Matériel : Conducteur
SKU: BT.ALHE31141
French.
SATB chorus and piano (Noël languedocien).
SKU: HL.14040706
For 3 Women's Voices, 2 Percussionists and Guitar.
SKU: M7.DOHR-10151
ISBN 9790202021514.
Bei beiden Werken handelt es sich um Frühwerke. Mit Félicité ist Francks spätere Ehefrau Félicité Desmousseaux gemeint. Die ihr gewidmeten Deux Mélodies sind im Jahr der Eheschließung (1848) entstanden. Die Deux Mélodies op. 15 stammen vom dreizehn- oder vierzehnjährigen Franck. Die Opusnummer entspricht dem Eintrag auf dem Titelblatt. Da Franck später erneut mit Opus 1 zu zählen anfing, wird das Frühwerk heute in der Regel als op. 015 geführt.
SKU: CL.012-4612-01
During the Jazz age of the 1920's, the cat's pajamas referred to anything special, unique or cool. Musically speaking, the image of a cat in pajamas might suggest combining low clarinets (reminiscent of Prokofiev's use of a clarinet to describe the cat in Peter And The Wolf) with a jaunty little tune in ragtime style, adding a few instrumental meows, and you have (what else?): The Cat’s Pajamas: A Felicitous Feline Ragtime Novelty! Audiences and performers will love it from head to tail!
SKU: CL.012-4612-00
SKU: CL.012-4612-75
SKU: BT.DHP-1053776-140
English-German-French- Dutch.
This delightful new composition takes its inspiration from the classic French swash buckling tale of Cyrano de Bergerac and his fight to win the love of the beautiful maiden Roxane. The subject was a perfect departure point for composing a symphonic poem with a variety of musical aspects reflecting the story. Lyricism (the theme of Roxane), dramatic episodes, as well as Debussy-inspired impressionist moments are some of the elements that give the band and its conductor the chance to expose themselves as a versatile ensemble being able to create colour, to sing and to play like virtuosi. This work is sure to become a standard item in the concert band repertoire.In Cyrano verklankt de componist Piet Swerts het romantische en tragische verhaal van de briljante dichter en zwaardkunstenaar Cyrano de Bergerac en zijn mooie, intellectuele nicht Roxane, op wie hij tot over zijn oren verliefdis. Zijn uiterlijk, met name zijn buitengewoon grote neus, belet hem om zijn gevoelens tegenover haar te uiten. De vele verwikkelingen die uit deze situatie voortkomen zijn te herkennen in deze programmatische compositie.Piet Swerts erzählt hier musikalisch die tragisch-romantische Geschichte von Cyrano de Bergerac, der einem verliebten Freund hilft, seine Liebe zu erobern und sich dann selbst unglücklich in dessen Angebetete verliebt. Diese Komposition spiegelt die Geschichte mit einer Vielfalt an musikalischen Aspekten eindrucksvoll wider. Lyrik, dramatische Episoden sowie von Debussy inspirierte, impressionistische Momente sind einige der Elemente, die dem Blasorchester und seinem Dirigenten die Chance bieten, sich als vielseitiges Ensemble, das zugleich Farben entfalten, singen und virtuos spielen kann, zu präsentieren.L a comédie héro que Cyrano de Bergerac (1897) valut son auteur une gloire immédiate. Cyrano, héros tragique et attachant, est entré dans le patrimoine universel, sans doute parce qu’il incarne superbement un mythe bien ancien : celui de l’amour et du bonheur impossibles. Ce délicieux chef-d’œuvre thé tral d’Edmond Rostand a inspiré ce poème symphonique de Piet Swerts qui s’articule autour d’une grande diversité musicale exprimant différentes scènes de la pièce. Passages lyriques, épisodes dramatiques et moments impressionnistes, Cyrano comprend de nombreux ingrédients qui permettent au chef et sa formation d’exploiter leur polyvalence travers lacouleur, le chant et le jeu virtuose. La commedia Cyrano de Bergerac (1897) valse al suo autore gloria immediata. Cyrano, eroe tragico e commovente, è entrato nel patrimonio universale senza dubbio perché incarna a meraviglia un mito molto antico: quello dell’amore e della felicit impossibili. Questo delizioso capolavoro teatrale di Edmond Rostand ha ispirato il poema sinfonico che si articola attorno ad una grande diversit musicale esprimendo diverse scene dell’opera teatrale. Passaggi lirici, episodi drammatici e momenti impressionanti, Cyrano comprende numerosi ingredienti che permettono al maestro di sfruttare la polivalenza attraverso il colore, il canto e il suono virtuoso.
