SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
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: CF.CAS159F
ISBN 9781491165447. UPC: 680160924356. Key: D minor.
Charles Gounod (1818-1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used in frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956-66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS159
ISBN 9781491165041. UPC: 680160923953. Key: D minor.
Charles Gounod (1818–1893) was a French composer who was well-known and well-regarded in his lifetime. His legacy included breaking from the grand opera tradition and influencing the next generation of Frenchcomposers. March of the Marionette was originally a piano solo titled Funeral March of a Marionette. Gounod wrote the piece to make fun of the music critic, Henry Chorley. The marionette dies in a duel, possibly a musical imitation of a public argument about the merits of Gounod’s compositions. The marionette’s friends have a funeral for him, creating a procession through the streets, with a brief stop for refreshments, illustrated in the D major section. This now-familiar theme has been used frequently in advertisements, movies, and television shows. It was used as the theme music for Alfred Hitchcock Presents television show (1956–66) introducing dramas, mysteries, and thrillers.The prevailing bow strokes in this piece range from spiccato stroke to a light brush stroke for all eighth notes, regardless of articulation markings. Students should experiment with bow distribution to discover the appropriate placement for different dynamics. Students just learning the spiccato bow stroke will be more successful if they start this bow stroke close to their bow hand. Encourage students to discuss the character of the music and how to bring the storyline to life as an ensemble.
SKU: BT.ALHE33336
French.
Nocturne s is a set of 8 pieces for piano by Francis Poulenc. Composed between 1929 and 1938 for intermediate players, this set was composed as a cycle and represents night scenes of different events. They can be differentiatedfrom most of the other nocturnes as they are not romantic tone-poems. Nocturnes's eight pieces are: - 1st Nocturne (C Major) - 2nd Nocturne - Young girl's ball / Bal de jeunes filles (A Major) - 3rd Nocturne 'Maines' bells /Les Cloches de Maines (F Major) - 4th Nocturne - Ghost's Ball / Bal fantome (C minor) - 5th Nocturne - Moths / Phalenes (B minor) - 6th Nocturne (G major) - 7th Nocturne (Cb major) - 8th Nocturne (For Coda) Francis Poulenc isFrench compositor and pianist. He also produced Piano and Chamber pieces, Operas ('Dialogues des Carmélites'), ballets ('Les Biches') as well as some Orchestra works.
SKU: BT.DHP-1196088-070
ISBN 9789043158572. English-German-French-Dut ch.
No matter the occasion, string quartets are always in demand. Music for Celebrations features eight works by composers ranging from Marc-Antoine Charpentier to Charles Gounod which rank among the most popular wedding classics, with many of the pieces also well suited for other occasions. The arranger Anthony Gröger has succeeded in transforming the works, some of which originally had extensive instrumentation, into compelling string quartet arrangements that are also easy to play while preserving much of the familiar character of the originals. The third violin part, which can replace the viola part if no violist is available, is an added bonus.Er is altijd vraag naar strijkkwartetten voor diverse feestelijke gelegenheden. Music for Celebrations bevat acht werken van verschillende bekende componisten, van Marc-Antoine Charpentier tot Charles Gounod, die behoren tot de meest geliefde klassiekers voor bruiloften, maar veelal eveneens geschikt zijn voor andere gelegenheden. Arrangeur Anthony Gröger is erin geslaagd de stukken waarvan sommige oorspronkelijk voor een omvangrijke instrumentatie zijn geschreven te transformeren tot overtuigende, goed speelbare muziek voor strijkkwartetbezetting, waarin het vertrouwde klankbeeld grotendeels behouden is gebleven. Een handig extraatje is de toegevoegde derdevioolpartij, die de altvioolpartij kan vervangen als er geen altviolist beschikbaar is. Bei festlichen Anlässen diverser Art sind Streichquartette immer wieder gefragt. In Music for Celebrations sind acht Kompositionen von Marc-Antoine Charpentier bis Charles Gounod versammelt, die besonders auf Hochzeitsfeiern zu den beliebtesten Klassikern zählen, wobei viele der Stücke sich auch für andere Gelegenheiten bestens eignen. Dem Arrangeur Anthony Gröger ist es gelungen, die teilweise umfangreich besetzten Originalwerke in überzeugende, gut spielbare Streichquartettsätze zu verwandeln und dabei viel vom vertrauten Klangbild zu bewahren. Ein Bonbon ist die zusätzlich beiliegende dritte Violinstimme, die anstelle der Bratschenstimme genutzt werdenkann, falls kein Bratschist zur Verfügung steht. Souvent demandés, les quatuors cordes se prêtent toutes sortes d’occasions festives. Music for Celebrations rassemble huit œuvres de compositeurs allant de Marc-Antoine Charpentier Charles Gounod. Ces pièces comptent parmi les classiques les plus populaires lors des mariages, mais un grand nombre d’entre elles sont aussi parfaitement adaptées d'autres occasions. L'arrangeur Anthony Gröger est parvenu transformer les œuvres originales, parfois dotées d’une instrumentation étendue, en quatuors cordes convaincants et faciles jouer, tout en conservant en grande partie leur identité sonore familière. La troisième partie de violon constitue une friandisesupplémentair e. Elle peut être utilisée la place de la partie d'alto si aucun altiste n'est disponible.
SKU: HL.48185517
UPC: 888680854508. 9x12 inches.
