SKU: UT.QC-4

ISBN 9788881094783. 6.5 x 9.5 inches.

Saggi di Jean-Pierre Bartoli, Alan Davison, Therese Ellsworth, Erik Entwistle, Jeremy Eskenazy, Michaela Freemanová, Stephan D. Lindeman, Rudolf Rasch, Renato Ricco, Jeanne Roudet, David Rowland, Massimiliano Sala, Laure Schnapper, Rohan H. Stewart-MacDonald, Marie Sumner Lott


The career of Jan Ladislav Dussek (1760-1812) was notable for its peripateticism. Starting out in his native Bohemia Dussek spent periods of time in Germany and the Netherlands, settling in London for about ten years in the 1790s, progressing to Hamburg and ending his days in Paris. Although his activities centred on the piano, like so many musicians of his day Dussek branched out from performing and composing to encompass teaching, publishing and instrument retail, with varying success. A plethora of reviews and biographical accounts attest to Dussek’s renown throughout Europe as a pianist and composer, particularly when it came to sensitive and cantabile playing; and he interacted with some of the most eminent musicians, artists and political figures of his time. Dussek’s reputation declined sharply in the nineteenth century, however, and with the exception of isolated revivals of his work, for instance in London in the mid-nineteenth century, he has remained on the verge of obscurity in the minds of many musicians and music-lovers until the present day: even his well-known innovation of placing the piano sideways-on to the audience to display his striking profile is often mistakenly attributed to Franz Liszt. Although Dussek has provided the subject of a number of student dissertations over the years, in the published literature he has largely been restricted to cameo appearances or brief entries in historical surveys.
The bicentennial anniversary of Dussek’s death provides a fitting occasion for bringing together scholars from all parts of the world to produce the first multi-author, multi-lingual study of the composer. Several chapters deal with aspects of Dussek’s biography and iconography that receive only sparse treatment elsewhere; others survey the different branches of his output, including the piano sonatas, the piano concertos, the chamber music with and without harp and the three String Quartets, Op. 60, which are currently enjoying a revival via recordings and a new edition.
This book has two fundamental aims. One is to stimulate renewed interest in, and debate about, a less than celebrated – one might say unjustly neglected – figure. The other aim is to approach Dussek’s multi-facetted, geographically diverse career as an interface between ourselves and the music business at the beginning of the nineteenth century, whose complexity and vicissitudes emanated from the sociological dynamics and political events with which Dussek was, to an almost unique degree, inextricably associated. The highs and lows of Dussek’s career, the surviving contemporary accounts of Dussek the performer and composer, and the letters he exchanged with colleagues in several nations vividly portray the struggles of a worldly, ambitious, versatile and extremely perspicacious musician striving to carve out a place of eminence and material security for himself. This meant negotiating the complex progression, underway at this point in history, from the patronage system to the emergence of the artist as a socially and financially autonomous entity.

SKU: BT.DHP-1135409-010

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

Which are your favourite hits from the 1980s? There are certainly many answers to this question - but many responses are likely to contain these songs: Kool and the Gang’s disco classic Celebration, Come On Eileen by Dexy’s Midnight Runners, Whitney Houston’s I Wanna Dance With Somebody and Total Eclipse of the Heart by Bonnie Tyler. These four numbers have been arranged by Peter Kleine Schaars as a fantastic ’80s retro medley for concert band.

Wat zijn uw lievelingshits van de jaren tachtig? Daarop kunt u natuurlijk met vele mogelijkheden antwoorden. Maar de kans is groot dat u sowieso een van onderstaande hits noemt! In The Ultimate 80’s Party Hits verwerkte Peter Kleine Schaars de volgende ‘toffe’ nummers: Celebration van Cool and the Gang, Come on Eileen van de Dexys Midnight Runners, I Wanna Dance with Somebody van Whitney Houston en Total Eclipse of the Heart van Bonnie Tyler.

Was sind ihre Lieblings-Hits aus den 80er-Jahren? Die Antwort auf diese Frage fällt sicherlich vielfältig aus - ebenso sicher werden aber diese vier Lieder sehr häufig dabei sein: der Disco-Hit Celebration von Kool and the Gang, Come on Eileen von den Dexys Midnight Runners, I Wanna Dance with Somebody von Whitney Houston und Total Eclipse of the Heart von Bonnie Tyler. Diese vier Titel wurden von Peter Kleine Schaars zu einem wunderbaren 80’s-Revival-Medley für Blasorchester zusammengefügt.

Quels sont les tubes des années 80 qui vous ont le plus marqués ? De multiples réponses s’offrent cette question, cependant quatre chansons se classent en tête du palmarès : Celebration de Kool and the Gang, Come on Eileen de Dexy Midnight Runners, I Wanna Dance With Somebody de Whitney Houston et Total Eclipse of the Heart de Bonnie Tyler. Ces quatre titres ont été réunis par Peter Kleine Schaars dans un inoubliable medley aux accents des années 80.

Quali sono le vostre canzoni preferite degli anni ’80? A questa domanda, le risposte sono sicuramente le più svariate; ci sono però delle canzoni che si posizionano ai primi posti per tutti. Si tratta di veri e propri successi intramontabili, gemme del repertorio, come Celebration di Kool and The Gang, Come on Eileen dei Dexys Midnight Runners, I Wanna Dance With Somebody di Whitney Houston e Total Eclipse of the Heart di Bonnie Tyler, tutti raccolti in questo splendido revival firmato Peter Kleine Schaars.

SKU: UT.APS-5

ISBN 9788881094684. 6.5 x 9.5 inches.

Saggi di Luca Aversano, Claudio Bacciagaluppi, Carmela Bongiovanni, Andrea Cardone, Jen-yen Chen, Simone Ciolfi, Andrea Coen, Therese Ellsworth, Joël-Marie Fauquet, Florence Gétreau, Consuelo Giglio, Outi Jokiharju, Roe-Min Kok, Paul R. Laird, Marie Sumner Lott, Simon McVeigh, Elio Matassi, Russ Manitt, Jenny Nex, Leon Plantinga, Alban Ramaut, Rudolf Rasch, David Rowland, Laure Schnapper, Rohan H. Stewart-MacDonald, Renata Suchowiejko, Maria Alice Volpe


In this volume we wanted to investigate the intersection between the Industrial Revolution and the aesthetic-musical field. In particular, we aimed to explore the European dimension of the cultural exchanges caused by the phenomenon of musical migration, together with the international relationships generated by the music printing industry, entrepreneurship and the market for musical instruments. The later eighteenth and earlier nineteenth centuries were a time of fundamental change in European life, proceeding from the revolutionary implications of the ideologies of Enlightenment, and reverberating in market economies, methods of manufacturing and agriculture, modes of travel, and population distribution. The development of new technologies resulted in the enlargement and improvement of the music printing industry, and in the widespread diffusion of music in private and public spheres. The Industrial Revolution brought about the ‘modernization’ of productive processes and, as a consequence, engendered a kind of ‘globalization’ of the musical market.

SKU: PE.EP72184

ISBN 9790577000282. English.

Text selected from the Requiem Mass, D.H. Lawrence, Percy Bysshe Shelley and the Old Testament

First performance 3rd December 2003 at St. Martin-in-the-Fields

Subsequent revisions have been small, mainly consisting of a brand new Benedictus (to replace one which, in the original performance, had beeen borrowed from a liturgical setting of the Mass), the expansion of the Dies Irae and the creation of a bigger orchestration, as an alternative to the chamber scoring, to make the most of the forces available at the second performance, in St. Petersburg.