Child Prodigy Composers 2

SKU: BT.EMBZ14837

Hungarian-English-Germ an-French.

This is a sequel to the highly successful Child Prodigy Composers volume. In this second volume, the majority of the pieces are works recommended for pupils in the upper music school classes, and indeed some can be used successfully in secondary level teaching as well. Here too, most of the compositions were written before the age of 14 - it is amazing what highly developed piano technique some of these young composers already possessed at the age of 13 or 14!In addition to Muzio Clementi's A flat Major Sonata, the Allemandes by Carl Maria von Weber, Schubert's surprisingly mature C minor fantasia, the prodigiously talented Clara Schumann's two polonaises, Mussorgsky'sbrilliant polka, a sensitive waltz by Scriabin and Borodin's showy (but not difficult) four-hand polka, this volume also contains works by a Hungarian composer: the hitherto unpublished mazurkas by Ern Dohnányi, written around ages 11-12.

This is a sequel to the highly successful publication entitled Child Prodigy Composers (EMBZ14773). In this second volume the majority of the pieces are works recommended for pupils in the upper music school classes, and indeed some can be used successfully in secondary level teaching as well. Here too, most of the compositions were written before the age of 14 - it is amazing what a highly developed piano technique some of these young composers already possessed at the age of 13 or 14! In addition to Muzio Clementi's A flat major sonata, the Allemandes by Carl Maria von Weber, Schubert's surprisingly mature C minor fantasia, the prodigiously talentedClara Schumann's two polonaises, Mussorgsky's brilliant polka, a sensitive waltz by Scriabin and Borodin's showy (but not difficult) four-hand polka, this volume also contains works by a Hungarian composer: the hitherto unpublished mazurkas by Ern Dohnányi, written at the age of 11 and 12.

Dies ist die Fortsetzung der Erfolgsausgabe Wunderkinder als Komponisten (EMBZ14773). In diesem zweiten Band sind mehrheitlich Werke für die höheren Klassen der Musikschulen vertreten, manche Stücke können auch in der Mittelstufe eingesetzt werden. Bemerkenswert ist, dass ein Großteil der Werke mit unter 14 komponiert wurden. Verblüffend, über welche Klaviertechnik ein Teil der dreizehn-vierzehnjähri gen Komponisten schon verfügten!Neben der Sonate in As-Dur von Muzio Clementi, den Allemanden von Carl Maria von Weber, der überraschend reifen Phantasie in c-Moll von Schubert, den beiden entzückenden Polonaisen von Clara Schumann, der brillanten Polka von Mussorgsky,dem sensiblen Walzer von Skrjabin und der effektvollen, aber nicht allzu schwierigen Polka für vier Hände von Borodin, erscheinen auch in diesem Band Werke eines ungarischen Komponisten - die Erstveröffentlichungen der im Alter von elf und zwölf Jahren entstandenen Masurken und Scherzandi von Ern Dohnányi.

SKU: BA.BVK01950

ISBN 9783761819500. 19 x 12.5 cm inches. Language: German. Preface: Tarkmann, Andreas N.

Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.

As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.

The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.

The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.

It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany.

This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.

The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.

- New source situation owing to recently rediscovered proofs
- Revised Urtext edition
- With a separate booklet on performance practice (Eng/Ger).

SKU: HL.50565826

STRSOL inches. French.

Perpetuel, Beyrouth-Jerusalem and Arminia are collected in the present edition for violin solo.

Bechara El-Khoury, the Franco-Lebanese composer and poet was born in Beirut on March 18, 1957. His artistic gifts were revealed very early. Hecompleted his musical training in Lebanon with Hagop Arslanian and groomed himself into becoming an accomplished composer, pianist, conductor, chorus-master and poet. He was celebrated as a child prodigy, with some hundred musical compositionswritten between 1969 -- when he was only twelve -- and 1978.

His compositions are dominated by symphonic and concertante writings, his works being the expression of humanism based on an underlyingChristian spirituality. (Gerald Hugon).

