SKU: BR.OB-4447-27
ISBN 9790004309742. 10 x 12.5 inches.
Thanks to a detailed sketch, we know that Mozart originally wrote his famous Clarinet Concerto K. 622 for basset horn in G or A. It was only in the early editions dating from the 19th century that this work - considered as the Clarinet Concerto par excellence - became unproblematic to play an the A clarinet. However, source studies have revealed that this was made possible only at the price of considerable un-Mozartian alterations of the solo Part. Sabine Meyer, Wolfgang Meyer and Reiner Wehle, the members of the Trio di Clarone, haue eliminated some of these modifications in their new edition, restoring Mozart's original intentions. However, their critical revision in no way impedes the performability of the A-major Concerto.
Die Neuausgabe eines Klavierauszuges verdient besonderes Interesse, da als Herausgeber mit Sabine Meyer, Wolfgang Meyer und Reiner Wehle uberaus kompetente Musiker fungieren. Die Sorgfalt, mit der gearbeitet wurde, merkt man sowohl dem Schriftbild als auch dem informativen Vorwort an.(Das Liebhaberochester)
SKU: BR.OB-4447-19
ISBN 9790004309728. 10 x 12.5 inches.
SKU: BR.OB-4447-23
ISBN 9790004309735. 10 x 12.5 inches.
SKU: HL.48181012
UPC: 888680878733. 9.0x12.0x0.048 inches.
French composer, Paul Dukas (1865-1935) is best known for his orchestral piece, The Sorcerer's Apprentice. However, his catalogue represents many other significant works by the composer, including Alla Gitana for alto saxophone and piano. Composed in 1909, Alla Gitana was originally a selection of vocal studies. However, Marcel Mule's transcription for alto saxophone has made this delightful work more accessible. Dukas reflects the French romantic style in Alla Gitana through uses of flourishing semiquavers, lyrical melodies and chromaticism. For all aspiring, advanced saxophonists, Dukas' Alla Gitana is an exquisite addition to the repertoire.
SKU: GI.G-10228
ISBN 9781622774869.
Conceived as a sequel to the eminent twentieth-century text The Symphony and the Symphonic Poem, Robert Quebbeman’s Symphonic Works Analyzed offers in-depth analysis of over sixty works from additional standard orchestral genres, including the overture, incidental pieces, and works for orchestra and chorus. With repertoire spanning the Classical period to the twentieth century, each analysis provides detailed, easy-to-follow charts outlining the structure and form for each work or movement—complete with music examples showing all the important themes, discussions of the significant details of each composition, and the instrumentation required for performance. Ideal for conducting professionals and students alike, this resource facilitates both the visual and aural components of score study, illuminating the intricacies of each work for efficient assimilation. This book is an essential reference for any orchestral conductor. Robert Quebbeman, A.Mus.D., is an emeritus professor at Missouri State University, where he served for almost thirty years as Director of Orchestral Activities and Director of Graduate Studies in Music.
SKU: BO.B.3730
This method for guitar is practical and functional that pretends to be fun and motivating without losing academic rigor.Throughout the five books which complete the collection, are shown exercises, studies, works and songs belonging to various genres, styles and techniques (fingers or plectrum, for example) to play the guitar. As the title suggests, the method includes the study from all perspectives and is intended for use with any type of guitar (classical, acoustic or electric).The intention is to convey (in the elementary level) a comprehensive and unbiased knowledge, which students can study, fluidly, all possible ways of playing the instrument and start to find his own artistic path.
SKU: AP.1-ADV14907
UPC: 805095149074. English.
Playing Through the Blues: Violin Edition is an intermediate-level reading book with accompanying CD (12 listening tracks; 12 play-along tracks) that contains very melodic, fun-to-play blues lines and riffs in various styles and feels. The keys and tempos are comfortable. It's an excellent tool for learning what jazz soloing is all about. You can also improvise over the play-along tracks using the chords for the tracks shown in the book. Titles: Blues for Michael Brecker * On the Spot * Sus Sounds * Goin' Home * Funky Blue * Blues Ascension * Four in Three * Diggin' In * Nightfall * Medieval Blues * Tradin' Ones & Twos * Shuffle Them Blues.
