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| Poul Ruders: Symphony No. 2 Wilhelm Hansen
Score Orchestra SKU: HL.14028045 Symphony and Transformation Score...(+)
Score Orchestra SKU: HL.14028045 Symphony and Transformation Score. Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2002. 186 pages. Edition Wilhelm Hansen #WH30496. Published by Edition Wilhelm Hansen (HL.14028045). ISBN 9788759872574. UPC: 884088434403. 11.75x16.5x0.475 inches. A second Symphony by Ruders, commissioned by the Serge Koussevitzky Music Foundation in the Library of Congress for the New York City based chamber orchestra, Riverside Symphony. The piece is subtitled Symphony And Transformation to express the formal symphonic nature of a piece that is otherwise in a state of constant musical and textural transformation. $94.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Chamber Symphony Theodore Presser Co.
Orchestra Orchestra SKU: PR.416413710 For Chamber Orchestra. Compo...(+)
Orchestra Orchestra SKU: PR.416413710 For Chamber Orchestra. Composed by Clint Needham. Watkiss. Contemporary. Full score. With Standard notation. Composed 2008. 92 pages. Duration 21 minutes. Theodore Presser Company #416-41371. Published by Theodore Presser Company (PR.416413710). ISBN 9781598068214. UPC: 680160587162. 9x12 inches. Needham's original intent with Chamber Symphony was to encapsulate the 2008 presidential election, from the Democratic primaries to the historic general election campaign and win of Barack Obama. But, says Needham, In the midst of the general election circus, I decided to broaden my inspiration and have the work's overall goal focus on the larger ideas of hope and transformation. Chamber Symphony was commissioned by the American Composers Orchestra with generous support of Paul Underwood. Additional support was from the National Endowment for the Arts. I originally envisioned a work inspired by the political landscape of the 2008 presidential election, focusing primarily on the hard-fought Democratic Primary race. I was fascinated by the historic and hopeful spirit that both the Barack Obama and Hillary Clinton campaigns embodied. Sometime later, in the midst of the general election circus, I decided to broaden my inspiration and have the work’s overall goal focus on the larger ideas of hope and transformation. Chamber Symphony is constructed in three movements (played without pause): I. Hammering Out, II. Open-ended Echoes, and III. Radiant Nation. The titles suggest a general atmosphere that each movement attempts to express. The outer movements, both quick in tempo, act as the antithesis of each other in terms of mood. “Hammering Out†employs an aggressive, relentless, pounding beat that frequently shifts, often emphasized with metallic sounds. “Radiant Nation†is much lighter and more optimistic in tone, and uses an up-beat groove throughout the movement. The middle movement, “Open-ended Echoes,†is the proverbial calm after the storm. Unlike the outer movements, “Open-ended Echoes†is almost void of any strong sense of pulse. The movement attempts to create a peaceful, contemplative mood that transforms the volatile nature of the first movement tothe radiant spirit of the last. Chamber Symphony was commissioned by the American Composers Orchestra for its Orchestra Underground Series with the generous support of Paul Underwood. Additional support for the ACO’s Emerging Composers Program comes from the National Endowment for the Arts.— November 5, 2008. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Le Temple de la Gloire RCT 59 (Symphonies / Versions of 1746 and 1745) Orchestra [Score] Barenreiter
Fete with a Prologue and 3 Acts. Composed by Jean- Philippe Rameau (1683-1764)....(+)
Fete with a Prologue and 3
Acts. Composed by Jean-
Philippe Rameau (1683-1764).
Edited by Julien Dubruque.
This edition: urtext edition.
Paperback. Symphonies /
Versions of 1746 and 1745.
Score, anthology. RCT 59.
Baerenreiter Verlag #BA07563.
Published by Baerenreiter
Verlag
$74.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Poul Ruders: Symphony No. 2 Wilhelm Hansen
Full Score Score SKU: HL.14028018 Symphony and Transformation Full Sco...(+)
Full Score Score SKU: HL.14028018 Symphony and Transformation Full Score. Composed by Poul Ruders. Music Sales America. Classical. Edition Wilhelm Hansen #KP00811. Published by Edition Wilhelm Hansen (HL.14028018). $129.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Chamber Symphony Theodore Presser Co.
Orchestra Orchestra SKU: PR.41641371L For Chamber Orchestra. Compo...(+)
Orchestra Orchestra SKU: PR.41641371L For Chamber Orchestra. Composed by Clint Needham. Contemporary. Large Score. With Standard notation. Composed 2008. 93 pages. Duration 22 minutes. Theodore Presser Company #416-41371L. Published by Theodore Presser Company (PR.41641371L). UPC: 680160587179. 11 x 14 inches. Needham's original intent with Chamber Symphony was to encapsulate the 2008 presidential election, from the Democratic primaries to the historic general election campaign and win of Barack Obama. But, says Needham, In the midst of the general election circus, I decided to broaden my inspiration and have the work's overall goal focus on the larger ideas of hope and transformation. $120.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Transformations [CD] GIA Publications
(GIA WindWorks Series (featuring the North Texas Wind Symphony)). Composed by Eu...(+)
(GIA WindWorks Series (featuring the North Texas Wind Symphony)). Composed by Eugene M. Corporon. Music Education. CD. Published by GIA Publications
$15.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Transformations (Symphony No. 4) für Ensemble (zehn Spieler) (1990/1997/2019) Verlag Dohr
Ensemble SKU: VD.ED88813 Composed by Adrian Connell. Classical. Score. Ve...(+)
Ensemble SKU: VD.ED88813 Composed by Adrian Connell. Classical. Score. Verlag Dohr #ED88813. Published by Verlag Dohr (VD.ED88813). 12 x 9 inches. $40.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Tristan Keuris: Symphonic Transformations (Full Score) Orchestra Music Sales
Orchestra SKU: HL.14017820 Composed by Tristan Keuris. Music Sales Americ...(+)
Orchestra SKU: HL.14017820 Composed by Tristan Keuris. Music Sales America. Post-1900. Score. Music Sales #NOV360053. Published by Music Sales (HL.14017820). Commissioned by the Houston Symphony Orchestra. $10.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony #4 Symphonic Band [Study Score / Miniature] Carl Fischer
For Symphonic Wind Ensemble. Composed by David Maslanka. Classical. Full score (...(+)
For Symphonic Wind Ensemble. Composed by David Maslanka. Classical. Full score (study). With Standard notation. 138 pages. Duration 27 minutes. Carl Fischer #O005374. Published by Carl Fischer
$115.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony No. 5 in A (Verwandbing der Lycischen Bauern) Orchestra Lucks Music Library
Orchestra (2.0.0.2/2.0.0.0,str) SKU: TM.10641SET Composed by Karl Ditters...(+)
Orchestra (2.0.0.2/2.0.0.0,str) SKU: TM.10641SET Composed by Karl Dittersdorf. Set Type: D. Set of parts. Lucks Music Library #A5219. Published by Lucks Music Library (TM.10641SET). Transformation of the Lycean Peasants. $60.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 in D (Die Versteinerung der Phineus) Orchestra Lucks Music Library
Orchestra (1.2.0.2/2.2.0.0,str) SKU: TM.10642SET Composed by Karl Ditters...(+)
Orchestra (1.2.0.2/2.2.0.0,str) SKU: TM.10642SET Composed by Karl Dittersdorf. Set Type: D. Set of parts. Lucks Music Library #A5218. Published by Lucks Music Library (TM.10642SET). Transformation of Phineus & his Friends. $75.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 6 in D (Die Versteinerung der Phineus) Orchestra Lucks Music Library
Orchestra (1.2.0.2/2.2.0.0,str) SKU: TM.10642SC Composed by Karl Dittersd...(+)
Orchestra (1.2.0.2/2.2.0.0,str) SKU: TM.10642SC Composed by Karl Dittersdorf. Score. Lucks Music Library #A5218. Published by Lucks Music Library (TM.10642SC). Transformation of Phineus & his Friends. $25.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Symphony No. 5 in A (Verwandbing der Lycischen Bauern) Orchestra Lucks Music Library
Orchestra (2.0.0.2/2.0.0.0,str) SKU: TM.10641SC Composed by Karl Dittersd...(+)
Orchestra (2.0.0.2/2.0.0.0,str) SKU: TM.10641SC Composed by Karl Dittersdorf. Score. Lucks Music Library #A5219. Published by Lucks Music Library (TM.10641SC). Transformation of the Lycean Peasants. $15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Bach, Handel and More - Volume X (Flute) Flute [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Flute. The O...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Flute. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Trumpet) Trumpet [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Trumpet. The...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Trumpet. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Double Bass) Double Bass [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Double Bass....(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Double Bass. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Harp/Keyboard/Auxiliary) Keyboard [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Harp/Keyboar...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Harp/Keyboard/Auxiliary. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Violin) Violin [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Violin. The ...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Violin. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
(2)$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Clarinet) Clarinet [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Clarinet. Th...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Clarinet. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Cello) Cello [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Cello. The O...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Cello. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
(1)$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Bach, Handel and More - Volume X (Horn) French horn [CD Sheet Music] Hal Leonard
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Horn. The Or...(+)
The Orchestra Musician's CD-ROM Library, Volume 10. By Various. For Horn. The Orchestra Musician's CD-ROM Library. CD-ROM only. 8 pages. Published by Hal Leonard.