SKU: BA.BA09099

ISBN 9790006564330. 31 x 24.3 cm inches. Key: E minor. Preface: Todd, R. Larry / Brown, Clive.

Mendelssohn� �€™s Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the première; the ‘child prodigy’ Joseph Joachim; and Hubert Lonard, a young Belgian virtuoso about whom little is known.

As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Lonard.

The letter informs us that the composer invited Lonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Lonard.

The recently discovered proofs reveal how Lonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Lonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.

It is safe to assume that all of this was done with Mendelssohn’s approval. That the young violinist made a positive impression on the composer is confirmed in the latter’s correspondence following their joint performance. Mendelssohn is full of praise for Lonard’s playing and offers to lend his support in finding employment in Germany.

This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.

The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.

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

SKU: HL.48183857

UPC: 888680861193. 0.11 inches.

“Span ish pianist and composer, Isaac Albéniz (1860-1909) was a child prodigy. He passed the Piano entrance exam for the Paris Conservatoire at age seven, but he was refused entry due to his young age. He composed many works containing Spanish influence, Three Pieces for Saxophone Quartet being no exception. When he was 16, Albéniz studied at the Leipzig Conservatory and the Royal Conservatory of Brussels. His concert career saw him perform all over the world. The Three Pieces are, 1) Love Song, 2) Berceuse, and 3) Summer. This collection, adapted for Saxophone Quartet by Marcel Mule is a sublime addition to the ensemble's repertoire. ”.

SKU: BT.EMBZ810

English-German-Hungari an.

Ferenc Vecsey (1893-1935) was one of the greatest virtuoso violinists of the early twentieth century. He was soon noticed as a child prodigy, and after his early violin lessons from his father, he became a pupil of Hubay. His first known public appearance was at the age of 6 in Tátraszéplak (Tatranská Polianka), and a few years later in Berlin he made his debut abroad. There he heard the elderly maestro József Joachim, who was astonished at the talented boy's playing. So started the young Vecsey's performing career: he gave a dozen or so concerts in Germany, then followed a series of concert tours all over the world (in 1906 in Spain, Bartók was his accompanist). From1907, his permanent place of residence between concerts was Berlin, where he began to study harmony and counterpoint. Soon he began composing himself, mainly writing virtuoso pieces for his own concerts, of which the Valse triste became the most famous. Other musicians were also happy to include this short character piece in their programmes.Vecsey later settled in Italy. He died unexpectedly at the young age of 42.

SKU: HL.50565831

Perpetuel, Beyrouth-Jerusalem and Arminia are collected in the present edition for violin solo. Bechara El-Khoury, the Franco-Lebanese composer and poet was born in Beirut on March 18, 1957. His artistic gifts were revealed very early. He completed his musical training in Lebanon with Hagop Arslanian and groomed himself into becoming an accomplished composer, pianist, conductor, chorus-master and poet. He was celebrated as a child prodigy, with some hundred musical compositions written between 1969 - when he was only twelve - and 1978.

SKU: AP.36-60401001

ISBN 9798888529690. UPC: 659359658211. English.

Camille Saint-Saëns (1835-1921) wrote this TARANTELLE (TARANTELLA), Op. 6 for flute, clarinet, and piano in 1857, and the salon piece showcases the composer's mature style despite his young age, which is not a surprise given his child prodigy status. The zesty work won universal acclaim largely due to a generous and clever ruse from the retired Rossini. Rossini, holding a party in his Parisian solon, invited Saint-Saëns to premiere the piece on April 28, 1857 with Louis Dorus on flute, Adolphe Leroy playing clarinet, and Saint-Saëns at the piano. Rossini pretended that he had written the piece and forced the young composer to sit next to him as the guests all showered praise on Rossini for the new work, only admitting to the party that Saint-Saëns had actually written it when all of the praise had already been given. Saint-Saëns orchestrated the work himself in 1879.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

SKU: BT.AMP-046-010

9x12 inches.

