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Maurice Ravel: Gaspard De La Nuit - 3 Poemes: Piano: Instrumental Album
17.99
Maurice Ravel: Gaspard De La Nuit - 3 Poemes: Piano: Instrumental Album
Piano seul
Wiener Urtext
Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of t...
(+)
Maurice Ravel's Gaspard De La Nuit is one of the most important Piano works of the 20th century and constitutes the height of the extension of the pianistic playing techniques and tonal possibilites which was already begun by Chopin and Liszt in the 19th century. The three movements Ondine Le Gibet and Scarbo are based on poems by Aloysius Bertrand which Ravel put in front of each of the three pieces. Thus too the work is in a tradition represented by composers such as Schumann and Liszt in the 19th century that combines instrumental music with literary models. For the new edition published by the Wiener Urtext Edition the editorsconsulted not only the first edition used almost exclusively up to now but also Ravel's autograph as well as his personal copy of the first edition on the basis of which numerous passages in the musical text could be corrected and brought closer to Ravel's original intention. In addition the editors included corrections from personal copies of various students of Ravel. Entries of the composer going well beyond mere text corrections and practical performance tips handed down by his students are analysed in the Notes of Interpretation. The reader-friendly large-format Wiener Urtext edition is completed by a trilingual glossary of the French performance instructions used by Ravel as well as English and German translations of Bertrand's three poems.
17.99 GBP - vendu par Musicroom GB
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Niccolò Paganini: Caprice d'Adieu: Violin
9.99
Niccolò Paganini: Caprice d'Adieu: Violin
Violon
Ricordi
per violino - Edizione critica di Italo Vescovo-The Caprice d?Adieu (autograph u...
(+)
per violino - Edizione critica di Italo Vescovo-The Caprice d?Adieu (autograph unknown) is appended to Eduard Eliason?s Six Caprices Caractéristiques pour le Violon Op. 12 which was published in Mayence by B. Schott in 1833. This piece which Paganini dedicated to Eliason is part of a series ofcompositions for violin solo that have been widely ignored by both performers and scholars of the great Genoese musician. It is a composition whose size and structure (A-B-A with two refrains) follows the pattern of some of his Capricci Op. 1 but unlike these proper studies the Caprice d?adieu is lighter and more lively in character. Although not as brilliant musically as the Capricci it still contains some original musical ideas mostly articulated in two parts with a few complextechnical passages and a central contrasting section featuring different dynamics and a range of chords and trills.This critical edition is based on the first edition and is collated with the most important nineteenth and twentieth-century editions.
9.99 GBP - vendu par Musicroom GB
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Piano Inspiration, Book 1
12.95
Piano Inspiration, Book 1
Piano seul
-
Intermédiaire
ABRSM Publishing
ABRSM Grades 4-6. This special collection of intermediate piano repertoire has b...
(+)
ABRSM Grades 4-6. This special collection of intermediate piano repertoire has been lovingly curated by internationally renowned pianist, Isata Kanneh-Mason. Inspired by her musical journey from childhood prodigy to accomplished performer, and drawing on her championship of female composers and composers of colour, Isata has handpicked a wonderfully diverse melange of music for players to explore. Alongside well-known classical masterpieces, Isata presents stunning pieces by Florence Price, Amy Beach and Eleanor Alberga, as well as a beautifully evocative new work by Natalie Klouda and her very own Waltz. Carefully edited and fingered, Piano Inspiration 1 is ideal both for recreational playing and those seeking own-choice repertoire for ABRSM Performance Grades (Grades 4'6). ' 16 pieces for intermediate players, each holding special significance to Isata ' A wonderful array of styles, composers and traditions that span four centuries of piano music ' Original works by Isata Kanneh-Mason and Natalie Klouda, specially composed for this collection ' Ideal for own-choice repertoire selection in ABRSM Performance Grades (Grades 4'6) Pianist Isata Kanneh-Mason is in great demand in the UK and internationally as a soloist and chamber musician. She offers eclectic and interesting repertoire and has performed at many of the world's finest concert venues, including the Royal Albert Hall for her BBC Proms solo debut in 2023. As a Decca recording artist, she entered the UK classical charts at No. 1 with her 2019 album Romance, and has since released Summertime, featuring twentieth-century American repertoire; Muse, a duo album with her brother Sheku; and Childhood Tales, which showcases music inspired by a nostalgia for youth. Isata is recipient of the coveted Leonard Bernstein Award and the Opus Klassik Award for best young artist.
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Glenn Weiser: Favorite 19th Century American Songs: Guitar Solo: Instrumental
25.99
Glenn Weiser: Favorite 19th Century American Songs: Guitar Solo: Instrumental
Guitare
Centerstream
for Fingerstyle Guitar-This is a colleciton of 47 favorite 19th century American...