$19.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Jarba, Mare Jarba Choral SATB Carl Fischer
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by ...(+)
Choral SATB choir SKU: CF.CM9700 Composed by Hungarian Folk. Arranged by Stacy Garrop. 20 pages. Duration 4:44. Carl Fischer Music #CM9700. Published by Carl Fischer Music (CF.CM9700). ISBN 9781491160008. UPC: 680160918607. Key: A minor. Hungarian. Hungarian Folk. In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one's homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers' longing to return home; these are interspersed with the folk song's traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version. PERFORMANCE NOTES All spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music. If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end. TEXT Transliteration Jarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. O mers mama de pe sat, O lasat coliba goala, Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa. Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Translation Green grass, tall grass, I would like to go home, but I cannot, because I have sworn not to. Tall grass, green grass - oh, that I cannot go home! My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty. Tall grass, green grass - oh, that I cannot go home! Tall grass, green grass - I would like to go home. but I cannot, because I have sworn not to. Stacy Garrop's music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys - some simple and beautiful, while others are complicated and dark - depending on the needs and dramatic shape of the story. Garrop served as the first Emerging Opera Composer of Chicago Opera Theater's Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels. Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children's Chorus. Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.). In 2014, Chanticleer commissioned me to make a new arrangement of the Hungarian-Romani folk song Jarba, Mare Jarba for their 2014 touring program. Passed down orally through the Romani communities, this beautiful folk song, with text in a language called Beas (beh-osh), speaks of a deep longing to visit one’s homeland, a place where the singer can never return. Chanticleer consists of twelve men whose vocal ranges span from low bass to high soprano, equivalent to the range of a mixed choir of women and men. I composed slow sections of original material to represent the singers’ longing to return home; these are interspersed with the folk song’s traditional fast sections. The incorporated shouts and calls in the score are typically found in the performance of Central European folk songs. I hope you enjoy singing this new version of Jarba, Mare Jarba that contains all of the vigor and excitement of the Chanticleer version.PERFORMANCE NOTESAll spoken sounds (indicated by x noteheads) should be performed by individuals. Feel free to elaborate with more sounds of your own in the tradition of Eastern European folk music.If the piece is memorized, feel free to experiment with clapping on the off-beats of m. 93 to the end.TEXTTransliterationJarba, mare jarba mas duce a casa, da nu pot ca am jurat, Jarba, mare jarba mas duce a casa, da nu pot ca am jurat. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.O mers mama de pe sat, O lasat coliba goala,Infrunzitu, ingurzitu da plina de saracie, da plina de saracie. Mare jarba, verde jarba nu me pot duce a casa.Jarba, mare jarba mas duce a casa, da nu pot ca am jurat.TranslationGreen grass, tall grass, I would like to go home, but I cannot, because I have sworn not to.Tall grass, green grass – oh, that I cannot go home!My mother has left the village; she left the hut empty, Adorned with leaves but full of poverty.Tall grass, green grass – oh, that I cannot go home! Tall grass, green grass – I would like to go home.but I cannot, because I have sworn not to.Stacy Garrop’s music is centered on dramatic and lyrical storytelling. The sharing of stories is a defining element of our humanity; we strive to share with others the experiences and concepts that we find compelling. She shares stories by taking audiences on sonic journeys – some simple and beautiful, while others are complicated and dark – depending on the needs and dramatic shape of the story.Garrop served as the first Emerging Opera Composer of Chicago Opera Theater’s Vanguard Program. She also held a 3-year composer-in-residence position with the Champaign-Urbana Symphony Orchestra, funded by New Music USA and the League of American Orchestras. She has received numerous awards and grants including an Arts and Letters Award in Music from the American Academy of Arts and Letters, Fromm Music Foundation Grant, Barlow Prize, and three Barlow Endowment commissions, along with prizes from competitions sponsored by the Detroit Symphony Orchestra, Civic Orchestra of Chicago, Omaha Symphony, New England Philharmonic, Boston Choral Ensemble, Utah Arts Festival, and Pittsburgh New Music Ensemble. She is a Cedille Records artist; her works are commercially available on more than ten additional labels.Her catalog covers a wide range, with works for orchestra, opera, oratorio, wind ensemble, choir, art song, various sized chamber ensembles, and works for solo instruments. Notable commissions include My Dearest Ruth for soprano and piano with text by Martin Ginsburg, the husband of the late Supreme Court Justice Ruth Bader Ginsburg, The Transformation of Jane Doe for Chicago Opera Theater, The Battle for the Ballot for the Cabrillo Festival Orchestra, Goddess Triptych for the St. Louis Symphony Orchestra, Glorious Mahalia for the Kronos Quartet, Give Me Hunger for Chanticleer, Rites for the Afterlife for the Akropolis and Calefax Reed Quintets, and Terra Nostra: an oratorio about our planet, commissioned by the San Francisco Choral Society and Piedmont East Bay Children’s Chorus.Garrop previously served as composer-in-residence with the Albany Symphony and Skaneateles Festival, and as well as on faculty of the Fresh Inc Festival (2012-2017). She taught composition and orchestration full-time at Roosevelt University 2000-2016) before leaving to launch her freelance career. She earned degrees in music composition at the University of Michigan-Ann Arbor (B.M.), University of Chicago (M.A.), and Indiana University-Bloomington (D.M.).ÂÂ. $3.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Transcriptions of Lieder Piano solo Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Franz Schubert, and Robert Schumann. Edited by Nicholas Hopkins. Collection. With Standard notation. 128 pages. Carl Fischer Music #PL1056. Published by Carl Fischer Music (CF.PL1056). ISBN 9781491153390. UPC: 680160910892. Transcribed by Franz Liszt. Introduction It is true that Schubert himself is somewhat to blame for the very unsatisfactory manner in which his admirable piano pieces are treated. He was too immoderately productive, wrote incessantly, mixing insignificant with important things, grand things with mediocre work, paid no heed to criticism, and always soared on his wings. Like a bird in the air, he lived in music and sang in angelic fashion. --Franz Liszt, letter to Dr. S. Lebert (1868) Of those compositions that greatly interest me, there are only Chopin's and yours. --Franz Liszt, letter to Robert Schumann (1838) She [Clara Schumann] was astounded at hearing me. Her compositions are really very remarkable, especially for a woman. There is a hundred times more creativity and real feeling in them than in all the past and present fantasias by Thalberg. --Franz Liszt, letter to Marie d'Agoult (1838) Chretien Urhan (1790-1845) was a Belgian-born violinist, organist and composer who flourished in the musical life of Paris in the early nineteenth century. According to various accounts, he was deeply religious, harshly ascetic and wildly eccentric, though revered by many important and influential members of the Parisian musical community. Regrettably, history has forgotten Urhan's many musical achievements, the most important of which was arguably his pioneering work in promoting the music of Franz Schubert. He devoted much of his energies to championing Schubert's music, which at the time was unknown outside of Vienna. Undoubtedly, Urhan was responsible for stimulating this enthusiasm in Franz Liszt; Liszt regularly heard Urhan's organ playing in the St.-Vincent-de-Paul church in Paris, and the two became personal acquaintances. At eighteen years of age, Liszt was on the verge of establishing himself as the foremost pianist in Europe, and this awakening to Schubert's music would prove to be a profound experience. Liszt's first travels outside of his native provincial Hungary were to Vienna in 1821-1823, where his father enrolled him in studies with Carl Czerny (piano) and Antonio Salieri (music theory). Both men had important involvements with Schubert; Czerny (like Urhan) as performer and advocate of Schubert's music and Salieri as his theory and composition teacher from 1813-1817. Curiously, Liszt and Schubert never met personally, despite their geographical proximity in Vienna during these years. Inevitably, legends later arose that the two had been personal acquaintances, although Liszt would dismiss these as fallacious: I never knew Schubert personally, he was once quoted as saying. Liszt's initial exposure to Schubert's music was the Lieder, what Urhan prized most of all. He accompanied the tenor Benedict Randhartinger in numerous performances of Schubert's Lieder and then, perhaps realizing that he could benefit the composer more on his own terms, transcribed a number of the Lieder for piano solo. Many of these transcriptions he would perform himself on concert tour during the so-called Glanzzeit, or time of splendor from 1839-1847. This publicity did much to promote reception of Schubert's music throughout Europe. Once Liszt retired from the concert stage and settled in Weimar as a conductor in the 1840s, he continued to perform Schubert's orchestral music, his Symphony No. 9 being a particular favorite, and is credited with giving the world premiere performance of Schubert's opera Alfonso und Estrella in 1854. At this time, he contemplated writing a biography of the composer, which regrettably remained uncompleted. Liszt's devotion to Schubert would never waver. Liszt's relationship with Robert and Clara Schumann was far different and far more complicated; by contrast, they were all personal acquaintances. What began as a relationship of mutual respect and admiration soon deteriorated into one of jealousy and hostility, particularly on the Schumann's part. Liszt's initial contact with Robert's music happened long before they had met personally, when Liszt published an analysis of Schumann's piano music for the Gazette musicale in 1837, a gesture that earned Robert's deep appreciation. In the following year Clara met Liszt during a concert tour in Vienna and presented him with more of Schumann's piano music. Clara and her father Friedrich Wieck, who accompanied Clara on her concert tours, were quite taken by Liszt: We have heard Liszt. He can be compared to no other player...he arouses fright and astonishment. His appearance at the piano is indescribable. He is an original...he is absorbed by the piano. Liszt, too, was impressed with Clara--at first the energy, intelligence and accuracy of her piano playing and later her compositions--to the extent that he dedicated to her the 1838 version of his Etudes d'execution transcendante d'apres Paganini. Liszt had a closer personal relationship with Clara than with Robert until the two men finally met in 1840. Schumann was astounded by Liszt's piano playing. He wrote to Clara that Liszt had played like a god and had inspired indescribable furor of applause. His review of Liszt even included a heroic personification with Napoleon. In Leipzig, Schumann was deeply impressed with Liszt's interpretations of his Noveletten, Op. 21 and Fantasy in C Major, Op. 17 (dedicated to Liszt), enthusiastically observing that, I feel as if I had known you twenty years. Yet a variety of events followed that diminished Liszt's glory in the eyes of the Schumanns. They became critical of the cult-like atmosphere that arose around his recitals, or Lisztomania as it came to be called; conceivably, this could be attributed to professional jealousy. Clara, in particular, came to loathe Liszt, noting in a letter to Joseph Joachim, I despise Liszt from the depths of my soul. She recorded a stunning diary entry a day after Liszt's death, in which she noted, He was an eminent keyboard virtuoso, but a dangerous example for the young...As a composer he was terrible. By contrast, Liszt did not share in these negative sentiments; no evidence suggests that he had any ill-regard for the Schumanns. In Weimar, he did much to promote Schumann's music, conducting performances of his Scenes from Faust and Manfred, during a time in which few orchestras expressed interest, and premiered his opera Genoveva. He later arranged a benefit concert for Clara following Robert's death, featuring Clara as soloist in Robert's Piano Concerto, an event that must have been exhilarating to witness. Regardless, her opinion of him would never change, despite his repeated gestures of courtesy and respect. Liszt's