Born in Jarrow, northeast England, in 1949, John Miles was something of a child prodigy, learning the piano from the age of five. In the early '60s he persuaded his father to buy him a guitar and by the end of the decade he had joined asemi-professional band, The Influence. The group soon disbanded and by 1969 Miles was recording with his own group, The John Miles Band, releasing a dozen singles in the early '70s. In 1975 Miles decided to move to London and secured a dealwith Decca Records. By October that year, a newly formed band, John Miles and Co, had released their debut single, Highfly, but their greatest hit, which stormed the British charts in March 1976, was Music.

In 1976 bestormde het nummer Music van de band John Miles and Co de hitparades. Music, vaak bekritiseerd als pompeus en hoogdravend in een periode die steeds meer de kant van de punk opging, was in feite typisch Britsetechnopop en daarbij een bepalende plaat voor die tijd, samen met nummers als Queen’s Bohemian Rhapsody. Met veel gevoel voor dynamiek en dramatiek werkt deze ode aan de muziek nog altijd aanstekelijk.

Musi k war meine erste Liebe- so beginnt der Text dieses Pop-Klassikers aus den Siebzigern von John Miles, der mit dieser Zeile damit damals und heute den Nerv aller begeisterten Musiker und Musikfans der Welt traf. Leise undlaut, gefühlvoll und dramatisch, zieht diese schöne Liebeserklärung an die Musik in der Blasorchester-Bearbeitung von Philip Sparke noch immer Musiker und Zuhörer unweigerlich in ihren Bann.

Né en 1949 Jarrow dans le nord-est de l’Angleterre, John Miles est considéré comme un enfant prodige, apprenant le piano dès l’ ge de cinq ans. Au début des années 60, il persuade son père de lui acheter une guitare. En 1975, il s’installe Londres et signe un contrat avec la maison de disques Decca. En octobre de cette même année, John Miles et son nouveau groupe, le John Miles and Co., sortent leur premier single intitulé Highfly. Mais c’est avec le titre Music, leurplus grand succès, que le groupe conquit les hit-parades anglais en mars 1976.

E' con Music, il suo più grande successo, che John Miles (1949) conquista le hit-parade inglesi nel marzo 1976. Espressiva, potente e dinamica, questa canzone é un magnifico inno alla musica. L'arrangiamento di PhilipSparke é fedele alla versione originale.

SKU: BT.AMP-046-020

Born in Jarrow, northeast England, in 1949, John Miles was something of a child prodigy, learning the piano from the age of five. In the early ’60s he persuaded his father to buy him a guitar and by the end of the decade he had joined a semi-professional band, The Influence. The group soon disbanded and by 1969 Miles was recording with his own group, The John Miles Band, releasing a dozen singles in the early ’70s. In 1975 Miles decided to move to London and secured a deal with Decca Records. By October that year, a newly formed band, John Miles and Co, had released their debut single, Highfly, but their greatest hit, which stormed the British charts in March 1976, was Music.

In 1976 bestormde het nummer Music van de band John Miles and Co de hitparades. Music, vaak bekritiseerd als pompeus en hoogdravend in een periode die steeds meer de kant van de punk opging, was in feite typisch Britsetechnopop en daarbij een bepalende plaat voor die tijd, samen met nummers als Queen’s Bohemian Rhapsody. Met veel gevoel voor dynamiek en dramatiek werkt deze ode aan de muziek nog altijd aanstekelijk.

M usic, ein Hit aus den bewegten 70er-Jahren, ist einer der Titel, die diese Ära nachhaltig geprägt haben. Leise und laut, gefühlvoll und dramatisch, zieht diese Hymne an die Musik in der Bearbeitung von Philip Sparke auch heute Orchester und Zuhörer unweigerlich in ihren Bann.

E’ con Music, il suo più grande successo, che John Miles (1949) conquista le hit-parade inglesi nel marzo 1976. Espressiva, potente e dinamica, questa canzone è un magnifico inno alla musica. L’arrangiamento di Philip Sparke è fedele alla versione originale.

