| Knowing Me, Knowing You (As performed by ABBA from the musical Mamma Mia) (Score only) Orchestre à Cordes [Conducteur] - Facile Alfred Publishing
By Benny Andersson, Bjorn Ulvaeus, Stig Anderson. For String Orchestra. String O...(+)
By Benny Andersson, Bjorn
Ulvaeus, Stig Anderson.
For String Orchestra.
String Orchestra. Hot Pop
Strings. Movie; Pop.
Level: 2.5 (grade 2.5).
Score. 8 pages. Published
by Alfred Publishing.
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Knowing the Score GIA Publications
SKU: GI.G-9544 A Comprehensive Approach to Analysis. Composed by R...(+)
SKU: GI.G-9544
A Comprehensive
Approach to Analysis.
Composed by Robert
Quebbeman. Music
Education. GIA
Publications #9544.
Published by GIA
Publications (GI.G-9544).
ISBN
9781622772810. Know
ing the Score is a
comprehensive approach to
all aspects of music
score reading and
analysis that provides a
sequential system for
efficient and complete
score study. Central to
this book are more than
300 pages of music scores
for band, orchestra, and
choir from a wide range
of sources. This book is
the culmination of Dr.
Robert Quebbeman's twenty
years of teaching score
reading at the university
level. No single resource
has ever contained such a
systematic guide to score
reading and analysis.
Knowing the Score is
divided into two parts.
Part 1 covers score study
steps, transposition and
instrumentation, form
graphs and phrasal
analysis, music forms in
both instrumental and
vocal areas, and
contemporary scores. Part
2 visually enhances this
resource with printed
pages from the scores of
84 works from the broad
spectrum of classical
literature. Of particular
importance to this
resource are several
distinctive features: An
emphasis on scores in
multiple genres Inclusion
of complex and atypical
examples Detailed
instructions on marking
the score Interpretation
Preparing musicals and
operas Memorizing the
score This resource is
designed for graduate- or
undergraduate-level
courses, or for any
conductors looking to
improve their own score
study skills. Knowing the
Score is truly the first
of its kind. Robert
Quebbeman is Professor of
Music Emeritus from
Missouri State University
in Springfield,
Missouri. $59.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| ABBA 3 Vol. 3 Accordéon - Intermédiaire Holzschuh Musikverlag
Accordion - intermediate SKU: M7.VHR-1810 Akkordeon Pur. Edited by...(+)
Accordion - intermediate
SKU: M7.VHR-1810
Akkordeon Pur.
Edited by Hans-Gunther
Kolz. Sheet music. 36
pages. Holzschuh
Musikverlag #VHR 1810.
Published by Holzschuh
Musikverlag
(M7.VHR-1810). ISBN
9783940069139. AKKO
RDEONpur bietet
Spezialarrangements im
mittleren
Schwierigkeitsgrad. Mamma
Mia, Fernando, Angeleyes,
Voulez-Vous, Knowing
Me,Knowing You, Does Your
Mother Know, The Name Of
The Game, Thank You For
The Music. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Knowing Me, Knowing You Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
(As performed by ABBA from the musical Mamma Mia). By Benny Andersson, St...(+)
(As performed by ABBA
from the musical Mamma
Mia). By Benny
Andersson, Stig Anderson,
and Bj̦rn Ulvaeus.
Orchestra. String
Orchestra. Hot Pop
Strings. Light Concert;
Movie; Pop. Grade 2.5.
Conductor Score and
Parts. 66 pages.
Published by Alfred Music
Publishing
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Knowing When to Leave CD Chorale [CD] Hal Leonard
((from Promises, Promises)). By Burt Bacharach. Arranged by Mac Huff. For Choral...(+)
((from Promises,
Promises)). By Burt
Bacharach. Arranged by
Mac Huff. For Choral
(ShowTrax CD). Broadway
Choral. CD only.
