SKU: HL.337686
UPC: 400396372369. 7.0x7.0x4.0 inches.
Celebrate the Rock Hall with LONG LIVE ROCK souvenirs previously only available at the Rock and Roll Hall of Fame. this black cap is 100% cotton with embroidered LONG LIVE ROCK stitching on the front. Adjustable closure at the back.
SKU: HL.337556
UPC: 400396914156. 3.0x4.0x0.14 inches.
Celebrate the Rock Hall with LONG LIVE ROCK souvenirs previously only available at the Rock and Roll Hall of Fame.
SKU: HL.50600649
ISBN 9790080150009. UPC: 888680895518. 10.25x13.5x0.622 inches. Hungarian, English. Gyorgy Kurtag.
In the autumn of 1974 György Kurtág began to copy selected pieces from the series Games into a music notebook for Zoltán Kocsis who had been his student in earlier years and who, even today, is one of its most authentic performers. Kocsis played from this notebook in the first public performance of Games in 1974. The gradually expanding series of piano pieces also appeared in print in the course of later decades; however, since then he has used this collection - expanded over 32 years since by Kurtág - whenever he plays pieces from Games in concert. Since the time of this 1974 concert, as he writes: 'I didn't know that the spiral notebook I received at the premiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, travelling to the world's most prominent concert halls, surviving fire damage, flood, transport catastrophes, theft attempts, forced landings and so on, and that - well beyond the intention of its being 'copied with love' - it would include works and sketches for which this notebook would become the principal source.' The manuscript gives a glimpse into Kurtág's workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score. The musicologists, however, can study the historical origins of the works: some works can be found here in more than one version, others appear in a version different from the printed score. The publication is accompanied by a booklet and a CD supplement. The booklet contains Kocsis's own personal preface, as well as András Wilheim's essay providing information about the collection and the pieces contained therein. On the CD we hear 11 works performed by Kocsis, from a recording made in 1982 which has not previously been commercially issued.
SKU: HL.337687
UPC: 400396075444. 7.0x12.0x1.0 inches.
Celebrate the Rock Hall with LONG LIVE ROCK souvenirs previously only available at the Rock and Roll Hall of Fame. This unisex short sleeve cotton/polyester tee features a small museum logo on the front and a large LONG LIVE ROCK logo across the back.
SKU: CY.CC2613
Ralph Sauer has transcribed six of Mendelssohn's many Songs Without Words for Euphonium. Mendelssohn wrote eight volumes of songs for the Piano throughout his life. These pieces became popular immediately because of their beauty and accessibility technically . The Songs are mostly lyrical and of utmost beauty. Mr. Sauer has found a previously unmined resource and added immeasurably to the Euphonium repertoire.
For advanced performers in Bass Clef.
SKU: CA.1820200
ISBN 9790007141714.
The first volume of our new series with music to the hymnal Gotteslob assembles 30 pieces for Advent and Christmas, previously unknown pieces between baroque and present times, particularly convenient for liturgical use. About a third of the pieces was composed specifically for this edition. Most of the songs are suitable for ecumenical use.
SKU: PR.16500104F
ISBN 9781491132159. UPC: 680160681082.
Ever since the success of my series of wind ensemble works Places in the West, I've been wanting to write a companion piece for national parks on the other side of the north American continent. The earlier work, consisting of GLACIER, THE YELLOWSTONE FIRES, ARCHES, and ZION, spanned some twenty years of my composing life, and since the pieces called for differing groups of instruments, and were in slightly different styles from each other, I never considered them to be connected except in their subject matter. In their depiction of both the scenery and the human history within these wondrous places, they had a common goal: awaking the listener to the fragile beauty that is in them; and calling attention to the ever more crucial need for preservation and protection of these wild places, unique in all the world. With this new work, commissioned by a consortium of college and conservatory wind ensembles led by the University of Georgia, I decided to build upon that same model---but to solidify the process. The result, consisting of three movements (each named for a different national park in the eastern US), is a bona-fide symphony. While the three pieces could be performed separately, they share a musical theme---and also a common style and instrumentation. It is a true symphony, in that the first movement is long and expository, the second is a rather tightly structured scherzo-with-trio, and the finale is a true culmination of the whole. The first movement, Everglades, was the original inspiration for the entire symphony. Conceived over the course of two trips to that astonishing place (which the native Americans called River of Grass, the subtitle of this movement), this movement not only conveys a sense of the humid, lush, and even frightening scenery there---but also an overview of the entire settling-of- Florida experience. It contains not one, but two native American chants, and also presents a view of the staggering influence of modern man on this fragile part of the world. Beginning with a slow unfolding marked Heavy, humid, the music soon presents a gentle, lyrical theme in the solo