SKU: BT.DHP-1012918-010
Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenesâ€. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise.After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. Tchaikowsky ist berühmt für seine rein instrumentalen Kompositionen. Er ist jedoch auch als Opernkomponist nicht zu unterschätzen.Viele seiner OPern werden immoernoch regelmäßig auf der ganzen Welt aufgeführt, wie zum Beispiel Pique Dame und Eugen OneginEugen Onegin wurde in den Jahren 1877 bis 1878 komponiert und von Tschaikowsky selbst zunächst nicht als Oper, sondern als lyrische Szenen betitelt. Der lyrische Charakter ist im ganzen Werk vorherrschend. Zwei Stellen kontrastieren jedoch deutlich mit dieser Lyrik: zwei Ballszenen ,für die Tschaikowsky einen Walzer uns eine Polonaise schrieb.Nach einem weniger bekannten Allegro Dansant als Eröffung,stellt dieses Arrangement vor allem den oben genannten Walzer in den Vordergrund, welcher guten Herzens als ein schönes russisches Gegenstück zu Charles Gounods Faustwalzer bezeichnet werden kann. In der Oper wird dieser Walzer von einer Militärkapelle gespielt. Das Arrangement schließt mit der erwähnten pompösen Polonaise, die den letztzen Akt eröffnet: die ideale Musik, um ein Bild des Hochadels im Salon eines Petersburger Palastes zu zeichnen.
SKU: HL.48188385
UPC: 196288026600. 9.0x12.0x0.575 inches.
“The seventh volume of the series of twelve, Sonatas - Volume VII, LP. 37 features the Sonatas K.306 to K.357. Composed by Domenico Scarlatti, this edition by the Harpsichordist Kenneth Gilbert regroups the 555 sonatas arranged for Piano. Based on the two sets of books discovered in Venice and in Parma, this edition still contains some of the annotations initially suggested by Kirkpatrick, whose book can be considered as an essential guide for this series.â€.
SKU: CF.YPS260F
ISBN 9781491164006. UPC: 680160922796.
A bird is considered to have fledged at the time when its wing muscles and feathers are sufficiently developed for flight. When young birds have reached this stage, but are still dependent on their parents for care and feeding, they are referred to as fledglings. This piece musically follows a fledgling as it begins the long process of learning to fly. It starts out tentatively, gains ability, struggles, and then eventually soars.In all instances where a longer note is tied to an eighth note, players should release, stopping the sound, on the eighth note. For example, a dotted half note tied to an eighth note should have a definite stop at the beginning of beat 4.Measures 20–26: The sudden changes in dynamics should be exaggerated to produce a somewhat pronounced awkward effect.Measures 52–57: The flute, oboe, and clarinet parts should produce a constant flowing sound in the slurred eighth notes, breathing on the eighth-note rests.Measures 66–67: Make sure the staccatos are very short and pronounced, but do not cover the melody in the low brass and reeds.Measures 72–86: Emphasize the accents on the upbeats in the percussion instruments.Measure 83: Emphasize the crescendo to forte and then immediately drop to mezzo-forte.
SKU: MN.56-0078A
UPC: 688670220913.
SKU: FG.55011-608-5
ISBN 9790550116085.
Aulis Sallinen (b. 1935) is one of the most famous Finnish contemporary composers. In his early instrumental works, Sallinen was still seeking to establish a style of his own. He had studied at the Sibelius Academy in the late 1950s, first with Aarre Merikanto - a composer representing a national brand of Neoclassicism - and then with Joonas Kokkonen, at that time just transitioning from Neoclassicism to dodecaphony. Twelve-tone music had won fairly widespread acceptance in contemporary Finn-ish music, and Sallinen was influenced, too. The Variations are Sallinen's first real work for the cello - an instrument that would later be one of his favourites, its warm, deep voice corres-ponding to his music's often dark undercurrent. The Variations for Cello and Orchestra, Op. 5 were composed in 1961-1962 and premiered in October 1962. The basic motif consists of a set of three descending intervals stated by the cello at the beginning: D-D flat-F, C-B-G and B flat-A-F sharp. Their use as basic material is a ref-lection of the composer's dodecaphony-oriented period, and variation of this material provides the framework for the piece. Variations for Cello and Orchestra are now published for the first time. Available are a reduction for cello and piano, study score and complete performance material with orchestra.