relationship with Schubert was a spiritual one, with music being the one and only link between the two men. That with the Schumanns was personal, with music influenced by a hero worship that would aggravate the relationship over time. Nonetheless, Liszt would remain devoted to and enthusiastic for the music and achievements of these composers. He would be a vital force in disseminating their music to a wider audience, as he would be with many other composers throughout his career. His primary means for accomplishing this was the piano transcription. Liszt and the Transcription Transcription versus Paraphrase Transcription and paraphrase were popular terms in nineteenth-century music, although certainly not unique to this period. Musicians understood that there were clear distinctions between these two terms, but as is often the case these distinctions could be blurred. Transcription, literally writing over, entails reworking or adapting a piece of music for a performance medium different from that of its original; arrangement is a possible synonym. Adapting is a key part of this process, for the success of a transcription relies on the transcriber's ability to adapt the piece to the different medium. As a result, the pre-existing material is generally kept intact, recognizable and intelligible; it is strict, literal, objective. Contextual meaning is maintained in the process, as are elements of style and form. Paraphrase, by contrast, implies restating something in a different manner, as in a rewording of a document for reasons of clarity. In nineteenth-century music, paraphrasing indicated elaborating a piece for purposes of expressive virtuosity, often as a vehicle for showmanship. Variation is an important element, for the source material may be varied as much as the paraphraser's imagination will allow; its purpose is metamorphosis. Transcription is adapting and arranging; paraphrasing is transforming and reworking. Transcription preserves the style of the original; paraphrase absorbs the original into a different style. Transcription highlights the original composer; paraphrase highlights the paraphraser. Approximately half of Liszt's compositional output falls under the category of transcription and paraphrase; it is noteworthy that he never used the term arrangement. Much of his early compositional activities were transcriptions and paraphrases of works of other composers, such as the symphonies of Beethoven and Berlioz, vocal music by Schubert, and operas by Donizetti and Bellini. It is conceivable that he focused so intently on work of this nature early in his career as a means to perfect his compositional technique, although transcription and paraphrase continued well after the technique had been mastered; this might explain why he drastically revised and rewrote many of his original compositions from the 1830s (such as the Transcendental Etudes and Paganini Etudes) in the 1850s. Charles Rosen, a sympathetic interpreter of Liszt's piano works, observes, The new revisions of the Transcendental Etudes are not revisions but concert paraphrases of the old, and their art lies in the technique of transformation. The Paganini etudes are piano transcriptions of violin etudes, and the Transcendental Etudes are piano transcriptions of piano etudes. The principles are the same. He concludes by noting, Paraphrase has shaded off into composition...Composition and paraphrase were not identical for him, but they were so closely interwoven that separation is impossible. The significance of transcription and paraphrase for Liszt the composer cannot be overstated, and the mutual influence of each needs to be better understood. Undoubtedly, Liszt the composer as we know him today would be far different had he not devoted so much of his career to transcribing and paraphrasing the music of others. He was perhaps one of the first composers to contend that transcription and paraphrase could be genuine art forms on equal par with original pieces; he even claimed to be the first to use these two terms to describe these classes of arrangements. Despite the success that Liszt achieved with this type of work, others viewed it with circumspection and criticism. Robert Schumann, although deeply impressed with Liszt's keyboard virtuosity, was harsh in his criticisms of the transcriptions. Schumann interpreted them as indicators that Liszt's virtuosity had hindered his compositional development and suggested that Liszt transcribed the music of others to compensate for his own compositional deficiencies. Nonetheless, Liszt's piano transcriptions, what he sometimes called partitions de piano (or piano scores), were instrumental in promoting composers whose music was unknown at the time or inaccessible in areas outside of major European capitals, areas that Liszt willingly toured during his Glanzzeit. To this end, the transcriptions had to be literal arrangements for the piano; a Beethoven symphony could not be introduced to an unknowing audience if its music had been subjected to imaginative elaborations and variations. The same would be true of the 1833 transcription of Berlioz's Symphonie fantastique (composed only three years earlier), the astonishingly novel content of which would necessitate a literal and intelligible rendering. Opera, usually more popular and accessible for the general public, was a different matter, and in this realm Liszt could paraphrase the original and manipulate it as his imagination would allow without jeopardizing its reception; hence, the paraphrases on the operas of Bellini, Donizetti, Mozart, Meyerbeer and Verdi. Reminiscence was another term coined by Liszt for the opera paraphrases, as if the composer were reminiscing at the keyboard following a memorable evening at the opera. Illustration (reserved on two occasions for Meyerbeer) and fantasy were additional terms. The operas of Wagner were exceptions. His music was less suited to paraphrase due to its general lack of familiarity at the time. Transcription of Wagner's music was thus obligatory, as it was of Beethoven's and Berlioz's music; perhaps the composer himself insisted on this approach. Liszt's Lieder Transcriptions Liszt's initial encounters with Schubert's music, as mentioned previously, were with the Lieder. His first transcription of a Schubert Lied was Die Rose in 1833, followed by Lob der Tranen in 1837. Thirty-nine additional transcriptions appeared at a rapid pace over the following three years, and in 1846, the Schubert Lieder transcriptions would conclude, by which point he had completed fifty-eight, the most of any composer. Critical response to these transcriptions was highly favorable--aside from the view held by Schumann--particularly when Liszt himself played these pieces in concert. Some were published immediately by Anton Diabelli, famous for the theme that inspired Beethoven's variations. Others were published by the Viennese publisher Tobias Haslinger (one of Beethoven's and Schubert's publishers in the 1820s), who sold his reserves so quickly that he would repeatedly plead for more. However, Liszt's enthusiasm for work of this nature soon became exhausted, as he noted in a letter of 1839 to the publisher Breitkopf und Hartel: That good Haslinger overwhelms me with Schubert. I have just sent him twenty-four new songs (Schwanengesang and Winterreise), and for the moment I am rather tired of this work. Haslinger was justified in his demands, for the Schubert transcriptions were received with great enthusiasm. One Gottfried Wilhelm Fink, then editor of the Allgemeine musikalische Zeitung, observed of these transcriptions: Nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements...The demand for them has in no way been satisfied; and it will not be until these arrangements are seen on pianos everywhere. They have indeed made quite a splash. Eduard Hanslick, never a sympathetic critic of Liszt's music, acknowledged thirty years after the fact that, Liszt's transcriptions of Schubert Lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them--even when they were not listed on the program. These transcriptions quickly became some of his most sough-after pieces, despite their extreme technical demands. Leading pianists of the day, such as Clara Wieck and Sigismond Thalberg, incorporated them into their concert programs immediately upon publication. Moreover, the transcriptions would serve as inspirations for other composers, such as Stephen Heller, Cesar Franck and later Leopold Godowsky, all of whom produced their own transcriptions of Schubert's Lieder. Liszt would transcribe the Lieder of other composers as well, including those by Mendelssohn, Chopin, Anton Rubinstein and even himself. Robert Schumann, of course, would not be ignored. The first transcription of a Schumann Lied was the celebrated Widmung from Myrten in 1848, the only Schumann transcription that Liszt completed during the composer's lifetime. (Regrettably, there is no evidence of Schumann's regard of this transcription, or even if he was aware of it.) From the years 1848-1881, Liszt transcribed twelve of Robert Schumann's Lieder (including one orchestral Lied) and three of Clara (one from each of her three published Lieder cycles); he would transcribe no other works of these two composers. The Schumann Lieder transcriptions, contrary to those of Schubert, are literal arrangements, posing, in general, far fewer demands on the pianist's technique. They are comparatively less imaginative in their treatment of the original material. Additionally, they seem to have been less valued in their day than the Schubert transcriptions, and it is noteworthy that none of the Schumann transcriptions bear dedications, as most of the Schubert transcriptions do. The greatest challenge posed by Lieder transcriptions, regardless of the composer or the nature of the transcription, was to combine the vocal and piano parts of the original such that the character of each would be preserved, a challenge unique to this form of transcription. Each part had to be intact and aurally recognizable, the vocal line in particular. Complications could be manifold in a Lied that featured dissimilar parts, such as Schubert's Auf dem Wasser zu singen, whose piano accompaniment depicts the rocking of the boat on the shimmering waves while the vocal line reflects on the passing of time. Similar complications would be encountered in Gretchen am Spinnrade, in which the ubiquitous sixteenth-note pattern in the piano's right hand epitomizes the ever-turning spinning wheel over which the soprano voice expresses feelings of longing and heartache. The resulting transcriptions for solo piano would place exceptional demands on the pianist. The complications would be far less imposing in instances in which voice and piano were less differentiated, as in many of Schumann's Lieder that Liszt transcribed. The piano parts in these Lieder are true accompaniments for the voice, providing harmonic foundation and rhythmic support by doubling the vocal line throughout. The transcriptions, thus, are strict and literal, with far fewer demands on both pianist and transcriber. In all of Liszt's Lieder transcriptions, regardless of the way in which the two parts are combined, the melody (i.e. the vocal line) is invariably the focal point; the melody should sing on the piano, as if it were the voice. The piano part, although integral to contributing to the character of the music, is designed to function as accompaniment. A singing melody was a crucial objective in nineteenth-century piano performance, which in part might explain the zeal in transcribing and paraphrasing vocal music for the piano. Friedrich Wieck, father and teacher of Clara Schumann, stressed this point repeatedly in his 1853 treatise Clavier und Gesang (Piano and Song): When I speak in general of singing, I refer to that species of singing which is a form of beauty, and which is a foundation for the most refined and most perfect interpretation of music; and, above all things, I consider the culture of beautiful tones the basis for the finest possible touch on the piano. In many respects, the piano and singing should explain and supplement each other. They should mutually assist in expressing the sublime and the noble, in forms of unclouded beauty. Much of Liszt's piano music should be interpreted with this concept in mind, the Lieder transcriptions and opera paraphrases, in particular. To this end, Liszt provided numerous written instructions to the performer to emphasize the vocal line in performance, with Italian directives such as un poco marcato il canto, accentuato assai il canto and ben pronunziato il canto. Repeated indications of cantando,singend and espressivo il canto stress the significance of the singing tone. As an additional means of achieving this and providing the performer with access to the poetry, Liszt insisted, at what must have been a publishing novelty at the time, on printing the words of the Lied in the music itself. Haslinger, seemingly oblivious to Liszt's intent, initially printed the poems of the early Schubert transcriptions separately inside the front covers. Liszt argued that the transcriptions must be reprinted with the words underlying the notes, exactly as Schubert had done, a request that was honored by printing