alto saxophone. This theme, which goes through three expansive phrases with breaks in between, will appear in all three movements of the symphony. After the mood has been established, the music opens up to a rich, warm setting of a Cherokee morning song, with the simple happiness that this part of Florida must have had prior to the nineteenth century. This music, enveloping and comforting, gradually gives way to a more frenetic, driven section representative of the intrusion of the white man. Since Florida was populated and developed largely due to the introduction of a train system, there's a suggestion of the mechanized iron horse driving straight into the heartland. At that point, the native Americans become considerably less gentle, and a second chant seems to stand in the way of the intruder; a kind of warning song. The second part of this movement shows us the great swampy center of the peninsula, with its wildlife both in and out of the water. A new theme appears, sad but noble, suggesting that this land is precious and must be protected by all the people who inhabit it. At length, the morning song reappears in all its splendor, until the sunset---with one last iteration of the warning song in the solo piccolo. Functioning as a scherzo, the second movement, Great Smoky Mountains, describes not just that huge park itself, but one brave soul's attempt to climb a mountain there. It begins with three iterations of the UR-theme (which began the first movement as well), but this time as up-tempo brass fanfares in octaves. Each time it begins again, the theme is a little slower and less confident than the previous time---almost as though the hiker were becoming aware of the daunting mountain before him. But then, a steady, quick-pulsed ostinato appears, in a constantly shifting meter system of 2/4- 3/4 in alteration, and the hike has begun. Over this, a slower new melody appears, as the trek up the mountain progresses. It's a big mountain, and the ascent seems to take quite awhile, with little breaks in the hiker's stride, until at length he simply must stop and rest. An oboe solo, over several free cadenza-like measures, allows us (and our friend the hiker) to catch our breath, and also to view in the distance the rocky peak before us. The goal is somehow even more daunting than at first, being closer and thus more frighteningly steep. When we do push off again, it's at a slower pace, and with more careful attention to our footholds as we trek over broken rocks. Tantalizing little views of the valley at every switchback make our determination even stronger. Finally, we burst through a stand of pines and----we're at the summit! The immensity of the view is overwhelming, and ultimately humbling. A brief coda, while we sit dazed on the rocks, ends the movement in a feeling of triumph. The final movement, Acadia, is also about a trip. In the summer of 2014, I took a sailing trip with a dear friend from North Haven, Maine, to the southern coast of Mt. Desert Island in Acadia National Park. The experience left me both exuberant and exhausted, with an appreciation for the ocean that I hadn't had previously. The approach to Acadia National Park by water, too, was thrilling: like the difference between climbing a mountain on foot with riding up on a ski-lift, I felt I'd earned the right to be there. The music for this movement is entirely based on the opening UR-theme. There's a sense of the water and the mysterious, quiet deep from the very beginning, with seagulls and bell buoys setting the scene. As we leave the harbor, the theme (in a canon between solo euphonium and tuba) almost seems as if large subaquatic animals are observing our departure. There are three themes (call them A, B and C) in this seafaring journey---but they are all based on the UR theme, in its original form with octaves displaced, in an upside-down form, and in a backwards version as well. (The ocean, while appearing to be unchanging, is always changing.) We move out into the main channel (A), passing several islands (B), until we reach the long draw that parallels the coastline called Eggemoggin Reach, and a sudden burst of new speed (C). Things suddenly stop, as if the wind had died, and we have a vision: is that really Mt. Desert Island we can see off the port bow, vaguely in the distance? A chorale of saxophones seems to suggest that. We push off anew as the chorale ends, and go through all three themes again---but in different instrumentations, and different keys. At the final tack-turn, there it is, for real: Mt. Desert Island, big as life. We've made it. As we pull into the harbor, where we'll secure the boat for the night, there's a feeling of achievement. Our whale and dolphin friends return, and we end our journey with gratitude and celebration. I am profoundly grateful to Jaclyn Hartenberger, Professor of Conducting at the University of Georgia, for leading the consortium which provided the commissioning of this work.
SKU: BR.OB-5225-30
ISBN 9790004331323. 10 x 12.5 inches.
The publishers of the Reger Complete Edition present Reger's most frequently performed orchestral work as a new addition to the acclaimed PB/OB Library. The critical examination of the main sources - the autograph, Reger's corrections for the first edition, a working copy belonging to the composer, and the Complete Edition - brought forth a number of changes with respect to the previously known material. This is thus the first reliable, practice-oriented edition with orchestral parts available for sale - which is another first for this extensive and important work.
