera, devotional music with songs from the cities (from the Neapolitan tradition to international production). The pastoral repertoire, the subject of this publication, consists of a strongly characterized native repertoire which the Viggianesi had consolidated in both public and private ritual occasions in their native land, even if performing in distant lands.This collection is included among the compulsory pieces of The 7th International Harp Contest in Italy Suoni D’Arpa, 2017, Category A – Associazione Italiana dell’Arpa – www.associazioneitalianarpa.it
SKU: HL.50601600
8.0x11.75x0.067 inches.
The “small suite in the old style†was created in September 1992. It is not an outward stylization of early music, but rather an attempt to adopt a kind of Baroque-style thinking. But since we are 200 years older, our thinking is more reflective. That is, our C major sounds sadder today, more nostalgic, our 6/8 Presto more desperate than then, and we do not have the courage to finish the work tonally. Something is not working, although the sounds are always the same. And the quote from Bach's “Chromatic Fantasy†looks like a gem; Nevertheless, can not we already hear something about our resignation in this famous motif? That is, we remember today Bach's prophecies, we make, so to speak, a double time travel ... –Vassily Lobanov.
SKU: HL.14030284
ISBN 9788759861110. Danish.
Bent Sorensen SINFUL SONGSThe first ideas for this piece came to me during a train journey through Denmark. It was summer and I was looking out of the window; I heard some fast jig-like dance rhythms. These appear early in the work - hushed and hidden like almost all the music, apart from the roaring horns in the beginning!As is always the case for me, the title was there at once - and as always it is difficult for me to explain it! The work is filled with little songs and fragments of melodies - some of them distinct, most of them hidden - but whether they have ended up becoming particularly sinful, I don't know.The musicians are positioned in a circle around the audience, so the music will not sound the same at any two different points in the hall. The music moves at varying speeds both around the circle, and backwards and forwards between different instrumental groupings.SINFUL SONGS was commissioned by and dedicated to the Birmingham Contemporary Music Group.Bent Sorensen.
SKU: YM.GPE01100796
ISBN 9784636105797.
This is Simplified Chinese (Mandarin) Edition. THIS IS NOT ENGLISH EDITION, which is available as another book. About the book: The ELS-02 is the latest Electone model in the STAGEA series. Featuring the latest electronic technology, it offers a broader range of performance expression with higher quality sounds and rhythms than ever before. The Basic Book provides a complete and detailed explanation of the functions of the ELS-02 series. Starting with basic operations such as how to change Volume, it covers the basics of creating registration data, including various Displays and Voice Condition Displays. In addition, the Super Articulation Voice, first introduced in the ELS-02 series, is explained in detail. The Advanced Book, a sequel to the Basic Book, provides more detailed and advanced explanations of Rhythm Programs, Effects, Voice Edit, and other important topics and tips for creating original data. This guide is recommended for those who want to challenge making original data differently than before because it always sounds the same. Also included as an appendix is a list of Voice, Effect, and Effect Parameter useful for creating original data. We hope the perfect guides will deepen your understanding of STAGEA and enrich your Electone life.
SKU: HL.438860
UPC: 852940000615. 4.75x7.0x2.75 inches.
