SKU: LO.70-2275L
ISBN 9780787772857.
This classic, beloved, and previously out-of-print collection is available once again with a brand new arrangement specifically for this edition. Fill the air this Christmastime with the sounds of these timeless, stunning arrangements!
SKU: BA.BVK02305
ISBN 9783761823057. 23.5 x 16 cm inches. Preface: Helmut Loos.
Felix Mendelssohn Bartholdy as letter-writer: at the heart of 19th century European cultureAs one of the most important letter-writers of the 19th century, Felix Mendelssohn Bartholdy maintained an extensive correspondence. With great style and eloquence he wrote letters to friends and family, letters from his travels and he also wrote to leading composers, musicians, artists as well as publishers. He corresponded with famous contemporaries such as Robert Schumann, Franz Liszt and Richard Wagner as well as Johann Wolfgang von Goethe, Carl Friedrich Zelter and Alexander von Humboldt. The correspondence begins in 1816 and ends in 1847 with the composer’s death. These letters are invaluable documents shedding light not only on the genesis, publication and revision of his musical works, but also on a period when relations between Christians and Jews still had a chance to become harmonious, as Moses Mendelssohn, the imminent scholar and grandfather of the composer had advocated.This edition will therefore be of great interest far beyond the circles of musicologists and music specialists. It will appeal to those who are interested in the history of culture and ideas and to those who perceive Mendelssohn and his family as representatives of a unique, diverse cultural epoch. The complete correspondence shows that Mendelssohn not only went on to become one of the leading figures of German musical culture in the 1840s, but that he also maintained a network of musical contacts throughout Europe.The edition of the complete lettersThis scholarly-critical complete edition comprises 5,855 letters by Felix Mendelssohn Bartholdy. Previously only a small part of his correspondence had been published and made accessible to the public. The complete edition is based on Mendelssohn letters which have been compiled over decades by Rudolf Elvers as well as on international research carried out by an academic workgroup in Leipzig spearheaded by chief editors Helmut Loos and Wilhelm Seidel. They determined 500 additional letters hitherto unknown. Versions of the letter texts have been compiled from a scholarly-critical analysis of the sources, their historical context has been discussed and comments on all points in need of explanation have been made.This edition of the complete letters consists of 12 volumes and a CD-ROM. Each volume contains indices of mentioned individuals and institutions, compositions by Felix Mendelssohn Bartholdy and Fanny Hensel as well as a register of place names and currencies. In this way one obtains an all-encompassing view of this unique historical cosmos.The Complete edition has been produced to the highest standards in terms of layout, cover and binding. It is an ideal collector’s item for bibliophiles, providing an excellent means for studying the composer and the period in which he lived.The CD-ROM forms a valuable addition to the printed volumes. It offers the complete printed edition in the form of pdf. files, thereby making its approximately 9,500 pages digitally accessible and enabling letters and the corresponding commentary to be read in parallel. All terms can be located quickly and conveniently via a full text search.(The 12 volumes as well as the CD-ROM can only be purchased complete).- German text onlyThe EditorsHelmut Loos is Professor of Musicology at the University of Leipzig. He specialises in the music of the 19th and 20th centuries, in particular the reception of Beethoven, sacred music and links between Germany and Central and Eastern Europe. Wilhelm Seidel was professor at the universities of Heidelberg, Marburg and Leipzig. His publications are devoted to the temporal structure of music, music aesthetics in the 18th and 19th centuries and music of the 16th to 20th centuries, currently on Mozart and Mendelssohn.
SKU: M7.AHW-3027
English.