the words above the right-hand staff. Liszt also incorporated a visual scheme for distinguishing voice and accompaniment, influenced perhaps by Chopin, by notating the accompaniment in cue size. His transcription of Robert Schumann's Fruhlings Ankunft features the vocal line in normal size, the piano accompaniment in reduced size, an unmistakable guide in a busy texture as to which part should be emphasized: Example 1. Schumann-Liszt Fruhlings Ankunft, mm. 1-2. The same practice may be found in the transcription of Schumann's An die Turen will ich schleichen. In this piece, the performer must read three staves, in which the baritone line in the central staff is to be shared between the two hands based on the stem direction of the notes: Example 2. Schumann-Liszt An die Turen will ich schleichen, mm. 1-5. This notational practice is extremely beneficial in this instance, given the challenge of reading three staves and the manner in which the vocal line is performed by the two hands. Curiously, Liszt did not use this practice in other transcriptions. Approaches in Lieder Transcription Liszt adopted a variety of approaches in his Lieder transcriptions, based on the nature of the source material, the ways in which the vocal and piano parts could be combined and the ways in which the vocal part could sing. One approach, common with strophic Lieder, in which the vocal line would be identical in each verse, was to vary the register of the vocal part. The transcription of Lob der Tranen, for example, incorporates three of the four verses of the original Lied, with the register of the vocal line ascending one octave with each verse (from low to high), as if three different voices were participating. By the conclusion, the music encompasses the entire range of Liszt's keyboard to produce a stunning climactic effect, and the variety of register of the vocal line provides a welcome textural variety in the absence of the words. The three verses of the transcription of Auf dem Wasser zu singen follow the same approach, in which the vocal line ascends from the tenor, to the alto and to the soprano registers with each verse. Fruhlingsglaube adopts the opposite approach, in which the vocal line descends from soprano in verse 1 to tenor in verse 2, with the second part of verse 2 again resuming the soprano register; this is also the case in Das Wandern from Mullerlieder. Gretchen am Spinnrade posed a unique problem. Since the poem's narrator is female, and the poem represents an expression of her longing for her lover Faust, variation of the vocal line's register, strictly speaking, would have been impractical. For this reason, the vocal line remains in its original register throughout, relentlessly colliding with the sixteenth-note pattern of the accompaniment. One exception may be found in the fifth and final verse in mm. 93-112, at which point the vocal line is notated in a higher register and doubled in octaves. This sudden textural change, one that is readily audible, was a strategic means to underscore Gretchen's mounting anxiety (My bosom urges itself toward him. Ah, might I grasp and hold him! And kiss him as I would wish, at his kisses I should die!). The transcription, thus, becomes a vehicle for maximizing the emotional content of the poem, an exceptional undertaking with the general intent of a transcription. Registral variation of the vocal part also plays a crucial role in the transcription of Erlkonig. Goethe's poem depicts the death of a child who is apprehended by a supernatural Erlking, and Schubert, recognizing the dramatic nature of the poem, carefully depicted the characters (father, son and Erlking) through unique vocal writing and accompaniment patterns: the Lied is a dramatic entity. Liszt, in turn, followed Schubert's characterization in this literal transcription, yet took it an additional step by placing the register of the father's vocal line in the baritone range, that of the son in the soprano range and that of the Erlking in the highest register, options that would not have been available in the version for voice and piano. Additionally, Liszt labeled each appearance of each character in the score, a means for guiding the performer in interpreting the dramatic qualities of the Lied. As a result, the drama and energy of the poem are enhanced in this transcription; as with Gretchen am Spinnrade, the transcriber has maximized the content of the original. Elaboration may be found in certain Lieder transcriptions that expand the performance to a level of virtuosity not found in the original; in such cases, the transcription approximates the paraphrase. Schubert's Du bist die Ruh, a paradigm of musical simplicity, features an uncomplicated piano accompaniment that is virtually identical in each verse. In Liszt's transcription, the material is subjected to a highly virtuosic treatment that far exceeds the original, including a demanding passage for the left hand alone in the opening measures and unique textural writing in each verse. The piece is a transcription in virtuosity; its art, as Rosen noted, lies in the technique of transformation. Elaboration may entail an expansion of the musical form, as in the extensive introduction to Die Forelle and a virtuosic middle section (mm. 63-85), both of which are not in the original. Also unique to this transcription are two cadenzas that Liszt composed in response to the poetic content. The first, in m. 93 on the words und eh ich es gedacht (and before I could guess it), features a twisted chromatic passage that prolongs and thereby heightens the listener's suspense as to the fate of the trout (which is ultimately caught). The second, in m. 108 on the words Betrogne an (and my blood boiled as I saw the betrayed one), features a rush of diminished-seventh arpeggios in both hands, epitomizing the poet's rage at the fisherman for catching the trout. Less frequent are instances in which the length of the original Lied was shortened in the transcription, a tendency that may be found with certain strophic Lieder (e.g., Der Leiermann, Wasserflut and Das Wandern). Another transcription that demonstrates Liszt's readiness to modify the original in the interests of the poetic content is Standchen, the seventh transcription from Schubert's Schwanengesang. Adapted from Act II of Shakespeare's Cymbeline, the poem represents the repeated beckoning of a man to his lover. Liszt transformed the Lied into a miniature drama by transcribing the vocal line of the first verse in the soprano register, that of the second verse in the baritone register, in effect, creating a dialogue between the two lovers. In mm. 71-102, the dialogue becomes a canon, with one voice trailing the other like an echo (as labeled in the score) at the distance of a beat. As in other instances, the transcription resembles the paraphrase, and it is perhaps for this reason that Liszt provided an ossia version that is more in the nature of a literal transcription. The ossia version, six measures shorter than Schubert's original, is less demanding technically than the original transcription, thus representing an ossia of transcription and an ossia of piano technique. The Schumann Lieder transcriptions, in general, display a less imaginative treatment of the source material. Elaborations are less frequently encountered, and virtuosity is more restricted, as if the passage of time had somewhat tamed the composer's approach to transcriptions; alternatively, Liszt was eager to distance himself from the fierce virtuosity of his early years. In most instances, these transcriptions are literal arrangements of the source material, with the vocal line in its original form combined with the accompaniment, which often doubles the vocal line in the original Lied. Widmung, the first of the Schumann transcriptions, is one exception in the way it recalls the virtuosity of the Schubert transcriptions of the 1830s. Particularly striking is the closing section (mm. 58-73), in which material of the opening verse (right hand) is combined with the triplet quarter notes (left hand) from the second section of the Lied (mm. 32-43), as if the transcriber were attempting to reconcile the different material of these two sections. Fruhlingsnacht resembles a paraphrase by presenting each of the two verses in differing registers (alto for verse 1, mm. 3-19, and soprano for verse 2, mm. 20-31) and by concluding with a virtuosic section that considerably extends the length of the original Lied. The original tonalities of the Lieder were generally retained in the transcriptions, showing that the tonality was an important part of the transcription process. The infrequent instances of transposition were done for specific reasons. In 1861, Liszt transcribed two of Schumann's Lieder, one from Op. 36 (An den Sonnenschein), another from Op. 27 (Dem roten Roslein), and merged these two pieces in the collection 2 Lieder; they share only the common tonality of A major. His choice for combining these two Lieder remains unknown, but he clearly recognized that some tonal variety would be needed, for which reason Dem roten Roslein was transposed to C>= major. The collection features An den Sonnenschein in A major (with a transition to the new tonality), followed by Dem roten Roslein in C>= major (without a change of key signature), and concluding with a reprise of An den Sonnenschein in A major. A three-part form was thus established with tonal variety provided by keys in third relations (A-C>=-A); in effect, two of Schumann's Lieder were transcribed into an archetypal song without words. In other instances, Liszt treated tonality and tonal organization as important structural ingredients, particularly in the transcriptions of Schubert's Lieder cycles, i.e. Schwanengesang, Winterreise a... $32.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Voyages Extraordinaires Wilhelm Hansen
Score SKU: HL.50603530 For Orchestra Score. Composed by Britta Bys...(+)
Score SKU: HL.50603530 For Orchestra Score. Composed by Britta Byströ and m. Score. Softcover. Edition Wilhelm Hansen #WH33249. Published by Edition Wilhelm Hansen (HL.50603530). UPC: 840126931136. A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio, 'Diagonal Musik' (2017), inspired by the Swedish artist Olle Baertling. Baertling's paintings consist of large, bright triangular shapes, and although the lines gradually approach one another, the intersecting point is often placed outside the frame. Consequently, the spectator will try to complete the angle in their own head. In my horn trio, I wanted to transfer this to music: the lines that gradually approach each other but rarely meet, except perhaps in the listener's head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further, this time for orchestral forces, and combine them with the magical transformations, an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream.. $67.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano Concerto Chiavi in Mano Associated
Orchestra, Piano SKU: HL.50601101 Composed by Yehudi Wyner. Full Score. C...(+)
Orchestra, Piano SKU: HL.50601101 Composed by Yehudi Wyner. Full Score. Classical. Softcover. 80 pages. Associated Music Publishers, Inc #AMP8320. Published by Associated Music Publishers, Inc (HL.50601101). ISBN 9781540005540. UPC: 888680711443. 11x14 inches. Composer note: The idea for a piano concerto for the Boston Symphony was instigated by Robert Levin, the great Mozart scholar and pianist. The idea was evidently embraced by BSO Artistic Administrator Tony Fogg and supported by Music Director James Levine. Much of the concerto was composed during the summer of 2004 at the American Academy in Rome in a secluded studio hidden within the Academy walls. While much of the composing took place far from home, the concerto comes out as a particularly “American” piece, shot through with vernacular elements. As in many of my compositions, simple, familiar musical ideas are the starting point. A shape, a melodic fragment, a rhythm, a chord, a texture, or a sonority may ignite the appetite for exploration. How such simple insignificant things can be altered, elaborated, extended, and combined becomes the exciting challenge of composition. I also want the finished work to breathe in a natural way, to progress spontaneously, organically, moving toward a transformation of the musical substance in ways unimaginable to me when I began the journey. Transformation is the goal, with the intention of achieving an altered state of perception and exposure that I am otherwise unable to achieve. “Chiavi in mano” – the title of the concerto – is the mantra used by automobile salesmen and realtors in Italy: Buy the house or the car and the keys are yours. But the more pertinent reason for the title is the fact that the piano writing is designed to fall “under the hand” and no matter how difficult it may be, it remains physically comfortable and devoid of stress. In other words: “Keys in hand.” –Yehudi Wyner, December 13, 2004. $35.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Haydn's Halloween Surprise Piano solo - Beginner Alfred Publishing
For piano solo. Keyboard. Level: Late Elementary (2). Published by Alfred Publis...(+)
For piano solo. Keyboard. Level: Late Elementary (2). Published by Alfred Publishing.