(+)
for Fingerstyle Guitar-This is a colleciton of 47 favorite 19th century American songs arranged for fingerstyle guitar from Glenn Weiser's recent CD My Old Kentucky Home. Here you'll find Stephen Foster's famous compositions and other parlor songs African-American spirituals Civil War anthems familiar hymns and 1890s hits. These priceless legacies of our national heritage form much of the soundtrack of American history: ?Oh! Susanna? was on the lips of every Forty-Niner during the California Gold Rush Harriet Tubman sang ?Swing Low Sweet Chariot ? on her deathbed and Abraham Lincoln wept the first time he heard ?The Battle Hymn of the Replublic.? Nowguitarists can play these and many more in new beautiful solo arrangements.
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The Flûte Audition
38.79
The Flûte Audition
Flûte traversière
Universal Edition
The New Essential Companion. Henrik Wiese, the internationally renowned orchestr...
(+)
The New Essential Companion. Henrik Wiese, the internationally renowned orchestral and solo flautist, has spent four years compiling what promises to be the definitive guide to audition repertoire for students preparing for a seat in a professional orchestra. He has worked with his own students in Salzburg as they engaged in auditions, as well as with other professional players and his teaching colleagues at the conservatorium. He sourced repertoire lists from job advertisements past and present and referred to other audition lists such as those of Baxtresser and Wye. Considerable research has gone into the differences between existing editions of the chosen pieces even, surprisingly, from twentieth century composers such as Prokofiev and Stravinsky. 'The Flute Audition” then looks at practical matters such as page turns and metronome markings. Wiese comments, for example, that Hindemith's own recording takes a passage from 'Symphonic Metamorphoses” markedly slower than in the score. The result of all this painstaking research is the most comprehensive collection of international audition pieces yet published in a single volume. 'This is an excellent collection of orchestral excerpts for the next generation of young musicians. You can use it to prepare for auditions anywhere in the world. Whether it's for an opera house, symphony or chamber orchestra, everything you need is here.'/ Recueil / Flûte Traversière
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Maurice Ravel: Le Tombeau De Couperin Score/Parts: Wind Ensemble: Score and
37.50
Maurice Ravel: Le Tombeau De Couperin Score/Parts: Wind Ensemble: Score and
Margun Music
Woodwind Quintet-As a tribute to 18th Century French music as well as to the me...
(+)
Woodwind Quintet-As a tribute to 18th Century French music as well as to the memory of Francois Couperin Ravel wrote this set of six piano pieces in the form of a suite and dedicated each piece to a friend who had lost his life defending his country in World War One. Although Le Tombeau De Couperin retains the grace clarity and elegance and charm reminiscent of the 18th Century its harmonies and colouristic effects are unmistakably of the 20th Century.This edition of the piece was arranged for Wind Quintet by Gunther Schuller and retains the spirit and charcter of the original Piano work.
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Piece En Forme De Habanera (RAVEL MAURICE)
14.80
Piece En Forme De Habanera (RAVEL MAURICE)
Flûte et Guitare
[Partition]
Leduc, Alphonse
Par RAVEL MAURICE. As a prestigious composer of the early 20th century, Maurice ...
(+)
Par RAVEL MAURICE. As a prestigious composer of the early 20th century, Maurice Ravel 's Pièce En Forme De Habanera, transcribed for Flute and Guitar by Janet Ketchum and Peter Segal, contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies, Pièce En Forme De Habanera clearly exemplifies these qualities through flourishing Flute lines and evocative, chordal and rhythmic Guitar accompaniments. Moreover, Habanera rhythms heard throughout the piece create further excitement. All of these musical elements combined create ahighly enjoyable piece for the Flute and Guitar repertoire. In addition, the clear print of separate solo and accompaniment parts in this edition of Pièce En Forme De Habanera add to an irresistible purchase for aspiring Flute players./ Répertoire / Flûte Traversière et Guitare
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Musica Britannica Complete Harpsichord Music (GREEN MAURICE)
204.75
Musica Britannica Complete Harpsichord Music (GREEN MAURICE)
Clavecin
[Partition]
Stainer and Bell
Par GREEN MAURICE. The suites, lessons and miscellaneous short pieces for harpsi...
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Par GREEN MAURICE. The suites, lessons and miscellaneous short pieces for harpsichord by Maurice Greene published in MB106 form an important corpus of eighteenth-century English keyboard music, complementary to the works of Handel, Thomas Roseingrave and Greene?s mentor Giovanni Bononcini, and also showing the influence of Domenico Scarlatti. The volume also includes a set of six overtures for the harpsichord, ?Being proper Pieces for the Improvement of the Hand?, which were first published in 1745 and are arrangements of earlier orchestral originals. / Date parution : 2022-10-25/ Recueil / Clavecin
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Ravel Maurice - Tzigane - Violon and Piano
23.20
Ravel Maurice - Tzigane - Violon and Piano
Violon et Piano
Barenreiter
Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ra...