SKU: HL.51487451
UPC: 196288158110. 6.75x9.5x0.294 inches.
Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzky’s Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrtext edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: FJ.B1402S
English.
Give your holiday concert a dose of world music with this catchy medley that includes The Virgin Mary Had a Baby Boy; Bring a Torch, Jeannette, Isabella; and Go, Tell It on the Mountain. A wealth of percussion instruments help set the Caribbean styles which include calypso and reggae along with a reference to the Creole influence on the islands. A fantastic upbeat medley that will be the highlight of your program!
About FJH Young Band
Appropriate for middle school and smaller high school groups. Second clarinets usually stay below the break. Parts are written with more independence, and instrumentation increases slightly. There is still adequate doubling in the lower voices. Grades 2 - 2.5
SKU: CF.CAS133
ISBN 9781491159224. UPC: 680160917808.
Bacchanale is a frantic dance full of reckless abandon. Taken from the name of the Roman god of wine Bacchus, this work is a festive celebration. It starts with lyrical melodies juxtaposed against sharp, driving motor-like rhythms. The middle section consists of a tempo modulation into a contrasting tune filled with longing, but the party resumes and finishes in a spectacular style. Staccato, spiccato and legato articulations are explored along with accidentals, accents and bow lifts.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: HL.14033079
ISBN 9788759858332. Danish.
There were wild oatsAnd the soil was blackBut sparkledWhen the sun was outThe air sharp in the nostrilsHard to defineSomewhere between knife and coal andAcid and that special light and sweetWhiteness thornbushes exhaleIt was nothing specialBecause everything was special...Thus the opening line of the poem TERRAINS VAGUES by Klaus Rifbjerg, the Danish Poet. I chose to adopt this title for my orchestral work, because of its closeness in associations: an indeterminable, often polarized, state of rhythmic and tonal ambiguity.The expression seems created by the Franch author, Victor Hugo:And here lies the fascination: in the kinds of terrains vagues, which are simultaniously bizarre and ugly, as if created by two alien species of nature. To watch the suburb is like observing and amphibium: trees vanish, roofs appear, grass vanish, cobble stones appear, ploughing fields vanish, shops appear, beaten tracks vanish - passions appear; the murmur of Nature Divine ends, the noise of Mankind takes over. (Victor Hugo)Still, the atmosphere as well as the material of TERRAINS VAGUES have its origin, in my SYMPHONY NO. 6 (1999), the last minute of which, cut up rough, appears as the start of my new work. The music of TERRAINS VAGUES subdivides itself, without breaks, into three sections, or shades:I: TERRAINS - II: VAGUES (Waves) III: TERRAINS VAGUES.Per Norgard, March 2001.
SKU: FJ.B1084S
Opening with the rich sounds of the woodwind choir, here is a magnificent setting of John B. Dykes' familiar hymn tune, Holy, Holy, Holy. Rich brass writing sets up the fanfare and key change to a dramatic tutti finale. (2:45).
SKU: PA.H07911
ISBN 9790260104457. 31 x 23.5 cm inches.