SKU: HL.48024679
ISBN 9783793142164. UPC: 888680952532. 9.0x12.0x0.169 inches.
Almost all of Ursula Mamlok's works created before the Wind Quintet (1956) have remained unpublished until now. Many of them were performed for the first time in the final years of the composer who died in 2016. Mamlok himself played the accompaniment when (not only) her early piano works were released on CD by the label Bridge Records. They are now available in the present sheet music edition which contains three pieces from the days of her studies with George Szell, Roger Sessions and at the famous Black Mountain College (1942 and 1944) as well as three works with greater pianistic demands created after 1946. The collection also shows the composer's path from traditional forms towards her characteristic style and atonality. CONTENTS: Sonata for Piano Three Part Fugue in a minor The Birds Dream: Six Short Pieces for Piano Piano Piece (1946) Molto vivo (1947) Piano Piece (1952) Nachwort Postface.
SKU: HL.49046874
ISBN 9781705162521. UPC: 196288062622.
Gerhard Graf-Martinez is a passionate flamenco guitarist and teacher. The wealth of his insider knowledge - developed from his intensive and friendly collaboration with 'gitanos', 'guitarristas' and 'maestros' - is captured in this two-volume work just as is his valuable experience gained from his long years of teaching activities at national and international seminars and workshops. Thisclearly structured textbook and work of reference shows every guitarist a sure and passable way into the fascinating work of the flamenco. The accompanying mp3-pack contains all the pieces and music examples. Besides being a pure pleasure to listen to - 'flamenco puro'-, it also conveys the necessary authentic sound and the pulsating rhythm, the 'compas', of this music. This is the only possible and sensible way to learn to play the music properly yourself.
SKU: FA.MFGT058
8.27 x 11.69 inches.
These four short pieces are from various sources. The incomplete Exercise d’harmonie is the only Conservatory exercise that Tailleferre kept and clearly shows the influence of Wagner at the time of her studies. The Marche funèbre (comique) was probably from a film score in the late 1930s, « Chats » was part of a documentary film score about animals vers 1950 and Course à l’échalotte was also probably from a film score, evoking children’s games.
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: HL.49045824
Max Kowalski (18821956) was a full-time lawyer who never gave up on his passion for music: singing lessons during his law studies, conducting and counterpoint classes, among others, at Dr. Hochs Konservatorium in addition to his work at his own law office in Frankfurt. While studying, he already published his first works; 15 song cycles were published until 1933. In the years that followed, the Jewish-born Kowalski was restricted in working both as a lawyer and as a composer due to his persecution by the National Socialists. In 1938 he was arrested, deported to the concentration camp of Buchenwald and finally forcedto flee into exile in London. Contemporaries called Kowalski a lyricist among the composers. The choice of texts of his songs shows his great knowledge and love of German literature. For example, he set to music texts by Friedrich Holderlin or Rainer Maria Rilke, but also Indian or Japanese poems. Kowalski left numerous unpublished songs which are published by Schott Music in a two-volume edition: Volume 1 (ED 22586) contains his Jewish songs (1935-37), the Heinrich Heine cycle (1937) and all English-language songs (1941-46). Volume 2 (ED 22587) contains Kowalski's late works: the songs based on texts by Friedrich Holderlin (1950) and the Geisha Lieder according to Klabund (1951).
SKU: LM.VV282D
ISBN 9790231702507.