As guitar players, we all have that moment where we think, 'How can I do this and still remain analogue?' Once we have achieved the 'ultimate tone, how can we boost that same tone without changing the quality? What if we want to boost the signal before your drive effect in order to increase sustain, or have a boost in front of your gain channel and another after the pre-amp in the effects loop?' Well, Carl thought about this for quite a while and is now happy to introduce the super cool...'Dual Injection'! Carl took the high quality, transparent boost from the Hot Drive'n Boost, and put two of them into one pedal. Each has it's own level control and 'True Bypass' switch, plus there is another toggle which switches the Dual Injection between Serial and Parallel modes. In Serial mode, you use the Input/Output 1 on the back of the pedal and place the boost wherever you want in the signal chain. In Parallel mode, connect the Output 1 before your Drive or Preamp, and then use the Input/Output 2 on the side of the pedal to connect to your effects loop on the amp. So, what does all this do for you? Well, the Dual Injenction gives you 4 different Boost settings... 1)Your normal set up either clean or with effects 2)Boost 1 engaged to a desired setting 3)Boost 2 engaged to a different setting than Boost 1 4) Both Boost 1 and Boost 2 engaged at the same time! The Dual Injection is a high quality effect that can be powered by 9v battery or with the correct power transformer (we always recommend that you use a regulated power supply like the Carl Martin Pro Power). The effect is housed in our diecast case with custom paint, True Bypass Switching, large easy to use knobs and bright LED indicators for Boost 1 or 2.
SKU: BR.SON-427
ISBN 9790004803080. 10 x 12.5 inches.
Based on the conviction that all material authored by its composer belongs to the musical work as such and therefore needs to be published, this volume collects all surviving drafts that Felix Mendelssohn Bartholdy made for his magnum opus, the oratorio Elijah op. 70. It not only incorporates preliminary studies and sketches that by no means always take a direct route to a specific version of the work, but also those passages that were eliminated from already completed texts and that are of special analytical interest. Due to Mendelssohn's way of working and the particular circumstances of source transmission at the end of his life a considerable number of later discarded movements as well as revised versions have come down to us. All these sources provide us with detailed information both about the composer's work method and about the genesis of the composition in question. The volume prepared by the editor-in-chief of the Mendelssohn complete edition contains all known autograph sources with annotation referring to the genesis of Elijah, as well as other surviving, as yet unspecified related material. The wealth of documents, compiled and arranged in an exemplary fashion and presented in an unconventional scholarly format, is reproduced in all its complexity while at the same time enabling users in a highly illustrative way to trace details of Mendelssohn's modus operandi. The edition of sketches and drafts, revised and discarded settings of Elijah hereby constitutes a remarkable example of a creative approach to the object of research that nevertheless strictly adheres to the historical facts.Awarded the German Music Edition Prize 2023.
SKU: BO.EI0314
Within musical activities there exists a great diversity of different aspects that often go far beyond any particular specialization. Of all cultural activities clearly music is one that manifests numerous multidisciplinary features which not only enriches music itself but also all who are involved in it. This is certainly the case of Jordi Vilaprinyo, an excellent pianist, brilliant composer and a dedicated pedagogue with a remarkable career as a professor at the Conservatorio Municipal de Musica de Barcelona and in other educational institutions. All of this is all in addition to his role as a tireless advocate of everything relating to the piano, which reveals his exceptional personality completely dedicated to his greatest passion-music.The academic year 2011-12 marked the celebration of the 125th anniversary of the Conservatorio Municipal de Musica de Barcelona. In honor of the occasion, Jordi Vilaprinyo composed a series of eleven short pieces which present a pianistic-musical portrait of each professor of the Piano Department in our Conservatory. This piece, written in the form of a suite, brings together eleven imaginative musical sketches which reflect the personal qualities and musical personalities of his colleagues as seen through the eyes of Mr. Vilaprinyo. These eleven portraits reveal the respect which Jordi feels for his colleagues and at the same time they are ideal teaching pieces.The various portraits are written in a free and diverse musical language which is always effective. Certain moments are quite evocative while others are more descriptive and, at times, more energetic. The varied textures and sonic balance are always highly controlled and affecting. However, I would like to emphasize, that although the work could be considered as program music due to its personal nature, the pieces stand apart for their musical quality.Published by Editorial Boileau, the work was premiered in a student concert which Professor Maria Rosa Ribas organizes each year. Professor Ribas is one of the members of the Piano Department depicted in the musical portraits. The premiere, performed by students of the Conservatory, took place in the Auditorio Eduard Toldra on May 30, 2011.The Onze retrats [Eleven Portraits] are dedicated respectively to the following professors: Carolina Saldana, Merce Molero, Maria Drets, Montserrat Cabero, Maria Jesus Crespo, Carles Marques, Maria Rosa Ribas, Albada Olaya, Montse Padros, Carme Poch and Mireia Planas.