This theoretical book is meant to improve contemporary jazz styles techniques for all musician players of modern jazz. We will divide this book into scale exercises, arpeggio exercises, jazz line phrases as well as contemporary chord progressions. Exercises consist of diatonic and chromatic exercises; and, line phrases, consist of jazz solos by great musicians such as Miles Davis, Bill Evans, John Coltrane, Freddy Hubbard, Woody Shaw, Wayne Shorter, Joe Henderson, Chick Corea, Herbie Hancock, Joe Farrel, Dave Liebman, Bob Berg, Michael and Randy Brecker, Jerry Bergonzi, George Garzone, Tom Harrel, Chris Potter, Brad Mehldau, Joey Calderazzo, Kenny Garrett, Branford Marsalis, Walt Weiskopf, Rich Perry, Seamus Blake, Alex Sipiagin and many other well known musicians these days. The majority of these exercises should be transposed to all twelve (12) tones, so we can achieve perfect coordination. Major chords, Minor chords and Dominant chords will be extended to their highest level, in scales, arpeggios and chromatic form. There will not be key signature centres, so we will work all exercises in accidental way. These exercises were made as an extension of my first book 'Improvise Now'. There are as well many improvisational lines transcribed from some of the previously mentioned musicians.
SKU: BR.EB-8636
ISBN 9790004183038. 7.5 x 10.5 inches.
At long last: complete with the Libera me Domenico Cimarosa's Requiem, composed in 1787, achieved widespread dissemination through copies shortly after its premiere, and has remained a repertoire work of classical church music to this day. All the more amazing is the discovery of an authentic, subsequently added Libera me movement that is found in the main sources (autograph score, original parts), but had not been published up to now. The complete liturgical form of the Requiem requires a Libera me and with this new edition, Cimarosa's Requiem can now finally be performed again its entirety, more than 200 years after it was written. Reinmar Emans' new Urtext edition thus contains much more than just the previously known music text. Valuable aid was provided here by a number of contemporary copies which yielded further important details.With the Libera me finally completed.
SKU: HL.14032634
ISBN 9780711975156. UPC: 888680967635.
Score d For String Quartet. Commissioned by the New Arts String Quartet, first performed in Tokyo November 1996. Quoting Tanaka: The title Metal Strings suggests speed metal rock music which I have been listening to a lot in recent years. I find an explosive energy in its music that people of today thirst for. Previously I have explored solid, speedy and metallic sound in pieces such as 'Wave Mechanics' (1994), 'Wave Mechanics II' (1994) and 'Metalic Crystal' (1994-95). This idea has been extended and developed in my string quartet, Metal Strings. Score only edition, separate parts are also available on sale.
SKU: AP.12-0571540805
ISBN 9780571540808. English.
Accelerati on, deceleration, and the inconsistent nature of time are at the heart of Piano Trio The Chronophage by Tom Coult. Throughout the 17-minute work, cello and piano lines constantly speed up or slow down relative to one another, while the violin has only one role---to accelerate throughout. The listener feels clunky gear changes, as previously reliable demarcations of time seem unsteady, even unsafe. The trio's subtitle comes from The Corpus Clock in Cambridge, a clock that plays with exactly this perception. Completely accurate every five minutes, the clock lurches unevenly from second to second, the grinding mechanism driven by the terrifying metal insect escapement known as the Chronophage (from the Greek meaning of time-eater).
SKU: CL.012-2594-00
A previously unpublished work by Russell Alexander (1877-1915), probably composed in the early 1900's. Dedicated to Patrick Conway, a leading conductor and bandmaster from the early 20th century. This edition, created from the coposer's original manuscripts, includes full score and parts for contemporary concert band instrumentation.
SKU: CA.2091800
ISBN 9790007186982.
At the age of eighty-six Heinrich Schutz composed his last work in 1671 with his monumental setting of Psalm 119, complemented in an appendix with a setting of Psalm 100, and a setting of a German Magnificat. This group of works, called Schwanengesang [Swansong], is scored for eight vocal parts, but two were lost so that it is not performable in its surviving form. However, as the composition is in a strictly regular style, and the two choirs often have common motivic material, it has been possible to attempt a reconstruction of the missing material from what survives. In 1984 a version reconstructed by the Dresden Schutz scholar Wolfram Steude was published for the first time, and has been performed many times since then. The new edition by Werner Breig as part of the Stuttgarter Schutz-Ausgabe is another attempt to create a performable version. In the process, other reconstruction options have been suggested for many passages, and in addition to this, some previously undiscovered mistakes have been corrected.
SKU: BA.BVK02163
ISBN 9783761821633. 31.5 x 20 cm inches.