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Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane'. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane' and both versions remain a 'must' for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of 'Tzigane' from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D'Aranyi's fingering
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Tzigane (RAVEL MAURICE)
10.15
Tzigane (RAVEL MAURICE)
Contre Basse
[Partition]
Barenreiter
Par RAVEL MAURICE. In 1922 Maurice Ravel heard the young Hungarian violin virtuo...
(+)
Par RAVEL MAURICE. In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane”. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane” and both versions remain a 'must” for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane” from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D'Aranyi's fingering/ Répertoire / Contrebasse
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Piece En Forme De Habanera (RAVEL MAURICE / GILLET / LEDUC)
14.80
Piece En Forme De Habanera (RAVEL MAURICE / GILLET / LEDUC)
Hautbois ou Cor Anglais et Piano
[Partition]
Leduc, Alphonse
Par RAVEL MAURICE / GILLET / LEDUC. As a prestigious composer of the early 20th ...
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Par RAVEL MAURICE / GILLET / LEDUC. As a prestigious composer of the early 20th century, Maurice Ravel's Pièce En Forme De Habanera For Oboe, transcribed for the Oboe by Fernand Gillet, or for Cor Anglais by G. A. Leduc, contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies, Pièce En Forme De Habanera For Oboe clearly exemplifies these qualities through flourishing Oboe or Cor Anglais lines and evocative, chordal and rhythmic Piano accompaniments. Moreover, Habanera rhythms heard throughout the piece create furtherexcitement. All of these musical elements combine to create a highly enjoyable piece for the Oboe and Cor Anglais repertoire. In addition, the clear print of separate solo and accompaniment parts in this edition make it an irresistible purchase for aspiring Oboe and Cor Anglais players. / Répertoire d'Examen / Répertoire / Hautbois ou Cor Anglais et Piano
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Piece En Forme De Habanera (RAVEL MAURICE / OUBRADOUS)
14.80
Piece En Forme De Habanera (RAVEL MAURICE / OUBRADOUS)
Basson, Piano (duo)
[Partition]
Leduc, Alphonse
Par RAVEL MAURICE / OUBRADOUS. As a prestigious composer of the early 20th centu...
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Par RAVEL MAURICE / OUBRADOUS. As a prestigious composer of the early 20th century, Maurice Ravel 's Pièce En Forme De Habanera, transcribed for Bassoon and Piano by Fernand Oubradous contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies, Pièce En Forme De Habanera clearly exemplifies these qualities through flourishing Bassoon lines and evocative, chordal and rhythmic Piano accompaniments. Moreover, Habanera rhythms heard throughout the piece create further excitment. All of these musical elementscombined create a highly enjoyable piece for the Bassoon and Piano repertoire. In addition, the clear print of separate solo and accompaniment parts in this edition of Pièce En Forme De Habanera add to an irresistible purchase for aspiring Bassoon players./ Répertoire / Basson et Piano
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Piece En Forme De Habanera (RAVEL MAURICE)
14.80
Piece En Forme De Habanera (RAVEL MAURICE)
En Français
Saxophone Alto et Piano
Leduc, Alphonse
Par RAVEL MAURICE. As a prestigious composer of the early 20th century, Maurice ...
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Par RAVEL MAURICE. As a prestigious composer of the early 20th century, Maurice Ravel 's Pièce en Forme de Habanera contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies, Pièce en Forme de Habanera clearly exemplifies these qualities through flourishing Saxophone lines and evocative, chordal and rhythmic Piano accompaniments. Moreover, the Habanera rhythms throughoutthe piece create a dynamic and exciting effect. All of these musical elements combined create a highly enjoyable piece for the Alto Saxophone repertoire. In addition, the clear print of separate Saxophone and Piano parts in this edition addto an irresistable purchase for budding saxophonists. / Répertoire d'Examen / Répertoire / Saxophone Alto et Piano
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Maurice Ravel: Sonata For Violin And Violoncello: Violin & Cello: Score and
25.50
Maurice Ravel: Sonata For Violin And Violoncello: Violin & Cello: Score and
Violon, Violoncelle (duo)
Barenreiter
In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issu...