ATTAIGNANT P. : Branle et branle gay (p. 23, 1'09) - GRANADOS E. : Callejeo (p. 30, 1'33) - SAINT SAENS C. : La Cigale et la fourmi (p. 32, 1'56) - BELLINI V. : Arietta (p. 35, 2'22) - BEETHOVEN L. van : Theme sur La Flute enchantee (p. 42, 0'56) - BEETHOVEN L. van : Variation I sur La Flute enchantee (p. 43, 0'45) - ANONYME XVe : Ben venga maggio (Texte de A. Poliziano, p. 49, 1'59) - BRITTEN B. : Fishing song (p. 52, 2'22) - HOWARD B. : Fly me to the moon (p. 64, 5'44) - BONFA L. : La Chanson d'Orphee (I) (p. 89, 2'30) - BONFA L. : La Chanson d'Orphee (II) (p. 89, 3'23) - FAURE G. : Elegie (jusqu'a mes.22, p. 94, 3'14).
SKU: HL.354338
ISBN 9781705107669. UPC: 840126936964. 9.0x12.0x0.109 inches.
Richard Wilson was born in Cleveland on May 15, 1941. He studied piano with Roslyn Pettibone, Egbert Fischer, and Leonard Shure, andcello with Robert Ripley and Ernst Silberstein. After beginning composition studies with Roslyn Pettibone and Howard Whittaker, he went on in 1959 to Harvard, studying with Randall Thompson, G.W. Woodworth, and principally with Robert Moevs, and graduating in 1963 magna cum laude. Awarded the Frank Huntington Beebe Award for study abroad, he continued studying piano with Friedrich Wührer in Munich, and composition, again with Moevs, in Rome, where he also gave piano recitals. Wilson joined the faculty of Vassar College in 1966. He was appointed to the Mary Conover Mellon Professorship of Music there in 1988, and he has served three times as chairman of the Department of Music. Wilson has been commissioned by the San Francisco Symphony, the American Symphony, the New Juilliard Ensemble, the Koussevitzky Foundation, the Fromm Foundation, Chamber Music America, the Chicago Chamber Musicians, the Walter W. Naumburg Foundation, and the Library of Congress. His works have been heard in such American musical centers as New York, Philadelphia, Washington, Boston, Cleveland, and Los Angeles and at the Aspen Music Festival, but also in London, Berlin, Frankfurt, Zurich, Milan, Amsterdam, Graz, Leningrad, Stockholm, Tokyo, Bogota, and a number of Australian cities. The recipient in 1992 of a Guggenheim Fellowship, he was awarded the Elise L. Stoeger Prize of the Chamber Music Society of Lincoln Center in 1994, the Academy Award from the American Academy of Arts and Letters in 2004, and has served as composer in residence with the American Symphony Orchestra since 1992. Wilson has been praised by 21st Century Music as a “splendidly talented and highly accomplished composer whose music rewards seeking out†and by the New York Sun as “possessed of a hard-won idiom that has grown and developed over the years into a probing blend of wit, classic form, modern harmony, and impressionistic color.†Writing in the New Yorker, Andrew Porter called his String Quartet No. 3 a “richly wrought and unusual composition,†while the New York Times called it “a work of substance and expressivity ... [that] merits a place in the active repertory.â€.
SKU: HL.50510141
ISBN 9790080128916. UPC: 073999708516. Bach (23 x 30,2 cm) inches. Hungarian, English, German. Erzsebet Nagy; Miklos Mosoczi.
This publication is a completely revised edition of our five-volume guitar tutor. In the decades since its first edition, the musical interests of students and their practice possibilities have changed. To adapt to this, we have partly expanded and partly reduced the musical and technical material of the tutor. We have increased the number of recital pieces at all levels of difficulty,so that students can spend longer on a varied repertoire at their respective level. We have determined the works in the volume V which demand a more developed technique and musicality to extend the repertoire of those who wish to study further. The transcription of lute works has sometimes made significant compromises necessary. However, in our view, it is a significant gain that students can get to know a Dowland fantasy or an early English Baroque set of variations. This volume comprises 44 concert pieces from the early 17th to the 20th centuries, 18 advanced-level studies by Carcassi, Coste, Giuliani, and Sor, as well as several advanced-level technical exercises. Besides original works by Giuliani, Sor, Tarrega, and others, it features several transcriptions of works by Dowland, Rameau, J. S. Bach, and D. Scarlatti.