SKU: HL.51481138
ISBN 9790201811383. UPC: 888680021511. 9.25x12.25x0.321 inches.
“Some thing quite curious, I believe†– It was thus that Robert Schumann described the Concert Piece for Four Horns and large orchestra in a letter and he did indeed break new ground with this work as far as the scoring and treatment of the instruments was concerned. When it was composed in 1849, the French horn was still fairly new, enabling players to play previously unheard-of runs and free modulations, a fact which Schumann made the most of, particularly with his scoring for four horns. Even today the Concert Piece is the romantic work for horn par excellence and a benchmark for all soloists.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: PR.UE034493
ISBN 9783702472160. UPC: 803452069270.
Havin g previously issued Sor's L'Encouragement for two guitars (PR.UE034491), the New Karl Scheit Edition now tackles another challenging guitar duo, the famous Souvenir de Russie. Composed of an introduction, theme and variations, and an allegretto finale, the Souvenir de Russie is justly a favorite of better guitar duos. For advanced performers.
SKU: CF.CAS160F
ISBN 9781491165454. UPC: 680160924363. Key: C major.
The story of Samuel Coleridge-Taylor is of a rising star composer, one with a significant gift for melody and a simple lyricism, who embraced the previously unexplored song and dance forms from his father’s native west Africa and incorporated them into his own very European art music. Coleridge-Taylor began playing the violin at age five and by age fifteen wasadmitted to London’s Royal College of Music, where he studied both violin and composition and composed his first works. The simply-titled Melody is taken from Three Short Pieces for Organ - a set of pieces originally published in Novello’s Album for the Organ, No. 3 (1898). While certainly typical of the late 19th century, many of Coleridge-Taylor's creations display inspiration by African musical elements much like spirituals inspired Dvořák’s “New World†Symphony.
SKU: HL.49006541
ISBN 9790001070935. UPC: 841886029477. 12.0x16.5x0.427 inches.
Written in the 1970s, Dieter Schnebel's arrangements of the Contrapuncti I, VI and XI from Johann Sebastian Bach's The Art of Fugue have long since been considered classics of contemporary choral music and of the cultivation of Bach's music. The works, which have previously been available in manuscript editions only, are now published as new editions in a high-quality, easily legible notation in a convenient standard format which adequately displays the works' polyphony.
SKU: HL.50603742
ISBN 9781705135310. UPC: 840126960693. 9.5x12.5x0.055 inches.
Previously unpublished, Poulenc's Valse has a fascinating history. Written in 1951, the work exists in the form of an autographed manuscript incorporated into a drawing by the painter, Richard Chanlaire. The drawing is based upon the motif of a silk scarf created by the fashion designer, Pierre Balmain. Valse is a charming work, containing many of the characteristic features that we love about Poulenc's music.
SKU: BR.PB-4660
ISBN 9790004205013. 9 x 12 inches.
SKU: HL.382769
ISBN 9781705153635. UPC: 196288020929. 6.75x10.5x0.019 inches.
A previously unpublished choral work by Lennox Berkeley, written in 1943, sets words by John Donne for SATB choir unaccompanied.
SKU: BR.PB-5387
ISBN 9790004211182. 9 x 12 inches.
Oliver Hilmes's four new editions of Karg-Elert's most substantial choral works are being published with the same consistency and compactness shown by Karg-Elert when he wrote them in 1912/13. The reception of Karg-Elert's works, which has been quite strong in the organ domain, now obtains decisive impulses in a new direction. Joining the previously published choral canzonas Benedictus Op. 82 No. 1 and Vom Himmel hoch Op. 82 No. 2 are Naher, mein Gott, zu dir Op. 81 and the Passion Canzona Op. 84. Particularly charming is the unique instrumental color with which Karg-Elert sensitively enhances the choral sound in each work of this little group.During his middle creative period, Karg-Elert developed his own, unmistakable choral style. His few choral works, which stem from the years 1912 and 1913, unquestionably belong to his major works from this period.
SKU: BR.PB-5225
ISBN 9790004209554. 10 x 12.5 inches.
SKU: HH.HH542-FSP
ISBN 9790708185574.
Thes e previously unnoticed chamber duets for various pairs of voices and basso continuo are among the most original compositions from the pen of Diogenio Bigaglia (1678–1745), the Venetian monk who was also a skilled and imaginative composer. They are set to texts taken from the famously chromatic madrigals of Carlo Gesualdo published over a century earlier. The purpose of this choice was not to commemorate Gesualdo but to assemble a homogeneous group of short poems suitable for Bigaglia’s evident main aim, which was to produce a cycle of vocal duets imitating the structural layout and musical processes of the contemporary trio sonata.
