Fantasia for piano, choir and orchestra

SKU: CA.1039400

ISBN M-007-18767-5. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century.

SKU: IS.PN4516EM

ISBN 9790365045167.

Pete r Benoit was born at Harlebeke on 17 August 1834 and died in Antwerp on 8 March 1901. He was, without doubt, the most important Flemish composer of the nineteenth century, responsible for the foundation of a Flemish national school of music. He studied at the Brussels Conservatory, where his teachers included Fétis, and won the Grote Rome Prize, the highest musical distinction in Belgium. He made use of the money from the prize for a study tour through Germany and Bohemia and afterwards settled in Paris where, in 1862, he became conductor of the Buffes-Parisiens. The following year he returned to Brussels and achieved phenomenal success with his Quadrilogie religieuse for choir and orchestra and with the oratorio of 1866, Lucifer. From then onwards he laid aside instrumental music and concentrated almost exclusively on vocal and choral music with Flemish texts. In 1867 he settled in Antwerp, where he was appointed director of the local music school, which under his leadership became the Royal Flemish Music Conservatory. In addition to his activity as a composer, he proved himself to be a remarkable educator, conductor and music administrator.

SKU: CA.1039419

ISBN M-007-25223-6. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and parts available separately - see item CA.1039400.

SKU: CA.1039409

ISBN M-007-25218-2. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and parts available separately - see item CA.1039400.

SKU: CA.1039414

ISBN M-007-25222-9. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and part available separately - see item CA.1039400.

SKU: CA.1039412

ISBN M-007-25220-5. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and part available separately - see item CA.1039400.

SKU: CA.1039413

ISBN M-007-25221-2. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and part available separately - see item CA.1039400.

SKU: CA.1039448

ISBN M-007-25224-3. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and part available separately - see item CA.1039400.

SKU: CA.1039411

ISBN M-007-25219-9. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score and part available separately - see item CA.1039400.

SKU: CA.1039403

ISBN M-007-18768-2. Key: C minor. German/English. Text: Christoph Kuffner.

In a mixture of cantata and concert piece, Beethoven set a hymn to art in his Choral Fantasy. The work, about 20 minutes in length, is often seen as a precursor to the Ode to Joy in the 9th Symphony. After a piano introduction, a dialog between piano and orchestra develops in the space of just 400 measures, before the soloists and chorus enter for the last 200 measures. (If necessary, the solo parts can be sung by members of the chorus or a semi-chorus.) In the main section, headed Finale (beginning with the double basses and celli), the theme from Beethoven's early song Gegenliebe (WoO 118, also used in the Ode to Joy) is presented, varied and finally used in the March in F major. The main source of the Choral Fantasia for the edition is the first edition of the parts, published in 1811 and corrected by Beethoven; alongside this an English edition of the parts published by Clementi (1810) has been consulted for comparison. The edition contains an English singing version in a translation by Natalia Macfarren from the 19th century. Score available separately - see item CA.1039400.

SKU: DZ.DZ-4287

ISBN 9782898522048.

Antà ´nio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.
In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.
Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.
Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).
In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.
In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.
Unfortunately , Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.
The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.

Antôni o Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.
En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.
De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.
Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).
En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.
En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.
Malheureuseme nt, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.
La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».
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Panneaux latéraux
HistoriqueEnregistrées.

SKU: OT.28101

ISBN 9789655050752. 8.27 x 11.69 inches.

Song cycle in Ladino for mezzo-soprano and piano.
The song cycle Sarina kanta is sung in Ladino and was inspired by Sephardic folk songs. Various folk songs are quoted in the work. The first movement is a fantasia based on a poem by Avner Perez, Sarina kanta romansas, (Sarina sings romances). Sarina is Perez' grandmother, whose memory is recalled in this cycle of poems. The remaining movements are based on songs from the Ladino repertoire. Sarina kanta is also published for soprano and piano, and in the original version for mezzo-soprano and string orchestra.
Contents:
Sarina kanta
Una matika de ruda
Ya abasha la novia
La Estreyas
Ya salio de la mar
Daniel Akiva is a composer, performer, and educator whose performances on guitar and lute have won great acclaim. Mr. Akiva graduated from the Rubin Academy of Music in Jerusalem in 1981, where he studied classical guitar with Haim Asulin and composition with Haim Alexander. In 1987 he completed his studies at the Geneva Conservatorium in Switzerland where he studied lute with Jonathon Rubin and composition with Jean Ballisa. FOr many years he chaired the Music Department at the WIZO High School for the Arts in Haifa, which he founded in 1986, and served as the Artistic Director of the Guitar Gems Festival from 2006-1019. As part of his work at WIZO High School, he has developed a method for teaching free improvisation that has been incorporated into the music program at the school.
Mr. Akiva has appeared in concert as a guitarist and lutist and given master classes in Israel, Europe, Russia, the United States, and Latin America. Daniel Akiva’s compositional output includes works for solo instruments, chamber ensembles, choir, voice and guitar, piano, and chamber orchestra. His works have been recorded on twelve CDs, the latest of which, Malchut, was issued by OR-TAV in 2014.
A native of Haifa whose family has lived in Israel for over five hundred years, he was steeped in the Sephardic (Jewish-Spanish) tradition from his youth. Much of his compositional output has been devoted to a dialogue with the music of the Sephardic Jews. Daniel Akiva has also maintained a creative dialogue over many years with the poets and writers Amnon Shamash, Rivka Miriam, and Avner Peretz.

SKU: CA.1200703

ISBN 9790007135829. Language: German. Text: te Reh, Veronika. Text: Veronika te Reh.

Score available separately - see item CA.1200700.

SKU: CA.1200700

ISBN 9790007096168. Language: German. Text: te Reh, Veronika. Text: Veronika te Reh.

SKU: CA.1200705

ISBN 9790007160951. Language: German. Text: te Reh, Veronika. Text: Veronika te Reh.

Score available separately - see item CA.1200700.

SKU: CA.1200708

ISBN 9790007132972. Language: German. Text: te Reh, Veronika. Text: Veronika te Reh.

Score available separately - see item CA.1200700.