Published by Hal Leonard
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Knowing the Notes for Violin Violon [Partition] C. Harvey Publications
By Cassia Harvey. Edited by Judith Harvey. For violin. Instructional; string tec...(+)
By Cassia Harvey. Edited
by Judith Harvey. For
violin. Instructional;
string techniques. Method
book. 33 pages
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Knowing the Notes for Viola Alto seul [Partition] C. Harvey Publications
By Cassia Harvey. Edited by Judith Harvey. For viola. Instructional; string tech...(+)
By Cassia Harvey. Edited
by Judith Harvey. For
viola. Instructional;
string techniques. Method
book. 33 pages
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Knowing When to Leave Chorale 3 parties SSA Hal Leonard
((from Promises, Promises)). By Burt Bacharach. Arranged by Mac Huff. For Choral...(+)
((from Promises,
Promises)). By Burt
Bacharach. Arranged by
Mac Huff. For Choral
(SSA). Broadway Choral.
12 pages. Published by
Hal Leonard
$1.90 $1.805 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Steve Kaufman's Favorite 50 American Traditional Fiddle Tunes [Partition + Accès audio] Mel Bay
Flatpicking guitar - Beginning-Intermediate SKU: MB.21447M For Flatpic...(+)
Flatpicking guitar -
Beginning-Intermediate
SKU: MB.21447M
For Flatpicking Guitar
Vol. 1: A-F. Composed
by Steve Kaufman.
Squareback saddle stitch,
Tunebooks, Bluegrass,
American Music, Tunebook.
Style. Book and online
audio. 80 pages. Mel Bay
Publications, Inc
#21447M. Published by Mel
Bay Publications, Inc
(MB.21447M). ISBN
9780786693405. UPC:
786693401. 8.75 x 11.75
inches. This
collection of fiddle
tunes originally appeared
in Kaufmans Collection of
American Fiddle Tunes for
Flatpicking Guitar. Steve
Kaufman says he cant
emphasize enough the
importance of developing
a large repertoire of
tunes. Fiddle tunes give
us melodies that
eventually allow us to
begin to improvise.
Sometimes without even
knowing it. The more
tunes you know, the more
melodies and intersecting
melody lines you know.
This allows you to
eventually cut and paste
portions of the melody
line into another song.
In the beginning you will
probably unknowingly
replace an ending run.
These are the last two
measures of the section
of a tune. Many of them
in the same key are
interchangeable, unless
they are specific to the
melody of the song. After
a while you will cut out
measures in the middle of
the song and then you
will be able to take the
snips of melodies and
play them in another song
in a different key thus
beginning to improvise.
All of this is possible
because you built up your
repertoire of tunes.
Includes access to online
audio. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I am the secret fire in all things Hildegard
Choral SSAA choir SKU: CF.CM9587 Composed by John Ratledge. Sws. Jbc. Per...(+)
Choral SSAA choir SKU:
CF.CM9587 Composed by
John Ratledge. Sws. Jbc.
Performance Score. 16
pages. Duration 3:30.
Carl Fischer Music
#CM9587. Published by
Carl Fischer Music
(CF.CM9587). ISBN
9781491154090. UPC:
680160912599. 6.875 x
10.5 inches. Key: C
major. English.
Transcribed by Wilson
Hall. Hidegaard Von
Bingen translated by
William Hall. I
am the secret fire in all
things, scored for
SSAA divisi and two
soprano soloists, was
premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's Stuff.
This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already within.
 . I am the
secret fire in all
things, scored for
SSAA divisi and two
soprano soloists, was
premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's Stuff.
This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already within.
 . I am the secret
fire in all things,
scored for SSAA divisi
and two soprano soloists,
was premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's Stuff.
This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already within.
 . I am the secret
fire in all things,
scored for SSAA divisi
and two soprano soloists,
was premiered by the
Vancouver Chamber Choir,
Jon Washbun, conductor,
in November 2008. The
Hildegard von Bingen
text, translated by
Wilson Hall (deceased
professor of English at
Shorter College in Rome,
Georgia and dear friend),
is a text that fosters
many opportunities to
depict the mysterious
nature of God, His
transcendence into all
the human experience, and
the hope, through
vulnerability, that
resonates in the gravamen
for individual
transubstantiation
through the struggles
inherent in Life's
Stuff.This composition
celebrates the
transforming power of
spirituality, the
evolution of the human
spirit when one
amalgamates with
unknowing, and the
ecstasy that saturates
Life when one
acknowledges the God
Presence already
within. . $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mamma Mia! - Intermédiaire Music Sales
Flexible Wind Quintet and Percussion - intermediate SKU: BT.1340-06-070-MS(+)
Flexible Wind Quintet and
Percussion - intermediate
SKU:
BT.1340-06-070-MS
Arranged by Peter Kleine
Schaars. Music Box.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2006. 16 pages. Music
Sales #1340-06-070 MS.