$3.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Performing Renaissance Music Oxford University Press
SKU: GI.G-9739 Composed by Dennis Shrock. Music Education. 299 pages. GIA...(+)
SKU: GI.G-9739 Composed by Dennis Shrock. Music Education. 299 pages. GIA Publications #9739. Published by GIA Publications (GI.G-9739). ISBN 9781622773398. English. The Renaissance era, lasting from the mid 1400s to about 1630, is one of the most distinctive and revolutionary periods in the arts, and music is no exception. Composers like Dufay, Josquin, Tallis, Victoria, Palestrina, Gabrieli, Praetorius, and Byrd were visionaries whose transformational music developed alongside the paintings and sculptures of Botticelli, da Vinci, Michelangelo, and Raphael. In this remarkable book, a companion to Performance Practices in the Classical Era and Performance Practices in the Baroque Era, noted scholar and conductor Dennis Shrock draws from primary sources to document and explain authentic performance practices of Renaissance era music—in many cases eye opening and rarely employed today. Insightful chapters cover topics including vocal and instrumental sound, tempo, articulation, phrasing, ornamentation, and expression. Like a restorer uncovering the original brilliance of the ceiling of the Sistine Chapel, Shrock’s work reveals the rich and colorful nature of this wonderful music as originally intended. Performing Renaissance Music—together with Shrock’s companion recording Renaissance Reborn—is an insightful, colorful, and comprehensive portrait, certain to assist anyone who seeks to better understand the music of the great Renaissance composers. This book is a vital resource for any conductor, performer, or aficionado of Renaissance music. Dennis Shrock is author of six books published by GIA: Performing Renaissance Music (2018), Performance Practices in the Baroque Era (2013), Performance Practices in the Classical Era (2011), Handel’s Messiah: A Performance Practice Handbook (2013), Music for Beginning Conductors (2011), and A Conductor’s Guide to Choral/Orchestral Repertoire, co-authored with James Moyer (2017). In addition, Dr. Shrock is author of three books published by Oxford University Press: Choral Repertoire (2009), Choral Scores (2015), and Choral Monuments (2017). Dr. Shrock has held faculty positions at Boston University, Westminster Choir College, the University of Oklahoma, and Texas Christian University, and has had residencies at Baylor University, the University of Southern California, the University of Mississippi, and Yale University. He has also served as Artistic Director of the Santa Fe Desert Chorale and Canterbury Choral Society of Oklahoma City, Interim Conductor of the Dallas Symphony Chorus, and Editor of The Choral Journal. In addition, he has been a frequent All-State conductor and lecturer at conferences of the American Choral Directors Association. He has received a number of awards and recognitions for his work. The City of Santa Fe declared December 22, 2003 “Dennis Shrock Day,†Westminster Choir College granted him an “Alumni Merit Award,†the state of Oklahoma conferred on him a citation for “Contributions of Excellence,†and the University of Oklahoma granted him two “Distinguished Lectureships†and named him a “Presidential Professor.†Dr. Shrock received a bachelor’s degree in music education from Westminster Choir College and both master’s and doctoral degrees in choral conducting from Indiana University. The cover artwork is a depiction of monks singing the office from a Gradual illuminated in the 1440s and used by the Olivetan Benedictines. $39.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Poul Ruders: Symphony
No.2: Orchestra: Score Orchestra [Sheet music] Wilhelm Hansen
A second Symphony by Ruders commissioned by the Serge Koussevitzky Music Founda...(+)
A second Symphony by Ruders commissioned by the Serge Koussevitzky Music Foundation in the Library of Congress for the New York City based chamber orchestra Riverside Symphony. The piece is subtitled Symphony And Transformation to express the formal symphonic nature of a piece that is otherwise in a state of constant musical and textural transformation.
94.99 GBP - Sold by Musicroom UK | |
| Symphonie VI- Erstarrte
Schatten (PAUSET BRICE)
Français Grand Orchestre, 6 Solistes et
Electronique Live [Sheet music] Lemoine, Henry
Par PAUSET BRICE. Erstarrte Schatten (Symphonie VI) pour orchestre, six voix sol...(+)
Par PAUSET BRICE. Erstarrte Schatten (Symphonie VI) pour orchestre, six voix solistes et électronique, clôt le triptyque entamé par Der Geograph (Symphonie IV) pour orchestre avec piano principal, et Die Tänzerin (Symphonie V) pour orchestre. L'appareil orchestral est identique pour les trois pièces du cycle.
Dans chacune des deux pièces précédentes, il s'agissait de faire entendre une musique confrontée à la question de sa propre représentation et, par conséquence, des impossibilités attachées à cette représentation. Un géographe hésitant à se représenter lui-même sur la carte du monde qu'il trace, la difficulté de penser les mouvements et les évolutions d'une danseuse parmi les autres mouvements planétaires et stellaires, ces deux exemples étaient au centre des réseaux de métaphores nécessaires à la construction des deux premières pièces.
Dans Erstarrte Schatten, l'image célèbre des ombres de victimes pratiquement photographiées par la lumière nucléaire de l'explosion d'Hiroshima constitue le socle dramaturgique d'une musique de négativité et de paradoxes : traces ténues de la présence du disparu, entrée instantanée dans l'intemporel, mort sans deuil, sans corps, sans conscience.
Le triptyque lui même, dans son mouvement dramaturgique, pourrait se résumer à la recherche graduelle d'une situation d'impossibilité dans la musique même : se débarasser progressivement de l'emprise des métaphores et imaginer une musique certes fondée sur le néant, mais pour autant sans renoncement ni ascétisme.
L'electronique tentera, par la préférence donnée au traitement de substance sonores bruitées, de proposer une solution possible au problème des pièces d'orchestre avec électronique, souvent réduites au dialogue entre une masse orchestrale et de matériaux sonores pré-enregistrés qui n'ont généralement, de par leur texture, aucune chance de faire entendre leur voix vis-à-vis de l'orchestre : la prégnance culturelle de ce dernier s'impose presque inmanquablement à l'écoute.
L'électronique sera centrée principalement sur les six voix solistes comme sources ponctuelles, ainsi que sur quelques zones sonores de l'orchestre comme sources diffuses (en particulier les cuivres et les cordes). Les traitements sonores appliqués à ces sources consisteront pour l'essentiel en frequency-shifting 'composé' (c'est à dire avec une évolution de la fréquence de modulation et une balance entre les branches positives et négatives constamment renouvellées dans l'écriture même), en l'usage de filtres résonants et dans une travail de spatialisation extrêmement articulé, faisant suite à ce que j'avais auparavant développé dans les deux Perspectivae Sintagma et dans la Symphonie III (Anima Mundi). Les moteurs de spatialisation étaient conçus de telle manière que les enveloppes de transfert, l'écriture rythmique, la transformation graduelle de la présence des haut-parleurs en tant que sources ponctuelles ou de 'taches spatiales', d'autres paramètres encore concouraient á une écriture de la spatialité au moins aussi articulée que le langage tellement riche de la musique instrumentale.
Pour terminer, l'utilisation ponctuelle de matériaux sonores pré-enregistrés et préparés en studio (hybridations complexes, time-stretching variable, etc.) sera probablement nécessaire, en tant qu'appoint, mais ne remettra pas en cause l'idée de base consistant à maintenir une relation vivante et instrumentale, interprétative, de l'électronique vis à vis de l'orchestre et des voix.
Brice Pauset / contemporain / Date parution : 2009-11-18/ Répertoire / Grand Orchestre, 6 Solistes et Electronique Live
65.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Carl Nielsen: Symphony
No.4 'The
Inextinguishable' Op.29:
Orchestra: Score Orchestra Carl Nielsen Edition
This is the full score for Carl Nielsen's Symphony No. 4 The Inextinguishable ...(+)
This is the full score for Carl Nielsen's Symphony No. 4 The Inextinguishable the composer's most popular and most frequently recorded and performed work. Although Carl Nielsen's Symphony No. 4 was completed in 1916 and although it prominently features a thundering duel between timpani the composer did not write this work in response to World War I. Instead it is a noisy energetic thrusting paean to the inextinguishability of life itself. And as music like life in this instance is inextinguishable the four intricately interlinked movements are played without a break. In this work can be heardthe influences of Brahms Dvorak Sibelius and others all transformed by Nielsen's creative spirit. The symphony ends in grand Romantic style with a triumphant finale wherein the jagged two-note and three-note themes of the beginning are conquered by the songlike theme of the third movement. CN00013A is the parts to accompany this full score.
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| Call of the Cicadas from
Symphony No. 1 Living:
Orchestra: Score Lauren Keiser Music Publishing
Breathing Earth-This is the first movement of the Symphony No. 1: Living Breath...(+)
Breathing Earth-This is the first movement of the Symphony No. 1: Living Breathing Earth. Described by the composer as a “love song to theearth ” Warshauer's symphony eloquently presents our planet as a living organism through natural sounds transformed into stirring musical phrases and vivid instrumental writing.