Johann Sebastian Bach wrote testimonials for alumni of St Thomas 's School who wanted to apply for scholarships to study at university. Until recently, only one of these testimonials was known, but not its exact purpose. In the summer of 2008 Andreas Glockner discovered three further testimonials in the Leipzig University Archive which then shed light on the overall circumstances in which they were produced. The fact that Bach, the cantor at St Thomas's produced testimonials for scholarship applicants was previously unknown, as was the setting up of a special fund to support poor students from St Thomas's and Bach's participation in making these awards. These findings therefore represent a wealth of new discoveries and insights for Bach scholarship. It is particularly pleasing that there are now more dated written documents from Bach's last decade which contain information on the situation of church music in Leipzig in the year of Bach's death.
SKU: GI.G-MOB
For the teacher of instrumental music classes, individual differences among students are inevitable. Unfortunately, the lack of flexible materials frequently forces teachers to adopt a quasi-instructional procedure best described as lockstep, where all students in the class rehearse each exercise until the slow members of the class succeed or until the teacher gives up. The Individualized Instructor was designed with the expectation that students are different. With this method, high-, average-, and low-achieving students in a class are able to progress simultaneously at their own rate according to their interest and ability. In addition, the flexibility of the instructional format often allows twelve or more students to perform different musical material simultaneously, thereby eliminating the “follow the leader†approach to music learning. All study materials in the series are musical. Nonmusical exercises are excluded in favor of folk song literature, musical rounds, and musical ensembles. Furthermore, The Individualized Instructor encourages students to think about their music: to analyze unfamiliar material, generalize previously learned concepts and skills, and synthesize all elements into a musically proficient performance. In addition, this series develops many fundamentals (tonality, phrasing, tempo, and musical style) through the use of the singing voice. Singing best provides the “musical†experience that, subsequently, can be applied to the development of musically sensitive instrumental performance. Books 1, 2, and 3 and the supplementary books ensure that these fundamental ideas are carried well beyond the first year of instruction.
SKU: GI.G-MS1BC
SKU: JK.20026
John 13:34-35, 1 John 4:11.
NO FULL SCORE AVAILABLE, PARTS HAVE SOME ERRORS... Orchestration for the cantata Psalm of Easter (#01118), previously listed under #01437.Parts included in this orchestration:flutereedsclarinet in B flatbassoonhorn 1horn 2trumpettrombone< br>percussionharp violaviolin 1violin 2violoncellodoubl ebassComposer: Luacine Fox Clark / Jerry R. Jackman Difficulty: Medium / difficult acc.Reference: John 13:34-35, 1 John 4:11.
SKU: BT.EMBZ13492
English-German-Hungari an.
The third volume of the present trumpet tutor comprising the subjectmatter of the third form of music schools is built upon the former two ones. It consists of three parts: a) everyday exercises, b) exercises in the previously studied keys c) scale exercises.
SKU: JK.99019
13th Article of Faith and Philippians 4:8.
Elegant choral anthem for mixed chorus (SATB) incorporating text from the 13th Article of Faith and Philippians 4:8: We believe all things, we hope all things, we have endured many things and hope to be able to endure all things. If there is anything virtuous, lovely, or of good report, we seek after these things. Previously listed as item #00813.Composer: Sandra Ruconich / David A. Zabriskie Lyricist: Scriptural text Difficulty: Easy Performance time: 4:00Reference: 13th Article of Faith and Philippians 4:8.
SKU: PR.UE036676
ISBN 9783702474751. UPC: 803452071860.
Paert 's Vater Unser (Our Father) was composed to honor Pope Benedict XVI's 60th anniversary of his ordination as a priest, and was first performed for His Holiness at the Vatican with Paert on piano. Previously released for Boy Soprano and Piano with CD recording of the premiere (UE035300, $22.95), Vater Unser is now available as score only, suitable for children's chorus and piano.
SKU: BR.OB-5284-16
At long last: complete with the Libera me Domenico Cimarosa's Requiem, composed in 1787, achieved widespread dissemination through copies shortly after its premiere, and has remained a repertoire work of classical church music to this day.
ISBN 9790004339497. 10 x 12.5 inches.