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In 1920 Maurice Ravel was asked by his publisher Durand to contribute to an issue of La Revue Musicale dedicated to Claude Debussy. A supplement included the first movement of Ravel?s Sonata as well as works contributed by Debussy?s friends Stravinsky Satie Dukas Bartok and de Falla to name only a few. This 1st movement of Ravel?s Sonata of which the autograph is lost then developed into a large scale four movement chamber music work utilizing a more modern music vocabulary than found in almost any other Ravel composition. Bärenreiter?s scholarly-critical edition the first ever of this masterpiece presents the work in two performing scores. It contains anintroduction on the history of the work reflecting Ravel?s work and rehearsals with violinist Hélène Jourdan-Morhange and cellist Maurice Maréchal. Sources for this new edition include the engraved copy the personal autograph scores (with earlier versions of some passages) which were used to rehearse the work and the first edition scores with emendations by Jourdan-Morhange and Maréchal. Included in the appendix are the original fingerings by the performers which are not found in the first edition. They reflect how Ravel must have heard the work in rehearsals and as such are a document of early 20th century performance practice. First Urtext edition of this workTwo performing scores (format 25 5 x 32 5 cm)The violoncello part does not allow for page turns in the first movement; therefore the edition includes an additional violoncello part in small print presenting the entire first movement on a double page without a page turnInformative introduction to the genesis of the work (Ger/Eng/Fr)Critical commentary with facsimiles and appendices
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Maurice Ravel
29.53
Maurice Ravel
Biographie
He is remembered in the United States primarily for the rather banal repetitions...
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He is remembered in the United States primarily for the rather banal repetitions of Bolero, but Maurice Ravel wrote a great deal of music more worthy of celebration: ballets like Ma Mere l'Oye (Mother Goose) and Daphnis et Chloe; orchestral and piano works like Pavane pour une Infante Defunte (Pavane for a Dead Princess) and the Rapsodie Espagnole; operas like L'Enfant et les Sortileges (The Child and the Enchantments); and settings of Greek and Jewish songs. British author and critic Gerald Larner offers a well-researched, well-written, accessible biography of Ravel's life and compositions that explores his music and his motivations, a part of the Phaidon Press Limited 20th Century Composers series.
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Maurice Duruflé: Requiem Opus 9 - Choral Score: SATB: Vocal Score
8.99
Maurice Duruflé: Requiem Opus 9 - Choral Score: SATB: Vocal Score
Chorale SATB
[Vocal Score]
Durand
Choeur à quatre voix mixtes-The superb setting of the Requiem Mass by organis...
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Choeur à quatre voix mixtes-The superb setting of the Requiem Mass by organist and composer Maurice Durufle. He mixes Gregorian chant and splendid harmonies to make what is without doubt one of the most moving religious works from the 20th Century. Latin Text
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Maurice Ravel: Pièce En Forme De Habanera: Flute & Harp: Instrumental Work
10.99
Maurice Ravel: Pièce En Forme De Habanera: Flute & Harp: Instrumental Work
Harpe, Flûte (duo)
[Partition]
Leduc, Alphonse
As a prestigious composer of the early 20th century Maurice Ravel's Pièce En ...
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As a prestigious composer of the early 20th century Maurice Ravel's Pièce En Forme De Habanera transcribed for Flute and Harp by Christian Lardé and Marie-Claire Jamet contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies Pièce En Forme De Habanera clearly exemplifies these qualities through flourishing Flute lines and evocative chordal and rhythmic Harp accompaniments. Moreover Habanera rhythms heard throughout the piece create further excitement. All of these musical elementscombine to create a highly enjoyable piece for the Flute and Harp repertoire. In addition the clear print of separate solo and accompaniment parts in this edition ofPièce En Forme De Habanera add to an irresistible purchase for aspiring Flute players.
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Maurice Ravel: Pièce En Forme De Habanera: Cello: Instrumental Work
10.99
Maurice Ravel: Pièce En Forme De Habanera: Cello: Instrumental Work
Violoncelle, Piano
[Partition]
Leduc, Alphonse
As a prestigious composer of the early 20th century Maurice Ravel's Pièce En ...
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As a prestigious composer of the early 20th century Maurice Ravel's Pièce En Forme De Habanera transcribed for the Cello by Paul Bazelaire contains many features which continue to make the composer's music popular and loved to this day. Known for his masterful melodies and rich harmonies Pièce En Forme De Habaneraclearly exemplifies these qualities through flourishing Cello lines and evocative chordal and rhythmic Piano accompaniments. Moreover Habanera rhythms heard throughout the piece create further excitement. All of these musical elements combine to create a highly enjoyablepiece for the Cello repertoire. In addition the clear print of separate Cello and Piano parts in this edition of Pièce En Forme De Habanera add to an irresistible purchase for budding cellists.
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Tzigane
25.46
Tzigane
Violon et Piano
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon Et Piano
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Tzigane
Orchestre d'harmonie
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Harmonie
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Tzigane
10.15
Tzigane
Alto seul
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Alto
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Tzigane
Violon 2
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon 2
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Tzigane
10.15
Tzigane
Violon 1
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon 1
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