“My first eight solos by Armando Ghidoni is a set of eight Alto Saxophone solos for beginners with Piano accompaniment. These pieces, all quite melodic and entertaining, enable young players to work on solo pieces, aside from the regular studies and exercises. The solos also appear in order of increasing difficulty: 1. Très simple (Very easy) 2. Noir et blanc (Black and White) 3. En Harmonie (In harmony) 4. Promenade en roller (On rollers) 5. Broadway et moi (Broadway and me) 6. En bateau le Mississipi (The Mississipi on a boat) 7. Sous les étoiles de Santa Fé (Under the stars in Santa Fé) 8. Grand Canyon Express (Grand Canyon Express) This set of solos can also be played by a Tenor or a Soprano Saxophone. Armando Ghidoni is a French composer with Italian origins who plays Saxophone and Flute. He is edited since 1989 by Alphonse Leduc.&rdquo.
SKU: HL.48184748
UPC: 888680975548. 9.0x12.0x0.127 inches.
Homage to Frescobaldi by Jean Langlais is a set of eight pieces for Organ. Dedicated to his professor Marcel Dupre, these pieces require the use of pedals and could be practised by upper-intermediate / advanced players. The pieces are: 1. Prelude au Kyrie 2. Offertoire 3. Elevation 4. Communion 5. Fantaisie 6. Antienne 7. Theme et variations 8. Epilogue While all the pieces include keyboard and pedals, the epilogue is a pedal solo. Girolamo Frescobaldi was an Italian composer of the Renaissance and Baroque period who was also appointed St Peter?s main organist. His work was some of the most influential music of the 17th century. Jean Langlais was a French composer who contributed prolifically to the Organ repertoire..
SKU: HL.50511766
ISBN 9790080144442. 9.0x12.0x0.407 inches. Hungarian, English, German, French. Wolfgang Amadeus Mozart; Andras Soos.
The varied contents of this volume enable young orchestral players to become acquainted with compositions written by Mozart in his childhood and youth: the earliest of the pieces, a contredanse (K15e) originally written for piano, was composed in London in 1764 (when Mozart was just eight years old), the latest was composed in Paris in 1778. The selection also includes a movement from the Gallimathias musicum, the song ?An die Freude?, early minuets and ballet music, other contredanses, German hymns, and even a movement from a symphony.
SKU: BT.EMBZ14564
Hungarian-English-Germ an-French.
In this work the well-known composer presents the events of a story by the brothers Grimm in the form of very easy piano pieces. This unusual, incomplete story has inspired an unusual musical work: the young players can make up titles for the last eight pieces, and they are also encouraged to note down their thoughts and feelings inspired by the music, or express them in drawings, in the score. Diesmal stellt der bekannte ungarische Komponist und Klavierlehrer, dessen ÃÅbungs- und Vortragsstücke für Klavier überaus beliebt sind, die Handlung eines Grimm-Märchens in Form von ganz einfachen kleinen Klavierstücken dar. Das außergewöhn liche, nicht vollendete Märchen inspirierte ihn zu einem etsprechend aussergewöhnlichen Musikstück: den Titel der letzten acht Stücke können sich die Kinder selber ausdenken. Darüber hinaus werden sie auch dazu ermutigt, ihre, von der Musik inspirierten Gedanken, Emotionen in die Noten hinein zuschreiben oder zu zeichnen.
SKU: GI.G-003042
This collection of eight pieces by French Baroque composer Marc-Antoine Charpentier, as arranged by William Tortolano, is designed for beginner to intermediate players. The C instrument parts in this volume can be played by flute, violin, or oboe. Several of the pieces are drawn from Charpentier’s Midnight Mass. However, the quoted Noëls do not limit these pieces to Christmas. Their charm and familiar harmonic language extend their use throughout the church year.   .
SKU: BT.OKP118-229
English.
Followi ng the huge success of their instrumental method Look, Listen & Learn, Michiel Oldenkamp and Jaap Kastelein have focussed their attention on school bands and devised a completely new method that can be used in both instrumental lessons and class bands or wind ensembles.
Learning Music Together is the new method for young wind players and percussionists, aged eight and above.
Learning Music Together has been developed in close collaboration with professionals from the class band world, music schools, and academies in the Netherlands and Germany.
Learning Music Together combines instrumental lessons with a course for class band. The horn lessons offer horn -specific items such as new notes and technical exercises while at the same time supporting the learning of the class band, with a focus on rhythm, melodic structure and playing music together. The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
The method consists of two volumes. Volume One introduces the first instrumental notes in unison and then develops part-playing with duets. Volume Two builds on the skills taught in the first volume and introduces pieces in three parts.In addition, supplementary material is available on the extensive website, e.g. demo- and accompaniment tracks for all pieces, additional pieces of music (well-known songs) and video tutorials. Learning Music Together is logically structured and illustrated in a child-friendly way - a perfect combination for young musicians!
SKU: BT.OKP118-209
SKU: UT.MAG-266
ISBN 9790215326439. 9 x 12 inches.
Posse†s compositions for harp are rich and varied, and range from the easy pieces dedicated to his students to the virtuoso concert pieces; we must also remember his didactic works, in particular the ‘Six Small Studies’ and the universally known ‘Eight Great Concert Studies’.It is not easy to draw a balance of his legacy in the harp world. On one hand his technical vision of virtuosity combined with a great stability of the hand and rigor of the fingerings certainly contributed to the development of the 20th Century harp technique; on the other hand, his use of the pedals, often driven by two together with the same foot (a very old French technique), has gradually become more and more difficult on modern harps. From the point of view of his contribution to the harp repertoire, the constant run-up to the piano has heavily influenced his compositional production, making him often completely miss the idiomatic effects of 19th Century harp music (except for the use of harmonic sounds), which were so loved by his friend Liszt in the compositions of Parish Alvars.