SKU: AY.FRD37
ISBN 9790302114659.
John La Montaine's Twelve Relationships for Piano Solo consists of twelve short canons: Bold and Plain, Teasing, Plaintive, Bittersweet, Wayward, Saucy, Entreating, Piquant, Brooding, Spirited and Jubilant. It was originally composed in 1965. A canon is the strictest form of composition, in which two or more parts take up in succession exactly the same musical subject. Each of the canons in Twelve Relationships is at a different interval. That is, the second entrance of the subject begins on a different note in each canon, and that note is always different from the first entrance. Twelve different intervals are utilized in the twelve canons. Each of these canons is strict in its succession of intervals from the first note to the last. The first canon is at the octave and therefore in one and the same key. All of the others at different intervals, since they are strict, are simultaneously in two different keys. There is no other known set of canons so composed. The title Twelve Relationships may be understood in two senses. One refers to the form, the intervallic relationships mentioned above. The other refers to the content, that is, to the psychological relationships that are implied by the titles of the individual canons and which form the musical substance of the pieces. Jocelyn Mackey (Pan Pipes, music critic): Twelve Relationships contains twelve two-part canons with titles like, Plaintive, Sprightly, Saucy, Brooding. The first, Bold and Plain, is composed with imitation at the fifth, while a different interval is used in each of the other eleven. Just as the Well-Tempered Clavier contains preludes in each possible key, each possible interval of imitation is used in this set of canons. Amazing contrapuntal skill..
SKU: HL.49046394
ISBN 9781540086570. UPC: 840126910186. 9.0x12.0 inches.
In 2010 I lived in Rome as a Villa Massimo scholarship holder. During my time there I came across a few poems by Michelangelo that touched me a lot and soon had the plan to set some of them to music. But I wanted to combine it with something contemporary - just like in Rome the old and the new always meet. The poet Marcel Beyer, whom I met in Rome, then wrote the cycle of poems Die Grillmeisterin for me, which takes up many motifs from the Michelangelo texts (fire, tears, getting burned, loneliness, etc.). I then alternately combined this cycle of poems with the Michelangelo poems. The Italian songs have a sometimes melancholy, sometimes dramatic character, while the German songs are rather bizarre, sometimes even humorous. Despite these contrasts in character, there are also many musical connections between the German and Italian songs. Individual motifs and chord sequences sometimes return in completely different contexts, and there is even a direct connection between the first and last song, in that the same vocal line is underlaid with a completely different text. This creates a musical framework that holds the very heterogeneous selection of texts together. -Anno Schreier.
SKU: HL.49046387
ISBN 9781540086501. UPC: 840126910117.
In 2010 I lived in Rome as a Villa Massimo scholarship holder. During my time there I came across a few poems by Michelangelo that touched me a lot and soon had the plan to set some of them to music. But I wanted to combine it with something contemporary - just like in Rome the old and the new always meet. The poet Marcel Beyer, whom I met in Rome, then wrote the cycle of poems Die Grillmeisterin for me, which takes up many motifs from the Michelangelo texts (fire, tears, getting burned, loneliness, etc.). I then alternately combined this cycle of poems with the Michelangelo poems. The Italian songs have a sometimes melancholy, sometimes dramatic character, while the German songs are rather bizarre, sometimes even humorous. Despite these contrasts in character, there are also many musical connections between the German and Italian songs. Individual motifs and chord sequences sometimes return in completely different contexts, and there is even a direct connection between the first and last song, in that the same vocal line is underlaid with a completely different text. This creates a musical framework that holds the very heterogeneous selection of texts together. Anno Schreier.