54.99 GBP - Sold by Musicroom UK | |
| Morton Gould: Symphony of
Spirituals: Orchestra:
Score Orchestra Schirmer
Score-This 1975 work was commissioned by the National Endowment for the Arts as ...(+)
Score-This 1975 work was commissioned by the National Endowment for the Arts as part of the American bicentennial celebrations. It was premiered by the Detroit Symphony Orchestra conducted by Aldo Ceccato on April 1 1976. Mostly themusic is based on original themes by Gould although there are a few references to actual traditional spirituals highly transformed by the composer. His intention was to reflect a sound of America's musical heritage in thisbicentennial work. 2 Piccolo 2 Cor Anglais 2 Eb Clarinet Bass Clarinet 2 Contrabassoon Timpani 3 Percussion Harp Piano Strings.
49.99 GBP - Sold by Musicroom UK | |
| A Faust Symphony In Three
Character Pictures Orchestra [Sheet music] Dover Publications
Best remembered for his extraordinary advancement of Piano technique, Franz Lisz...(+)
Best remembered for his extraordinary advancement of Piano technique, Franz Liszt saw himself in quite a different light: as an innovative composer prepared to move beyond convention into uncharted waters. He and Richard Wagner were allies in Zukunftsmusik, the 'music of the future,' a new approach that was liberated from all prescribed rules of musical form. Liszt invented the tone poem, and this work is his most famous example. Inspired by Goethe's great verse drama, A Faust Symphony premiered in 1857. The three-movement work musically depicts the essence of Faust, Gretchen, and Mephistopheles, the characters who drive Goethe's tale. Brilliantly innovative and endlessly fascinating in its transformations of thematic materials, the work has influenced many major composers, including Strauss and Debussy, and remains frequently studied, performed, and recorded. This affordable edition was reproduced from an authoritative text and features an informative Introduction by a renowned expert on Liszt . / Orchestre
31.65 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| BAXTRESSER JEANNE -
ORCHESTRAL EXCERPTS FOR
FLUTE VOL.2 Theodore Presser Company
Orchestral Excerpts for Flute with Piano Accompaniment has transformed the liter...(+)
Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company
69.50 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Tristan Keuris: Symphonic
Transformations (Full
Score): Orchestra: Score Orchestra [Sheet music] Novello & Co Ltd.
Commissioned by the Houston Symphony Orchestra.
49.99 GBP - Sold by Musicroom UK | |
| Symphonie V - Die
Tänzerin (PAUSET
BRICE)
Français Grand Orchestre [Sheet music] Lemoine, Henry
Par PAUSET BRICE. Die Tänzerin (Symphonie V), écrite pour orchestre, constitue...(+)
Par PAUSET BRICE. Die Tänzerin (Symphonie V), écrite pour orchestre, constitue le deuxième moment d'un triptyque entâmé avec Der Geograph (Symphonie IV) pour orchestre avec piano principal, et qui se clôra l'année prochaine avec Erstarrte Schatten (Symphonie VI) pour orchestre, six voix et électronique.
Déjà à l'oeuvre dans quelques oeuvres précédentes (Vita Nova (sérénades) notamment), c'est la question de l'impossible qui constitue le centre du projet - un impossible pensé non pas comme mot d'ordre concret (produire une musique impossible ne revêt finalement que peu d'intérêt), mais comme expérence de pensée conduisant à la construction de dramaturgies musicales brisées, inconfortables, quelquefois insolubles, mais qu'il faudra pourtant traduire musicalement.
L'expérience de pensée, dans la pièce, consiste à imaginer le sentiment esthétique produit par les évolutions d'une danseuse sur scène, non pas observée depuis l'emplacement normal du public, mais, moyennant des moyens visuels peu ordinaires, depuis quelque lointaine planète. Se mêlent alors les mouvements proprement chorégraphiques de la danseuse aux mouvements de rotation de la planète sur laquelle elle évolue, de la planète autour du soleil, du soleil lui-même, du système qui l'entoure et ainsi de suite. Les questions posées touchent à l'esthétique (à quel échelle le sentiment esthétique cède-t-il la place à l'observation de phénomènes), et à la notion de focalisation (la danseuse est le plus petit élément de l'ensemble constitué, et représente pourtant le point central de focalisation quant a l'expérience esthétique).
La consécution de sujets liés d'abord à la topologie géographique, dans Der Geograph, puis à la chorégraphie dans Die Tänzerin n'est pas le fruit du hasard. Il existait dans la France du dix-septième siècle une littérature poético-technique établissant explicitement un rapport fonctionnel et structurel entre ces deux techniques du mouvement (analytique dans un cas, synthétique de l'autre), rapport dont je vise à tirer un troisième terme dans Erstarrte Schatten, celui de la matière et de son absence.
La musique que j'ai tiré de ces réflexions pour Die Tänzerin est bien sûr une solution parmi d'autres, ne se pliant à aucune injonction scientiste, et se refusant tout autant au discours subjectiviste. Le détail entre en collistion permanente avec les plus longues évolutions au sein d'un discours convoquant, le cas échéant, des archétypes culturellement déterminés.
C'est par inclination naturelle que je porte une attention particulière au détail, et même aux phénomènes secondaires, généralement laissés pour compte. Dans la danse, les bruits résiduels me fascinent autant que les évolutions géométriques et les charges affectives des corps - frottements et chocs se retrouveront transposés, composés et mis en scène dans ma musique.
Plus généralement, être moderne ne m'intéresse pas en tant que tel : la modernité est essentiellement un jugement porté a posteriori sur un moment de l'histoire, en aucun cas une attitude personnelle d'ordre prédicatif. La question reste donc celle de l'histoire, celle dont nous héritons à travers différents filtres idéologiques - celle, présente, vis-à-vis de laquelle nous sommes, que nous le voulions ou non, acteurs - celle, enfin, que nous rêvons. Le capitalisme est par essence facteur d'encombrantes surproductions. La captation de nos désirs et la construction raisonnée de désirs nouveaux permet de transformer ces surproductions en nouvelles marchandises indispensables. La culture ne fait pas exception à cette règle. J'ai bien conscience que ma musique (et les arts en général) ne pourront opposer une force suffisante pour freiner ce phénomène mortifère. En revanche, poser inlassablement les questions judicieuse, avec mes propres moyens et dans le contexte social et politique qui est le notre, vis-à-vis de cette situation, remplira mon souhait bien modeste de ne pas être considéré comme une sorte de 'parasite acceptable'.
Brice Pauset / contemporain / Répertoire / Grand Orchestre
43.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Magnus Lindberg: Corrente
No.2: Orchestra: Score Orchestra [Score] Chester
Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orche...(+)
Orchestral work commissioned by the BBC and premiered by the BBC Symphony Orchestra under the direction of Andrew Davis The Barbican Hall November 1992.Quoting Lindberg: 'After having written a Piano Concerto in 1991preceded by three works for different orchestral effectives (Kinetics Marea and Joy) I felt that I had come to an end with a certain musical expression and also compositional technique. All these works were based upon anextended chaconne principle with chord chains cycling around undergoing constant transformation and being articulated in a very gestural way. The musical paradox and evidently also the challenge was the discrepancy between abrick-like method expressed in a world of gestures (with all difficulties involved in conceiving music out of phrases) aiming at a continuity in terms of progression and development.After the Piano Concerto in the autumn of1991 I strongly felt that I couldn't continue in that direction anymore. I started to work on a project called Corrente for 16 players as a study for the full orchestra version entitled Corrente II.In order to bring theharmonic and rhythmic world closer to each other I abandoned the chaconne principle and based the harmony on different scale aggregates. By combining these scales and by filtering or by enhancing them with additional pitchesbased on more acoustically oriented views of the scales by considering them as partials of virtual fundamentals I was able to work in a rich harmonic world without actually having to do harmonic transformations and progressions.The rhythmic material was based on pattern figures with a rather kaleidoscopic approach of repetition and variation.By combining these pattern figures and scales aggregates I wanted to give the musical expression a 'narrative'sense of streams and directions moving around in different orchestral constellations.Corrente II for symphony orchestra is based on the same material as the piece for chamber orchestra. As the timbral palette and the mass
29.99 GBP - Sold by Musicroom UK | |
| Piano Concerto Chiavi in
Mano: Piano: Instrumental
Album Piano solo [Sheet music] Associated
'The idea for a Piano concerto for the Boston Symphony was instigated by Robert ...(+)
'The idea for a Piano concerto for the Boston Symphony was instigated by Robert Levin the great Mozart scholar and Pianist. The idea was evidently embraced by BSO Artistic Administrator Tony Fogg and supported by MusicDirector James Levine. Much of the concerto was composed during the summer of 2004 at the American Academy in Rome in a secluded studio hidden within the Academy walls. While much of the composing took place farfrom home the concerto comes out as a particularly “American” piece shot through with vernacular elements. As in many of my compositions simple familiar musical ideas are the starting point. A shape a melodicfragment a rhythm a chord a texture or a sonority may ignite the appetite for exploration. How such simple insignificant things can be altered elaborated extended and combined becomes the exciting challenge ofcomposition. I also want the finished work to breathe in a natural way to progress spontaneously organically moving toward a transformation of the musical substance in ways unimaginable to me when I began thejourney. Transformation is the goal with the intention of achieving an altered state of perception and exposure that I am otherwise unable to achieve. “Chiavi in mano” – the title of the concerto – is themantra used by automobile salesmen and realtors in Italy: Buy the house or the car and the keys are yours. But the more pertinent reason for the title is the fact that the piano writing is designed to fall “under thehand” and no matter how difficult it may be it remains physically comfortable and devoid of stress. In other words: 'Keys in hand.'' - Yehudi Wyner December 13 2004
32.50 GBP - Sold by Musicroom UK | |
| Franz Liszt: Liszt -
Concerto No. 2 in A Major
S125: Piano:
Instrumental Album Piano solo [Sheet music + CD] Music Minus One
Hungarian Fantasia S123-Performed by Neill Eisenstein piano Accompaniment: Stu...(+)
Hungarian Fantasia S123-Performed by Neill Eisenstein piano Accompaniment: Stuttgart Symphony Orchestra Conductor: Emil Kahn Liszt transformed the whole concept of the concerto when he cast his A-major concerto in one single movement using the idea of thematic transformation. A poetical masterpiece both serene and glitteringly exciting which stands at the very pinnacle of Romantic piano literature. Liszt used his own Hungarian Rhapsody No. 14 as the basis for the Hungarian Fantasia the second piece featured on this MMO release. With its triumphal themes sparkling cadenzas and breathtaking finale this single-movement mini-concerto is a sparkling musical gem! A wonderful eminently accessiblepiece due to its relatively short length. Includes a high-quality printed music score and a compact disc containing a complete version with soloist in split-channel stereo (soloist on the right channel); then a second version in full stereo of the orchestral accompaniment minus the soloist.