Lubos Fiser (1935-1999) was one of the most talented Czech composers of his generation. Born in Prague, he studied at the Prague Conservatoire from 1952-1956 and then at the Academy of Music. He was known to the public for his many film scores but it was his other compositions, many of them written under difficult political conditions, which mark him out as a composer of significance.Fiser's eight piano sonatas have a special place in his oeuvre. Fiser subsequently eliminated his second sonata (1956) from his compositional repertoire. From the third sonata onwards (1960), subtitled Fantasia, the composer wrote a two-movement composition, in which he continued to incorporate as his fundamental musical device the confrontation of sharp contrasts in tempo and mood. Beginning with his fourth sonata (1962-1964), Fiser created a single-movement work in an expressive, formally focused composition which betrays a progression towards greater compactness of musical shape in a concise yet effective musical testimony. The fifth sonata was written in 1974, the sixth sonata in 1978. The seventh sonata from 1985 was dedicated to Frantisek Maxian, the eighth sonata was written in 1995.Piano Sonata No.1 was written in 1955. Fiser worked on it during his last year at the Prague Conservatoire under the supervision of Emil Hlobil. The piece is one of Fiser's early works which still respect a traditional compositional approach. Unlike his major and late piano sonatas, this sonata has three movements, each representing the traditional Classical-Romantic form. The sonata was premiered by Fiser's fellow-student and friend Antonin Jemelik in Theatre D34 on 30 January 1956.The new setting for this piece is based on the single edition to date (SNKLHU, 1957); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music, acquisition number 297/2006).
SKU: ST.Y285
ISBN 9790220223129.
1st perf: The Fidelio Trio (Darragh Morgan, violin, Robin Michael, cello, Mary Dullea, piano), The Forge, Camden Town, London, 20 February 2012 Goethe's dictum that architecture is frozen music has been a powerful stimulus for composers over the centuries, but in the case of Morgan Hayes the stark features of modern industrial buildings rather than the splendours of the Gothic or Baroque styles have been an impressive influence. In the case of his most recent work, Volklinger Hutte, the great German steel foundry of that name, in operation for over a hundred years, was the trigger for a powerful yet succinct one-movement structure for piano trio. Situated in the town of Volklingen, this extraordinary monument to German engineering prowess is now a UNESCO world heritage site. Hayes discovered it by chance, through a reference in a Lonely Planet guide while he was visiting nearby Saarbruken for a performance of another of his compositions. The austere beauty of the location has infused the music with sharp dynamic and timbral extremes which also suggest its awesome scale. Grinding, machine-like textures cheek by jowl with passages of reposeful silence also project the nostalgic atmosphere of the now silent plant contrasted with the bustle of its heyday, still echoing in the brutally functional geometrical forms of its corroding chimneys, cranes and blast furnaces.
SKU: FJ.B1636S
Welcome the yuletide season in jazzy style as Saint Nick meets Benny Goodman and his renowned drummer Gene Krupa. This inventive take on the holiday chestnut Jingle Bells begins with the iconic toms solo launching into the familiar melody. When the full ensemble enters on the chorus, sleigh bells add to the festive mood. After a call-and-response section between the brass and woodwind sections, Jolly Old St. Nicholas makes his appearance to close out the piece!
SKU: MH.1-59913-072-6
ISBN 9781599130729.