SKU: HL.49046626

UPC: 842819114628. 9.0x12.0x0.07 inches.

Samuel Coleridge-Taylor was paid three guineas for the publishing rights to his Suite de Pièces by Schott & Co. London on 24 December 1892 when the composer was just 17 years old. In the following year the work was published by Schott Music's German office in versions for both violin with piano and violin with organ. Coleridge-Taylor was born in London and brought up in Croydon. He learnt to play the violin, was recognized as a child prodigy and at 15 was awarded a scholarship to study at the Royal College of Music with Charles Villiers Stanford, where he was a contemporary of Holst and Vaughan Williams. Coleridge-Taylor described himself Anglo-African and, despite support from his colleagues, faced racism throughout his whole career. In spite of this prejudice and his tragically early death in 1912 aged just 37, he enjoyed great success during his lifetime and his music was performed at the Proms no less than 116 times between 1898 and 1939. In contrast, since 1940 his music has only been heard there on eleven occasions. Like many works, at some point in the past Suite de Pièces became out of print. Schott Music is very proud to present this new modern performing edition of the version for violin and piano. Errors and inconsistencies from the first edition have now been corrected.

SKU: SU.12800078

BachScholar Editions Vol. 78: J.S. BACH: Sinfonia from Cantata 29 (trans. Saint-Saëns) (9 pages) presents arguably the finest romantic-era piano transcription of Bach’s exciting Sinfonia from Cantata 29, which Bach reworked from his previously composed PreludioV from Partita No. 3 for Solo Violin. The once child prodigy and musical genius, Camille Saint-Saëns (1835-1921), pulled out all the stops on this electrifying virtuoso piano transcription of Bach’s famous work, which was first published in 1862. The present performance edition improves upon the currently existing edition by supplying ample fingerings, pedaling and expression indications, as well as a suggested metronome speed. Advanced pianists, concert artists, and audiences will absolutely love this first-rate virtuoso transcription in the romantic tradition. Published by: BachScholar.

SKU: BT.AMP-046-120

Born in Jarrow, northeast England, in 1949, John Miles was something of a child prodigy, learning the piano from the age of five. In the early ’60s he persuaded his father to buy him a guitar and by the end of the decade he had joined a semi-professional band, The Influence. The group soon disbanded and by 1969 Miles was recording with his own group, The John Miles Band, releasing a dozen singles in the early ’70s. In 1975 Miles decided to move to London and secured a deal with Decca Records. By October that year, a newly formed band, John Miles and Co, had released their debut single, Highfly, but their greatest hit, which stormed the British charts in March 1976, was Music.

In 1976 bestormde het nummer Music van de band John Miles and Co de hitparades. Music, vaak bekritiseerd als pompeus en hoogdravend in een periode die steeds meer de kant van de punk opging, was in feite typisch Britsetechnopop en daarbij een bepalende plaat voor die tijd, samen met nummers als Queen’s Bohemian Rhapsody. Met veel gevoel voor dynamiek en dramatiek werkt deze ode aan de muziek nog altijd aanstekelijk.

Musi k war meine erste Liebe“ - so beginnt der Text dieses Pop-Klassikers aus den Siebzigern von John Miles, der mit dieser Zeile damit damals und heute den Nerv aller begeisterten Musiker und Musikfans der Welt traf. Leise und laut, gefühlvoll und dramatisch, zieht diese schöne Liebeserklärung an die Musik in der Blasorchester-Bearbeitung von Philip Sparke noch immer Musiker und Zuhörer unweigerlich in ihren Bann.

E’ con Music, il suo più grande successo, che John Miles (1949) conquista le hit-parade inglesi nel marzo 1976. Espressiva, potente e dinamica, questa canzone è un magnifico inno alla musica. L’arrangiamento di Philip Sparke è fedele alla versione originale.