25.99 GBP - Sold by Musicroom UK | |
| Carl Nielsen: Pan And
Syrinx: Orchestra: Score Orchestra [Sheet music] Wilhelm Hansen
Carl Nielsen is now widely celebrated as Denmark’s greatest composer par...(+)
Carl Nielsen is now widely celebrated as Denmark’s greatest composer particularly for his symphonies which range from late Romantic explorations to more audacious neo-classicism in the later years. In the tone poem Pan and Syrinx Nielsen began to express some of his more adventurous harmonies and timbres which he then expressed more fully and in more abstract form in his masterpiece Fifth Symphony. Nielsen had an obsession with ancient Greece and its myths and the inspiration for Pan and Syrinx is drawn from Ovid’s Metamorphoses. The story concerns the chaste nymph Syrinx who is chased by Pan to the river’s edge where the river nymphs grant her request for assistance bytransforming her into water reeds. From the reeds Pan fashioned his original set of panpipes. Nielsen’s short work expresses the natural world the conflict between the male and female forces the anxiety of chase and transformation and the unsettled ending of the tale. Nielsen frequently chose it for performance when he created a program of his own works. The Orchestral colours are original and striking and display the composer’s restless inventiveness.
19.99 GBP - Sold by Musicroom UK | |
| Liszt F. - Les Preludes
And Other Symphonic Poems
- Conducteur Orchestra [Study Score / Miniature] Dover Publications
This authoritative edition presents full-score reproductions of three of Liszt...(+)
This authoritative edition presents full-score reproductions of three of Liszt’s best-known symphonic poems. Les Preludes (Symphonic Poem No.3) grew out of the composer’s unpublished choral setting of Joseph Autran’s poem “The Four Elements”, blending stirring martial music and lovely pastoral themes to make this work the most popular of the symphonic poems. Mazeppa (Symphonic Poem No.6) evokes Victor Hugo’s portrayal of the Cossack leader and the symbolic triumph that comes only after defeat: “He runs, he flies, he falls, and he stands up king!” Heroide Funebre (Symphonic Poem No.8) is the last vestige of the monumental Revolutionary Symphony, planned but never completed, suggesting universal brotherhood: a fine, heroic, dignified funeral march. In these richly sonorous works, Liszt explored the concept of the one-movement “transformation of themes,” an approach to composition that Wagner would carry forward in his development of the leitmotif. Liszt’s expanding chromaticism would be no less influential, anticipating the twentieth century’s embrace of atonality. Frequently performed favourites of audiences around the world, these three works are reprinted from the original Breitkopf & Härtel edition.
16.00 EUR - Sold by Woodbrass Pre-shipment lead time: On order | |
| Britta Byström: Voyages
Extraordinaires:
Orchestra: Score Wilhelm Hansen
A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer...(+)
A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes 'I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden musical transformations that occur are also reminiscent of dream logic and the dreamscape itself. Here it is possible to wander in and out through worlds in a way that feels consistent within the framework of the dream.' A work for orchestra commissioned by Gothenburg Symphony Orchestra. The composer writes 'I have borrowed the title 'Voyages extraordinaires' from the writer Jules Verne and his famous novel series depicting fantastic or in reality impossible journeys. The title seemed fitting as my work is intended as fantastical musical voyages on which the listener encounters new worlds of sound through recurring orchestral transformations. I see the work somewhat as a tribute to how art has the abilities to transcend the limits of life. Some years ago I composed a horn trio 'Diagonal Musik' (2017) inspired by the Swedish artist Olle Baertling. Baertling’s paintings consist of large brighttriangular shapes and although the lines gradually approach one another the intersecting point is often placed outside the frame. Consequently the spectator will try to complete the angle in their own head. In my horn trio I wanted to transfer this to music: the lines that gradually approach each other but rarely meet except perhaps in the listener’s head. In 'Voyage Extraordinaires' I have tried to develop these techniques even further this time for orchestral forces and combine them with the magical transformations an important structural element of the piece. The fantastic journeys also refer to travels in our own imagination: what we believe and picture in our mind. The sudden
49.99 GBP - Sold by Musicroom UK | |
| David Stock: Plenty of
Horn - Full Score:
Concert Band: Score Concert band Lauren Keiser Music Publishing
Plenty of Horn was commissioned by the Seattle Symphony as part of its ?Echoes? ...(+)
Plenty of Horn was commissioned by the Seattle Symphony as part of its ?Echoes? project featuring classical works transformed and reinterpreted by contemporary composers. The 4-minute work is based on the familiar Trumpet Voluntary ofJeremiah Clarke with the melody assembled from fragments and layers of register. Recorded by Seattle Symphony/ Gerard Schwarz Naxos 8.559679.
34.99 GBP - Sold by Musicroom UK | |
| Edward Gregson: Shadow of
Paradise
(Oboe/Percussion): Oboe:
Instrumental Work Oboe, Percussion [Sheet music] Novello & Co Ltd.
Shadow of Paradise was written specially for Melinda Maxwell. The work was compl...(+)
Shadow of Paradise was written specially for Melinda Maxwell. The work was completed in 2005 the same year that she recorded the work together with Richard Benjafield (percussion) for the Dutton label.'The work is based on the poem by Samuel Taylor Coleridge Kubla Khan and I have attempted to capture some of the spirit of his highly evocative text in my music.It is structured in three main sections: the opening section (And ‘mid this tumult Kubla heard from far Ancestral voices prophesying war) is dramatic in nature with the oboe announcing two ideas - the first a high repeated note rhythmic pattern (later with multiphonics) answered by six differentlypitched drums and temple blocks and the second a short lyrical phrase mainly built on thirds.In the second section (A damsel with a dulcimer In a vision once I saw…Could I revive within me Her symphony and song) the solo oboe transforms the repeated notes and thirds of the first section into a love song underpinned by the percussionist’s vibraphone and crotales.A short reprise of the very opening leads into the final section (Beware! Beware! His flashing eyes his floating hair! Weave a circle round him thrice…) which mirrors the text with three short dances in chain form folk-like in character and increasingly climactic. A final reprise of the opening seems to suggest a violent end but the oboe’s echo of the love song answered by the percussionist’s crotales brings the work to a gentler conclusion.' Edward Gregson - December 2011Instrumentation:Solo oboeSolo percussion (6 temple blocks 2 bongos 4 tom-toms vibraphone crotales 2 tambourines)
13.99 GBP - Sold by Musicroom UK | |
| Philip Sparke: A
Bandsman's Overture:
Brass Band: Score Brass ensemble Anglo Music
A Bandsman’s Overture was commissioned by British Bandsman magazine to ce...(+)
A Bandsman’s Overture was commissioned by British Bandsman magazine to celebrate its 125th anniversary in 2012. It was premiered by Black Dyke Band conducted by Dr Nicholas Childs at a special anniversary concert held in Symphony Hall Birmingham on July 1st.British Bandsman was for a period known as British Bandsman and Contest Field following an amalgamation of two magazines. The then owner John Henry Iles celebrated this new title by commissioning Ord Hume to write the famous march BB & CF. As a salute to this heritage A Bandsman’s Overture starts with the four notes B(b)-B(b)-C-F a motive which permeates an opening fanfare which contrasts a busy opening with a more legato central section. This gives way to a bustling Vivo based on repeated staccato notes. A change of key heralds a central cantabile melody first on euphoniums and baritone and then played by the full band which is followed by a short development section. This leads to a transformed reprise and a return of the opening fanfare decorated this time by florid muted cornets.
12.99 GBP - Sold by Musicroom UK | |
| Haydn Mozart and
Beethoven: Major Choral
Works: Mixed Choir a
Cappella: Vocal Choral CD [CD-ROM] Hal Leonard
Vocal Score-CD Sheet Music is the revolutionary series of masterworks on CD- or ...(+)
Vocal Score-CD Sheet Music is the revolutionary series of masterworks on CD- or DVD-ROM that transforms a PC or MAC computer into a virtual music library. Now you can quickly locate view and print the great works of the classical repertoire. Compared to traditional printed sheet music or music downloads it is incredibly inexpensive. Original sources are out-of-copyright standard editions from publishers such as Breitkopf and Härtel C.F. Peters G. Schirmer Carl Fischer G. Ricordi Durand and many others. The discs also include biographical and analytical information from Grove's Dictionary of Music and Musicians 1911 Edition. 41 works including Haydn's Creation The Seasons Mozart'sRequiem Mass in C Minor Coronation Mass Beethoven's Choral Fantasy Mass in C Major and Ninth Symphony. 2200 pages of music!
16.99 GBP - Sold by Musicroom UK | |
| Philip Sparke: A
Bandsman's Overture:
Brass Band: Score & Parts Brass ensemble Anglo Music
A Bandsman’s Overture was commissioned by British Bandsman magazine to ...(+)
A Bandsman’s Overture was commissioned by British Bandsman magazine to celebrate its 125th anniversary in 2012.It was premiered by Black Dyke Band conducted by Dr Nicholas Childs at a special anniversary concert held in Symphony Hall Birmingham on July 1st.British Bandsman was for a period known as British Bandsman and Contest Field following an amalgamation of two magazines. The then owner John Henry Iles celebrated this new title by commissioning Ord Hume to write the famous march BB & CF. As a salute to this heritage A Bandsman’s Overture starts with thefour notes B(b)-B(b)-C-F a motive which permeates an opening fanfare which contrasts a busy opening with a more legato central section.This gives way to a bustling Vivo based on repeated staccato notes. A change of key heralds a central cantabile melody first on euphoniums and baritone and then played by the full band which is followed by a short development section. This leads to a transformed reprise and a return of the opening fanfare decorated this time by florid muted cornets.