Program Notes: It was a happy coincidence that the commission for SINFONIA XVI: TRANSCENDENTAL VIENNA came from the Henry David Thoreau School located in Vienna, Virginia. Thoreau is one of the magic names in American culture: Henry David Thoreau, one of the leading figures of the Transcendentalist movement, centered in 19th-century New England, left us a body of unique philosophical and poetical writings. To utter the words, Walden Pond, is to invoke an America long past in physical actuality, but still present in the minds and hearts of many American citizens. The name, Vienna, of course, summons thoughts of the Old World: culture, fine food, wine, civilized cities. While contemplating the form that SINFONIA XVI should take, I found myself thinking of two pillars of Viennese culture: expressionism and the waltz. Musically speaking, expressionism reached a zenith in the works of Arnold Schoenberg and Alban Berg. It was Berg, in particular, that I wanted to invoke in the outer movements of my composition. I knew I would also have to include a waltz, and an invocation of the mysterious forces that are contained in both expressionism and transcendentalism. Thus was the structure of the work generated. The outer movements with their vision of the night sky and the stars, Aldebaran and Sirius, frame the central movements, which are essentially two versions of the same material, and are quieter and less dramatic. The outer movements are symmetrical, and share both pitch and rhythmic materials. Accordingly, I see the work as a ternary form, with the central movements forming a unit within the outer frame: A (Movement 1) B (Movements 2 & 3) A' (Movement 4). Harmonically, the work can be summarized by the two pitch-series which occur in the opening bars of Movement 1: the initial 12-note row, with a tonal center on F-sharp (measures 1-6), and the subsequent D-minor Dorian 7-note row (beginning in measure 14). Aspects of these materials occur in all four movements, but they are most strongly present in Movements 1 and 4. Note that the 12-note row is not subjected to the usual serial procedures, but instead is treated as a signifier and is left unchanged. Since the fourth movement takes up where the first movement leaves off, I can conceive of one interpretation of SINFONIA XVI as an evocation of Thoreau himself contemplating two of the brightest stars on a clear, cold night. Aldebaran is an orange, first-magnitude star, located in the constellation Taurus; Sirius, the Dog Star, is the brightest star in the sky, and is located in the constellation Canis Major. Thoreau interrupts his star-gazing to entertain some inward thoughts, waking dreams, as it were, then returns his gaze to the splendid night sky and all its treasures. Although many other interpretations of the material are possible, it is important to remember that the abstract materials of the piece -- pitch, rhythm, structure -- are what count the most. Ensemble instrumentation: 1 Piccolo, 4 Flute 1, 4 Flute 2, 3 Oboe, 1 Eb Clarinet (opt.), 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 3 Bass Clarinet, 3 Bassoon, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 Horn 1, 2 Horn 2, 3 Trombone 1, 3 Trombone 2, 3 Euphonium B.C., 2 Euphonium T.C., 5 Tuba, 2 Timpani, 3 Percussion 1, 3 Percussion 2, 3 Percussion 3, 3 Percussion 4.
SKU: FG.55011-609-2
ISBN 9790550116092.
SKU: CF.CAS133F
ISBN 9781491159392. UPC: 680160917976.
SKU: HL.49043945
ISBN 9790220133503. 8.25x12.0x0.3 inches. English.
Sea Songs, commissioned jointly by Ars Nova Copenhagen and Glasgow Concert Halls, is a kind of sequel to Martland's Street Songs (originally written for the Kings Singers and Evelyn Glennie). As with the earlier piece, Martland made use of to the library of the English Folk Song and Dance Society at Cecil Sharp House in north London.I wanted specifically to find texts that were not just the usual nautical heave-ho sort of thing, but instead explored the dangers and hardships still being experienced by sailors as recently as the early 19th century. I was also very happy to see in these texts the sense of camaraderie and mutual support that existed between the sailors. (Steve Martland)Dance to your Daddy sets the scene of a sailor's wife at home, dandling her baby son and singing to him about his daddy away fishing, and about the future. Both the tune and the words come from the Northumberland area around Newcastle. This song is very well known in the UK and gave the title to a famous television series When the boat comes in.Fire Down Below is about the effects of fire - a constant danger on board wooden ships. At the end of this song the words take on an extended meaning: Fire in our hearts for the friends that we love.The Dead Horse is about the initial month of work without pay in which all seamen had to take part. They referred to it as the dead horse - hence the expression to flog a dead horse when something is a waste of time. The seamen resented this unpaid time, and the text expresses their frustrations metaphorically by listing what they would do to the horse! The music's frantic gallop alludes to the horse's desperation.Although The Sea Martyrs presents itself as a ballad, this text has a more literary feel, and unlike the other songs it doesn't include a chorus refrain. It concerns the sailors' lack of pay, the consequences of asking for pay (being hanged!), and the poverty of their families at home. The poem portrays the sailors' deaths as an almost religious sacrifice to help future seamen.At the end of the work, the opening of Dance to your Daddy returns as a kind of descant, sung by an angel calling to the hanged men. Paul Hillier, 2012.