SKU: IS.WE7090EM
ISBN 9790365070909.
Nico Schoeters took his first percussion lessons with Eric Buyle in the Academy for Music and Word in Boom, near Antwerp, after getting the hang of it through private lessons by Jozef Vervliet. Afterwards he continued his music studies at the Royal Conservatory of Antwerp, where he was taught by Leo Ouderits, Carlo Willems and Koen Wilmaers. In 1998 he graduated there with great distinction as Master in percussion. After cooperating on various projects in Belgium and abroad as a freelance percussionist, Nico took up a position as a percussionist in the National Orchestra of Belgium. However, despite of all his achievements as a percussionist, Nico Schoeters didn’t take his first musical steps by playing percussion, but by playing the piano. His love for the piano remained a common thread in his musical career. For example, he played numerous gigs as a pianist with his jazz quartet ‘Just Friends, consisting of a number of top musicians who are his friends. In addition he started composing piano works in 2012. Cosmopolydian is my first composition for symphonic windband. It's a solo piece for flute and vibraphone which is dedicated to Inge Smedts, principal piccolo at the Royal Wind Band of the Belgian Guides. It is written in the context of a musical project ‘Cocktail Maison'. This project includes a concert on May 25th, 2017 in De Singel in Antwerp where this work will be premiered, a CD recording and a concert tour. All the pieces for this project are new compositions by Piet Swerts, Jef Neve, Klaas Coulembier, Etienne Houben, Bart Watté, Jan Huylebroeck, Francois Glorieux and myself. All the compositions are inspired by a cocktail. My choice is the Cosmopolitan, but the non-alcoholic version, the mocktail actually. The title Cosmopolydian is a nod to the lydian scale which I used as a base for the majority of the piece. The idea behind the music is an image of children enjoying themselves, worry-free, during the holidays. Tired but satisfied, they go to sleep and have wonderful dreams. The next day they wake up to start a beautiful new day.The work is constructed in a typical ABA form. A quick first part: ‘sparkling allegro', which of course should sound very light and playful. A slow middle part warm adagio, in which the beautiful dreams become audible. The last part is a re-exposition of the first part in which eventually all the themes merge into the final.
SKU: HL.49045929
9.0x12.0x0.057 inches.
The Austro-Hungarian composer Erwin Schulhoff (1894-1942) was musically precocious: At the suggestion of AntonÃn Dvorák, he receivedpiano lessons at the age of seven, and at the age of ten became a student at the Prague Conservatory. Further piano studies in Vienna, Cologne and Leipzig as well as composition lessons with Max Reger supplemented his education. His Jewish heritage, which defamed his music as “degenerateâ€, and his sympathy for communism, however, cost him his life. In Prague and finally interned in Wülzburg near Weissenburg in Bavaria, he died of tuberculosis. Schulhoff's musical significance lies in the integration of jazz into art music, for example in his oratorio H.M.S. Royal Oak or in his Hot Sonata for alto saxophone and piano. He earned his living as a jazz pianist for a long time. In August 1922 he wrote four short piano pieces, his Rag Music, to which he added four more phrases in November: released as Partita, also known as Jazz-like Partita - with the fashion dances Ragtime, Foxtrott, Shimmy, Boston and - as No. 7 - a tango. From a piano to a string quartet movement, the arrangement presents itself as a delicate and smart, technically not too difficult sweet, suitable as a diversion or addition in a quartet program.
Special Import titles are specialty titles that are not generally offered for sale by US based retailers. These items must be obtained from our overseas suppliers. When you order a special import title, it will be shipped from our overseas warehouse. The shipment time will be slower than items shipped directly from our US warehouse and may be subject to delays.
SKU: FA.MFCD017B
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes:My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.