Published by Music Sales
(BT.1340-06-070-MS).
ISBN 9789043127875.
9x12 inches.
English-German-French-Dut
ch. On April 6,
1999, exactly 25 years
after ABBA had won the
Eurovision Song Contest
with the song Waterloo,
the musical Mamma
Mia! opened in
London. Soon, the funny
and appealing love story,
based on 22 ABBA
classics, became a great
success. Arranger Peter
Kleine Schaars has
selected three well-known
titles from the musical
(Mamma Mia; Knowing
Me, Knowing You and
Money, Money,
Money), added the
worldwide hit Waterloo,
and applied his musical
imagination. The result
is a smart ABBA medley
that will appeal to young
and old alike. This
arrangement is playable
by any wind ensemble, the
percussion part is
optional.Part 1 Fl Ob
Bb/Eb Clar S Sax Tpt Part
2 FlCor Ang Bb Clar Eb
Clar A Sax Tpt Hn Part 3
Eb Clar T Sax Bsn Hn Trom
Euph Part 4 T Sax Bsn
Trom Euph Part 5 Bass
Clar Bari Sax Bsn Trom
Euph Tuba Cont Bsn Opt.
Mallets Timp Drum
Peter Kleine
Schaars selecteerde uit
de succesvolle musical
Mamma Mia! drie
bekende ABBA-hits
(Mamma Mia,
Knowing Me, Knowing
You en Money,
Money, Money), voegde
de wereldhit
Waterloo eraan toe
enliet zijn muzikale
fantasie de vrije loop.
Het resultaat is een
vlotte medley die jong en
oud zal aanspreken. Dit
arrangement is voor elk
blazersensemble
speelbaar, de
slagwerkpartij is
optioneel.
Der
Arrangeur Peter Kleine
Schaars wählte drei
bekannte Titel aus dem
Musical Mamma
Mia!, ergänzte sie
um den Welthit
Waterloo ,und
ließ seiner
musikalischen Phantasie
freien Lauf. Das Ergebnis
ist ein raffiniertes
ABBA-Medley, das Jung und
Alt anspricht. Diese
Bearbeitung kann jedes
Bläserensemble ab
fünf Bläsern
spielen; die
Schlagzeugstimme ist
optional.Part 1 Fl Ob Kl
B/Es S-Sax Trp Part 2 Fl
Cor Ang Kl B A-Kl A-Sax
Trp Hn Part 3 A-Kl T-Sax
Fg Hn Pos Euph Part 4
T-Sax Fg Pos Euph Part 5
B-Kl B-Sax Fg Pos Euph
Tuba Kb Opt. Mallets Timp
Drum
Peter Kleine
Schaars a
sélectionné quatre
des plus célèbres
titres extraits de la
comédie musicale
Mamma Mia ! qui
triomphe sur les
scènes du monde
entier. Le résultat
est séduisant : un
superbe arrangement qui
séduira un public de 7
77 ans.Part 1 Fl Htb Cl.
Si b/Mi b Sax. S. TrpPart
2 Fl Cor Angl. Cl. Si b
Cl. Alto Sax. A. Trp
CorPart 3 Cl. Alto Sax.
T. Basson Cor Trb
Euph.Part 4 Sax. T.
Basson Trb Euph.Part 5
Cl. Basse Sax. B. Basson
Trb Euph. Tuba C.
CordesOpt. Mallets Timb.
Batt.
Per questo
volume per strumentazione
variabile a cinque voci,
Peter Kleine Schaars ha
arrangiato Mamma Mia,
Knowing Me, Knowing
You e Money,
Money, Money, tre
titoli famosi del musical
Mamma Mia!,
aggiungendo anche
Waterloo. Il risultato
è un raffinato medley
degli ABBA.Part 1 Fl Ob
Bb/Eb Clar S Sax Tpt Part
2 Fl Cor Ang Bb Clar Eb
Clar A Sax Tpt Hn Part 3
Eb Clar T Sax Bsn Hn Trom
Euph Part 4 T Sax Bsn
Trom Euph Part 5 Bass
Clar Bari Sax Bsn Trom
Euph Tuba Cont Bsn Opt.