81.99 GBP - Sold by Musicroom UK | |
| Ricercare And Toccata Piano solo Alfred Publishing
Italian-American composer and librettist Gian Carlo Menotti composed his first o...(+)
Italian-American composer and librettist Gian Carlo Menotti composed his first opera in English, The Old Maid and the Thief, in 1939. It was commissioned by NBC as a radio opera (to be performed on air) and was premiered by the NBC Symphony Orchestra. Years later, Menotti adapted a theme from the opera's third scene, transforming and expanding it into an advanced two-movement work for solo piano. The first movement is a lyrical and emotive ricercare, which contains contrapuntal writing, elaborate flourishes, and flamboyant improvisatory gestures. By contrast, the second-movement toccata unfolds in steady, 16th-note perpetual motion with moments of musical humor combined with brilliant pianistic display. The concise work, approximately seven minutes in length, is often used in competitions and recitals. This edition contains helpful fingering and pedaling suggestions, as well as a discussion of form and a brief synopsis of the original opera. / Piano
8.82 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Robert Buckley:
Continuum: Concert Band:
Score Concert band Hal Leonard
This exciting innovative new work from Robert Buckley was commissioned by the T...(+)
This exciting innovative new work from Robert Buckley was commissioned by the Troy University Symphony Band in honor of the 37th annual Southeastern United States Concert Band Clinic in Alabama. Using a recurring two-measureloop this uniquely constructed piece is built up around various musical building blocks that are constantly evolving and transforming. The music is dramatic and dynamic with full-blown ensemble passages suddenly dropping toquiet powerful moments without ever losing the music's continuous drive. Following an exotic bluesy middle section the piece builds accelerating to a thrilling rhythmic percussive finish. A real tour de force! Dur: 7:00
10.99 GBP - Sold by Musicroom UK | |
| Robert Buckley:
Continuum: Concert Band:
Score & Parts Concert band [Score and Parts] Hal Leonard
This exciting innovative new work from Robert Buckley was commissioned by the T...(+)
This exciting innovative new work from Robert Buckley was commissioned by the Troy University Symphony Band in honor of the 37th annual Southeastern United States Concert Band Clinic in Alabama. Using a recurring two-measureloop this uniquely constructed piece is built up around various musical building blocks that are constantly evolving and transforming. The music is dramatic and dynamic with full-blown ensemble passages suddenly dropping toquiet powerful moments without ever losing the music's continuous drive. Following an exotic bluesy middle section the piece builds accelerating to a thrilling rhythmic percussive finish. A real tour de force! Dur: 7:00
76.99 GBP - Sold by Musicroom UK | |
| La Faust Symphonie De Fr.
Liszt (BLET STEPHANE)
Français Solo SATB, Choeur SATB, 2 Cors, 2
Bassons, 2 Clari Combre
Par BLET STEPHANE. / classique / Livre / Livre
26.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Hector Berlioz: March to
the Scaffold: Concert
Band: Score Concert band [Score and Parts] Hal Leonard
from Symphonie Fantastique op. 14-From Berlioz's 'Symphonie Fantasique ' Calvin...(+)
from Symphonie Fantastique op. 14-From Berlioz's 'Symphonie Fantasique ' Calvin Custer has carefully captured the picturesque drama of the original orchestral work. Opening with a solemn procession that quickly transforms into a brilliant march the piece continues to build in intensity up to the final closing chords. A dynamic transcription for intermediate bands.
69.99 GBP - Sold by Musicroom UK | |
| Ben Haemhouts: Jello The
Colours Of My Soul:
Fanfare Band: Score Marching band Beriato Music
« Jello... The Colours of my Soul » est une composition écrite en hommage à ...(+)
« Jello... The Colours of my Soul » est une composition écrite en hommage à la mort prématurée et dramatique d?un jeune enfant. L?oeuvre est née des nombreuses conversations qu?ont eu le père et le compositeur le résultat final devant ?tre considérée comme une tentative du compositeur de traduire en musique les sentiments des parents.La première partie du titre « Jello » est la contraction des noms des deux enfants de l?homme qui a commandé le morceau à savoir Jelle et Lobcke « the Colours of my Soul » symbolise les « couleurs de l?âme » des parents qui malgré la perte de l?un de leurs enfants continuent à chérir leurs deux enfants. L?introduction recrée l?ambiance o? deuxparents pleurent la perte de leur enfant utilisant des quintes justes pour rendre la proximité avec la nature telle que nous la connaissons par les symphonies de Bruckner. Un peu plus loin l?auteur met en avant un aspect du premier thème qui se transforme en une véritable marche funèbre.Le Dies Irae tel qu?il se retrouve notamment dans la Symphonie fantastique de Berlioz (Fa Mi Fa Ré Mi Do Ré) apparaît pour la première fois mais constitue un fil conducteur à travers toute l?oeuvre pour symboliser la lutte constante entre la vie et la mort.Juste avant le passage de la temp?te (pour lequel l?auteur fait appel à une machine à vent) qui laisse présager un malheur des extraits de chansons enfantines accompagnés d?un choral crescendo depuis derrière le podium intensifient la confrontation imminente avec la mort. Après une longue introduction consacrée à la présentation des deux thèmes vient un passage rapide o? sont évoqués divers bons souvenirs. On raconte on rit on danse. L?une des précédentes chansons enfantines y est également citée. Mais le Dies Irae résonne sans cesse m?me si cette fois c?est de façon brève et rapide.Les éléments gais sont peu à peu déformés jusqu?à ce que le grave réapparaisse comme un mal inévitable que rien ne peut arr?ter.Tout s?intensifie comme si un grand climax allait suivre. A cet instant toutefois un très long
26.99 GBP - Sold by Musicroom UK | |
| Ben Haemhouts: Jello The
Colours Of My Soul:
Concert Band: Score Concert band Beriato Music
« Jello... The Colours of my Soul » est une composition écrite en hommage à ...(+)
« Jello... The Colours of my Soul » est une composition écrite en hommage à la mort prématurée et dramatique d?un jeune enfant. L?oeuvre est née des nombreuses conversations qu?ont eu le père et le compositeur le résultat final devant ?tre considérée comme une tentative du compositeur de traduire en musique les sentiments des parents.La première partie du titre « Jello » est la contraction des noms des deux enfants de l?homme qui a commandé le morceau à savoir Jelle et Lobcke « the Colours of my Soul » symbolise les « couleurs de l?âme » des parents qui malgré la perte de l?un de leurs enfants continuent à chérir leurs deux enfants. L?introduction recrée l?ambiance o? deuxparents pleurent la perte de leur enfant utilisant des quintes justes pour rendre la proximité avec la nature telle que nous la connaissons par les symphonies de Bruckner. Un peu plus loin l?auteur met en avant un aspect du premier thème qui se transforme en une véritable marche funèbre.Le Dies Irae tel qu?il se retrouve notamment dans la Symphonie fantastique de Berlioz (Fa Mi Fa Ré Mi Do Ré) apparaît pour la première fois mais constitue un fil conducteur à travers toute l?oeuvre pour symboliser la lutte constante entre la vie et la mort.Juste avant le passage de la temp?te (pour lequel l?auteur fait appel à une machine à vent) qui laisse présager un malheur des extraits de chansons enfantines accompagnés d?un choral crescendo depuis derrière le podium intensifient la confrontation imminente avec la mort. Après une longue introduction consacrée à la présentation des deux thèmes vient un passage rapide o? sont évoqués divers bons souvenirs. On raconte on rit on danse. L?une des précédentes chansons enfantines y est également citée. Mais le Dies Irae résonne sans cesse m?me si cette fois c?est de façon brève et rapide.Les éléments gais sont peu à peu déformés jusqu?à ce que le grave réapparaisse comme un mal inévitable que rien ne peut arr?ter.Tout s?intensifie comme si un grand climax allait suivre. A cet instant toutefois un très long
26.99 GBP - Sold by Musicroom UK | |
| Ben Haemhouts: Jello The
Colours Of My Soul:
Fanfare Band: Score &
Parts Marching band [Score and Parts] Beriato Music
« Jello... The Colours of my Soul » est une composition écrite en hommage à ...(+)
« Jello... The Colours of my Soul » est une composition écrite en hommage à la mort prématurée et dramatique dun jeune enfant. Loeuvre est née des nombreuses conversations quont eu le père et le compositeur le résultat final devant ?tre considérée comme une tentative du compositeur de traduire en musique les sentiments des parents.La première partie du titre « Jello » est la contraction des noms des deux enfants de lhomme qui a commandé le morceau à savoir Jelle et Lobcke « the Colours of my Soul » symbolise les « couleurs de lâme » des parents qui malgré la perte de lun de leurs enfants continuent à chérir leurs deux enfants. Lintroduction recrée lambiance o? deuxparents pleurent la perte de leur enfant utilisant des quintes justes pour rendre la proximité avec la nature telle que nous la connaissons par les symphonies de Bruckner. Un peu plus loin lauteur met en avant un aspect du premier thème qui se transforme en une véritable marche funèbre.Le Dies Irae tel quil se retrouve notamment dans la Symphonie fantastique de Berlioz (Fa Mi Fa Ré Mi Do Ré) apparaît pour la première fois mais constitue un fil conducteur à travers toute loeuvre pour symboliser la lutte constante entre la vie et la mort.Juste avant le passage de la temp?te (pour lequel lauteur fait appel à une machine à vent) qui laisse présager un malheur des extraits de chansons enfantines accompagnés dun choral crescendo depuis derrière le podium intensifient la confrontation imminente avec la mort. Après une longue introduction consacrée à la présentation des deux thèmes vient un passage rapide o? sont évoqués divers bons souvenirs. On raconte on rit on danse. Lune des précédentes chansons enfantines y est également citée. Mais le Dies Irae résonne sans cesse m?me si cette fois cest de façon brève et rapide.Les éléments gais sont peu à peu déformés jusquà ce que le grave réapparaisse comme un mal inévitable que rien ne peut arr?ter.Tout sintensifie comme si un grand climax allait suivre. A cet instant toutefois un très long
144.99 GBP - Sold by Musicroom UK | |
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