At long last: complete with the Libera me Domenico Cimarosa's Requiem, composed in 1787, achieved widespread dissemination through copies shortly after its premiere, and has remained a repertoire work of classical church music to this day. All the more amazing is the discovery of an authentic, subsequently added Libera me movement that is found in the main sources (autograph score, original parts), but had not been published up to now. The complete liturgical form of the Requiem requires a Libera me and with this new edition, Cimarosa's Requiem can now finally be performed again its entirety, more than 200 years after it was written. Reinmar Emans' new Urtext edition thus contains much more than just the previously known music text. Valuable aid was provided here by a number of contemporary copies which yielded further important details.
SKU: UT.HS-312
ISBN 9790215327269. 9 x 12 inches.
In a few decades José de Nebra, previously almost completely unknown to musicians and amateurs - outside a narrow circle of connoisseurs -, has become one of the most appreciated Spanish composers in history. Famous and renowned during his lifetime, his music has been forgotten - except for one composition - for more than two centuries, but the publication of a certain number of editions of his music, especially theatrical and religious, since the 1990s has contributed to giving him back a preeminent role in the history of Spanish music and to providing him with a certain presence in concert programs and recordings.As for Nebra’s keyboard music, which from the start was to be his main occupation, we have a sad panorama of scattered, late sources, and often of doubtful - if not erroneous - attribution, until the appearance and subsequent study of the manuscript to which the present edition is dedicated. This notebook was discovered in the Music Archive of the Cathedrals of Zaragoza. The content of the manuscript consists of a set of thirty-one pieces grouped in eight large works in several movements, which often depart somewhat from the Scarlattian sonata model so common in eighteenth-century Iberian keyboard music and which link with other traditions of keyboard music: the purely Hispanic (in some examples of great intentos or fugues, imitative compositions derived from the ancient tientos) and also other European traditions, such as the French, detectable in numerous dance movements. Nebra gives the name ‘sinfonÃa†to two of these large-scale compositions in several movements, so that in this edition, respecting the name given by the author, the editor used such a name for the series of eight pieces, which could probably also have been called suites, ordres or even sonatas.
SKU: KN.8001
UPC: 822795080018.
This collection for grade 2 string orchestra features 10 full performance pieces that have been published previously as separate editions. All of the pieces are proven bestsellers and many are included on state contest lists throughout the United States.
SKU: GI.G-MS1TS
SKU: MB.30875M
ISBN 9781513477435. 8.75X11.75 inches.
Volume III of Playing Outside the Lines is the third of a comprehensive four-part Irish flute method book series offering beginning to advanced Irish traditional flute instruction for Boehm and simple system flutists in graduated books, chapters, and exercises. Building on the foundation provided in the first two books of the series, Volume III dives into more complicated Irish traditional flute ornamentation such as rolls, short rolls, crans, and breath-ornament techniques. Volume III contains ornamentation fingering charts; advanced ornamentation options, explanations, and placement guidelines; 62 accompanying audio tracks; and more than 170 exercises.Pla ying Outside the Lines is the first Irish flute method book series of its kind, containing more than 600 technical exercises, rich and nuanced discussions of Irish flute style and cultural context, previously undocumented techniques, side-by-side explanations for Boehm and simple system flutists (as well as information for musicians transitioning between the two instruments), audio excerpts, simple system flute care and purchasing information, and resources for further study. By the end of the four-part series, Boehm and simple system flutists of any background will have the tools necessary to play Irish music with a deep understanding of the tradition as well as with individual creativity. “A fantastic bible of Irish flute playing. Harrison is a very meticulous and thorough author.” —Viviana Guzman, The Flute View Magazine
“An invaluable resource for any flutist.” —Brook Ferguson, Principal Flutist of the Colorado Symphony Orchestra
“Leslie Anne Harrison’s Playing Outside the Lines is a marvelous gift to all interested in Irish music. Her clear and detailed writing is a huge boon to those embracing the traditional Irish flute and is truly enlightening to those (like me) who want to delve into this music while playing the Boehm flute. From tiniest detail to largest form, Leslie Anne Harrison is there every step of the way. Playing Outside the Lines is a major contribution to flute pedagogy.” —Robert Dick, Performer and Author of The Other Flute