Mallets Timp Drum. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mamma Mia (Karaoke CD)
Karaoke CD [Karaoke CD] Stage Stars Records
By ABBA. Composed by Benny Andersson, Bjorn Ulvaeus. 2 discs. Broadway. Karaoke ...(+)
By ABBA. Composed by
Benny Andersson, Bjorn
Ulvaeus. 2 discs.
Broadway. Karaoke CD.
Published by Stage Stars
Records.
(4)$29.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Psalm 47 Carl Fischer
Choral SSAA choir SKU: CF.CM9570 Composed by John Ratledge. Psalms 47 fro...(+)
Choral SSAA choir SKU:
CF.CM9570 Composed by
John Ratledge. Psalms 47
from the Bible. Jbc.
Performance Score. With
Standard notation. 8
pages. Duration 1 minute,
44 seconds. Carl Fischer
Music #CM9570. Published
by Carl Fischer Music
(CF.CM9570). ISBN
9781491153581. UPC:
680160911080. 6.75 x 10.5
inches. Key: Bb major.
Latin. Psalms 47 from the
Bible. Psalm 47
was commissioned by
the Sigma Alpha Iota
Chapter of Hardin Simmons
University (Abilene,
Texas), Suzanne Watts,
conductor, back in 1978.
I was a graduate student
at the time, and the
premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47A
was commissioned by
the Sigma Alpha Iota
Chapter of Hardin Simmons
University (Abilene,
Texas), Suzanne Watts,
conductor, back in 1978.
I was a graduate student
at the time, and the
premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:A
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47 was
commissioned by the Sigma
Alpha Iota Chapter of
Hardin Simmons University
(Abilene, Texas), Suzanne
Watts, conductor, back in
1978. I was a graduate
student at the time, and
the premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now. In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the people:
(you clap), (you shout),
(you sing) to exemplify
that praise and joy
should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world. Rise up and
claim the power of
JOY!. Psalm 47Â was
commissioned by the Sigma
Alpha Iota Chapter of
Hardin Simmons University
(Abilene, Texas), Suzanne
Watts, conductor, back in
1978. I was a graduate
student at the time, and
the premiere was a great
success. Consequently,
the work has received
many performances since
that time; however, it
remained unpublished
until now.In a modified
tripartite structure, the
psalmist uses the
imperative verb tense as
a command to the
people:Â (you clap),
(you shout), (you sing)
to exemplify that praise
and joy should be public,
intelligent, cheerful,
and constant. The
psalmist admonishes that
praise and joy are
visual, aural, palpable,
and most definitely
contagious. The
contrasting slow section
with a soprano solo
should be like an
accompanied arioso, where
the soloist is supported
by lush, major/minor
seventh chords in
inversion (accompanied
recitative). The soloist
actually becomes the
narrator in this section,
the preacher or deliverer
of the news that the
people will be protected,
sustained and blessed.
The rapid tempo of the
A-section returns and the
staggered entrances in
the last section/coda
indicate the ecstasy
knowing that belief can
manifest itself in
individualized,
energized, emotional
responses that can change
the world.Rise up and
claim the power of
JOY! $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| To a Friend Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1216293-140 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1216293-140
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Hymns &
Chorals. Score Only.
Composed 2021. 8 pages.
De Haske Publications
#DHP 1216293-140.
Published by De Haske
Publications
(BT.DHP-1216293-140).
English-German-French-
Dutch. When you
have been playing in a
band for a long time, you
will know that music
belongs to the most
beautiful moments in
life, but also to the
roughest times. Making
music together can give
you strength when things
are difficult.To a
Friend is a
wonderfully comforting
work for anyone going
through a dark time.