SKU: PO.PEL13
ISBN 9781776605538.
This gathering of shorter pieces includes music that Lilburn composed in his initial years as a freelance composer, as well as the very last work to come from his pen. Clear-eyed and felicitous, they are nevertheless shot through with something transcendental – a strange and beautiful excitement.
SKU: HL.48025440
ISBN 9781784549060. UPC: 196288216391.
Leoka diya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist's left hand, which is required to negotiate widely-spaced 'extreme' arpeggios – awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. The concerto's quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry.
SKU: UT.NAP-5
ISBN 9790215318465. 9 x 12 inches.
Napoli e l'Europa (Naples and Europe) - Masterpieces of the Neapolitan School selected by Riccardo Muti for the Salzburg Whitsun Festival Project in association with the Ravenna Festival Betulia liberata, for four voices, strings, two oboes, two horns and basso continuo, was the second oratorio by Niccolo Jommelli (1714-1774), following Isacco figura del Redentore. It was composed in 1743 to a commission from the Fathers of the Congregation of the Oratorio of Saint Philip Neri, and was widely performed in Italy throughout the 18th century, as well as in Prague and in London. Metastasio's text proved popular with composers, and Jommelli's version of this text is one of the most felicitous on account of its impact, variety and consistent inventiveness, and also for the care he took in matching the music to the drama.The brilliant combination of different styles and forms, the attention to dramatic characterisation, and the power of invention displayed by Jommelli in Betulia liberata make him the foremost Italian composer of the mid-eighteenth century, pre-eminence recognised by the music critics and historians of his age.
SKU: HL.50601273
7.75x10.5 inches.
This single-movement setting of the Vesper psalm Laetatus sum was discovered by Michael Talbot in the spring of 2017 among the online collection of digitized scores of sacred music held by the SLUB in Dresden. Four works by Vivaldi deliberately misattributed to Baldassare Galuppi by the Venetian copyist Iseppo Baldan had already been uncovered in the previous decades, and it was during anexploratory examination of scores sharing a paper type and copyist (Baldan himself) with them that this fifth such work came to light. Vivaldi's single movement pieno settings (for choir alone without soloists) form an important subset of his sacred vocal music, and this new setting is the most elaborate and expansive of any of them. It features effective musical contrasts, and its many felicitous examples of word-painting show what a complete master of vocal composition he had become by the 1730s, the decade from which this setting clearly originates. As usual in Vivaldi's choral compositions the ever-changing relationship between the vocal and instrumental components constantly fascinates, as each in turn captures the listener's attention. This previously unknown Laetatus sum promises to become a much-performed work.
SKU: BT.DHP-1053776-040
SKU: HH.HH525-FSP
ISBN 9790708185369.
The Six Trio Sonatas of the Italian composer and violinist Michele Mascitti (1663/4–1760), published alongside eight violin sonatas in his Op. 4, are four- or five-movement works that felicitously mix the ‘church’ and ‘chamber’ styles in various configurations. This is the most ‘social’ music imaginable and will give great enjoyment in both a recreational and a concert setting.
SKU: LM.26686
ISBN 9790230966863.
SKU: HH.HH527-FSP
ISBN 9790708185376.
SKU: HL.48025439
ISBN 9781784549077. UPC: 196288216384.
SKU: BT.DHP-1053776-010
SKU: HL.48025216
ISBN 9781784548124. UPC: 196288133445. 9.0x12.0x0.371 inches.
Leokadiya Kashperova (1872–1940), hitherto consigned to a footnote in musical history as Stravinsky’s piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Balakirev and Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. The Piano Concerto (1900) is Kashperova's earliest surviving orchestral work, and it was premiered by the composer the following year in Moscow and St Petersburg, bringing her much wider recognition and paving the way for an international career. Cast in three movements and in a Romantic idiom, pianistic virtuosity is often channelled into the pianist’s left hand, which is required to negotiate widely-spaced 'extreme' arpeggios – awkwardly angular when adagio, fiendishly technical when molto allegro. Kashperova's orchestral colours are achieved by felicitous solos for the woodwind, horns and brass. Noteworthy, too, are unexpected glimpses of chamber music when, in the last movement for example, the piano combines fleetingly with solo violin and solo cello in passages. Theconcerto’s quick music (Molto allegro and Allegro con anima) admirably portrays the vivacious personality of their composer, described in 1906 as offering those around her 'an abundance of joy, excitement and fun'. The central movement, by contrast, is a tender Adagio which offers the listener a gem of musical poetry.