SKU: SU.28050030
Lively rendition of the hymn tune by Giovanni Giacomo Gastoldi, In dir ist Freude. Adapted from Alisa Bair's previously published SATB, handbell and flute arrangement. Perfect for worship service postludes or wedding recessionals. Piano Duration: 3' Composed: 2017 Published by: Distributed Composer YouTube:.
SKU: BA.BA04070
ISBN 9790006495870. 33 x 26 cm inches. Text Language: Italian. Text: Paolo Antonio Rolli.
Handel†s “Deidamia†was premièred on 10 January 1741 only a few weeks after “Imeneoâ€. The librettist Paoli Rolli , a previously unsucessful librettist for Handel, delivered with his finest work “Deidamiaâ€. On 10 February 1741 the third and final opera performances of this work took place under Handel’s direction. Oddly enough “Deidamia†would not be performed again until the beginning of the 20th century. This opera is based on the themes of humour and seriousness. The personal harmonising of Heroism (Achilles) and Love ( Deidamia ) build on the essential dramatic features of this work. “Deidamia†is the last great opera in a series of masterpieces: “Orlandoâ€, “Poroâ€, “Ezioâ€, “Ariodanteâ€, “Alcinaâ€, “Serse†and “Imeneoâ€. The vocal score is based on the Urtext of the Halle Handel Editon.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: FG.042-08585-1
ISBN 979-0-042-08585-1.
The collection of the main solo songs by Armas Jarnefelt was accelerated by a donation made by his son, Arvi, in Stockholm to the University of Helsinki: dozens of previously unpublished manuscripts thus found their way home to Finland. Sweden was father Jarnefelt's second home, since he spent a couple of decades as conductor of the Royal Opera in Stockholm. He concentrated almost exclusively on solo songs, the reason no doubt being that his father-in-law was Jean Sibelius, a master of large-scale form. Jarnefelt's vocal lyrics spring from the National-Romantic ethos nurtured on the archaic rune-singing of the national epic, the Kalevala, and the distant lands of Karelia. The folk-like elements of his youthful songs were in time joined by Impressionistic and in places even Expressionistic timbres. This collection is edited by Matti Tuloisela. Contents: Aallon kehtolaulu / Vagens vaggsang / Der Welle Wiegenlied * Am stillen Dorfe erhebt sich * Berceuse / Kehtolaulu * En spel- och dansvisa * Hamara / Skymning / Dammerung * I solnedgangen / Im Sonnenuntergang * Isanmaan kasvot * Kanteleelle * Kehtolaulu / Vaggsang (Liekku liiku) * Kehtolaulu / Vaggsang (Hiljaa, hiljaa) * Laula, laula! * Leivo / Larkan * Liina / Lina / Line * Milloin muistelet minua? / Sag, nar minnes du mig? / Sag', gedenkst Du meiner? * Nar alla klockor klamtat tolf / Wenn alle Uhren zwolf geschlagen * Sina / Du * Solsken / Sonnenschein * Sunnuntaina / Sondag * Suvirannalla / Sommarnatt pa stranden * Titania * Toivoni / Onskan * Uneksijan laulu elamalle / En drommarens sang till livet / Eines Traumers Sang an das Leben * Unelma / Drom * Viel' ois virtta tieossani / An en visa vill jag sjunga.
SKU: BR.OB-4553-26
ISBN 9790004314616. 10 x 12.5 inches.
SKU: BR.BV-383
Zur Theorie und Praxis von Hanns Eislers Filmmusik
ISBN 9783765103834. 6.5 x 9.5 inches.
Hanns Eisler's film music has been a subject of increasing interest in recent years, in the context of significant new source materials and DVD editions as well as innovative scholarly approaches to music and film. Whereas Eisler's reputation as a film composer was previously defined by the book Composing for the Films, written in collaboration with Theodor W. Adorno, it is now his 40-odd film scores themselves which are the object of detailed investigation. The present collection of essays covers a wide range of films, from Niemandsland (1931) to Esther (1962). The twelve authors from Germany, Great Britain, Mexico, Spain, and the USA employ wide-ranging approaches to film music analysis in their treatment of the subject, while also considering the question of the extent to which Eisler actually fulfilled his own theoretical demands. It is not surprising that the authors of the third Eisler Studien have come up with refreshingly diverse and highly rewarding results.