Jacob de Haan composed
the work for his father
in law, Gerard Bosch, a
musician to the core. The
piece received its first
performance justweeks
before his passing. On a
sun-kissed evening, his
friends, the musicians of
his two music societies
Oefening Baart Kunst
(Practice Makes Perfect)
Otterlo, and the
Reünie Orkest
Artillerie
Trompetterkorps (Reunion
BandArtillery Trumpet
Corps) played the work
for Gerard - an unknowing
yet beautiful
goodbye.
Wanneer
je al lang samen in een
orkest speelt, weet je
dat muziek hoort bij de
mooiste momenten in het
leven, maar ook bij de
diepste dalen. Samen
muziek maken kan je
kracht geven wanneer je
het moeilijk hebt. To
a Friendis een
prachtig troostrijk werk
voor iedereen die donkere
tijden meemaakt. Jacob de
Haan componeerde het werk
voor zijn schoonvader,
Gerard Bosch, een
muzikant in hart en
nieren. Een paar weken
voor diens overlijden was
het klaarom te worden
uitgevoerd. Op een
zonovergoten avond
speelden zijn vrienden,
de muzikanten van zijn
beide muziekverenigingen
Oefening Baart Kunst
Otterlo en het Reünie
Orkest Artillerie
Trompetterkorps het voor
Gerard. Eenprachtig
afscheid.
Wer
lange in einem Orchester
gespielt hat, der
weiß, dass Musik zu
den schönsten Momenten
im Leben gehört, aber
auch zu den schwersten.
Gemeinsames Musizieren
kann einem in schwierigen
Zeiten Kraft geben. To
a Friend istein
wunderbar tröstliches
Werk für jeden, der
eine schwere Zeit
durchlebt. Jacob de Haan
komponierte das Werk
für seinen
Schwiegervater Gerard
Bosch, der Musiker durch
und durch war. Das
Stück wurde nur wenige
Wochen vor seinemTod
uraufgeführt. An einem
sonnigen Abend spielten
seine Freunde, die
Musiker seiner beiden
Musikvereine Oefening
Baart Kunst (Ãœbung
macht den Meister“)
Otterlo und das Reünie
Orkest Artillerie
Trompetterkorps (Reunion
BandArtillerie Trompet
Corps) , das Werk für
Gerard. Ein unbewusster
und zugleich schöner
Abschied.
Lorsquâ
€™on joue dans un
orchestre depuis
longtemps, on sait que la
musique fait partie des
plus beaux moments de la
vie, mais aussi
d’instants très
ardus. Jouer ensemble
peut donner de la force
lorsque les choses sont
difficiles.To a
Friend est une
Å“uvre
merveilleusement
réconfortante pour
toute personne
confrontée une
période sombre. Jacob
de Haan a composé
cette pièce pour son
beau-père, Gerard
Bosch, lui-même
musicien passionné.
Elle a
étécréée
quelques semaines avant
son décès. Lors
d’une fin de
journée
ensoleillée, ses amis,
les musiciens de ses deux
sociétés musicales
(Oefening Baart Kunst
Otterlo et le Reünie
Orkest Artillerie
Trompetterkorps ), ont
interprétéla
nouvelle composition pour
Gerard. Ils
l’ignoraient
alors, mais ce petit
concert constitua un
adieu merveilleux. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Basse électrique débutant Basse electrique [Partition + CD] Volonte and Co
Bass Guitar SKU: BT.VOLMB357 Composed by David Overthrow. Tuition. Book w...(+)
Bass Guitar SKU:
BT.VOLMB357 Composed
by David Overthrow.
Tuition. Book with CD.
Volonte e Co #VOLMB357.
Published by Volonte e Co
(BT.VOLMB357). ISBN
9788863883510.
French. Perfectl
y adapted and suitable
for Bass guitarists who
want to get started and
take a step forward
playing current styles,
as well as experienced
Bass players who want to
hone their
skills. This book
begins with arevision on
written music, and
explains the basics of
theory necessary to
become a very good Bass
player with an easy and
progressive approach.
Unknowingly, you will use
major chords, triads and
scales of 7me to create
Bass linesfor sounding
out the most important
scales that any Bass
player should
know. You will also
learn the basics of blues
and funk styles to play
in perfect sync with the
drummer . Whether you 're
a student,
teacherorself-taught, you
will enjoy this simple,
meticulous
method. $26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Become Ocean Orchestre Chester
Orchestra (FULL SCORE) SKU: HL.263038 For Orchestra. Composed by J...(+)
Orchestra (FULL SCORE)
SKU: HL.263038
For Orchestra.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2017.
162 pages. Chester Music
#CH87131. Published by
Chester Music
(HL.263038). UPC:
888680952907.
12.0x16.5x0.565
inches. “Over
the years my orchestral
music has become simpler
and more expansive.
Clouds of Forgetting,
Clouds of Unknowing
(1991-95) contains four
different musical
textures. In the White
Silence (1998) has three.
For Lou Harrison (2002)
reduces this to just two.
In Dark Waves (2007), I
finally got to one. When
I first heard that piece
I began to wonder if I
could sustain a similar
sound for a longer span
of time. The result is
Become Ocean, a
meditation on the vast,
deep and mysterious tides
of existence. The title
is borrowed from a
mesostic verse that John
Cage wrote in honor of
Lou Harrison's birthday.
Likening Harrison's music
to a river in delta, Cage
writes: Listening to it
we become ocean. Life on
this earth first emerged
from the sea. And as the
polar ice melts and sea
level rises, we humans
find ourselves facing the
prospect that once again
we may quite literally
become ocean.†John
Luther Adams. $60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Vom wissenden Vergessen (knowingly forgetting) Zimmermann
Flute, Percussion SKU: PR.ZM35300 Composed by Gerhard Mueller-Hornbach. F...(+)
Flute, Percussion SKU:
PR.ZM35300 Composed
by Gerhard
Mueller-Hornbach. Floete
& Percussion. With
Standard notation. 36
pages. Zimmermann
#ZM35300. Published by
Zimmermann (PR.ZM35300).
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| To a Friend Orchestre d'harmonie De Haske Publications
Concert Band (SCORE) - Level 2.5 SKU: HL.4007158 Composed by Jacob De Haa...(+)
Concert Band (SCORE) -
Level 2.5 SKU:
HL.4007158 Composed
by Jacob De Haan. De
Haske Concert Band.
Concert. Softcover.
Duration 220 seconds. De
Haske Publications
#031831. Published by De
Haske Publications
(HL.4007158). UPC:
840126965681. When
you have been playing in
a band for a long time,
you will know that music
belongs to the most
beautiful moments in
life, but also to the
roughest times. Making
music together can give
you strength when things
are difficult. To a
Friend is a wonderfully
comforting work for
anyone going through a
dark time. Jacob de Haan
composed the work for his
father in law, Gerard
Bosch, a musician to the
core. The piece received
its first performance
just weeks before his
passing. On a sun-kissed
evening, his friends, the
musicians of his two
music societies --
Oefening Baart Kunst
(Practice Makes Perfect)
Otterlo, and the
Reünie Orkest
Artillerie
Trompetterkorps (Reunion
Band Artillery Trumpet
Corps) -- played the work
for Gerard -- an
unknowing yet beautiful
goodbye. $22.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Cantus II (Into Unknowing Light) Piano seul Musik Fabrik
Piano SKU: FA.MFCC202 Composed by Carson Cooman. Musik Fabrik #MFCC202. P...(+)
Piano SKU:
FA.MFCC202 Composed
by Carson Cooman. Musik
Fabrik #MFCC202.
Published by Musik Fabrik
(FA.MFCC202).
$11.30 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| To a Friend De Haske Publications
Concert Band (SCORE+PARTS) - Level 2.5 SKU: HL.4007157 Composed by Jacob ...(+)
Concert Band
(SCORE+PARTS) - Level 2.5
SKU: HL.4007157
Composed by Jacob De
Haan. De Haske Fanfare
Band. Concert. Softcover.
Duration 220 seconds. De
Haske Publications
#031831. Published by De
Haske Publications
(HL.4007157). UPC:
840126965674. When
you have been playing in
a band for a long time,
you will know that music
belongs to the most
beautiful moments in
life, but also to the
roughest times. Making
music together can give
you strength when things
are difficult. To a
Friend is a wonderfully
comforting work for
anyone going through a
dark time. Jacob de Haan
composed the work for his
father in law, Gerard
Bosch, a musician to the
core. The piece received
its first performance
just weeks before his
passing. On a sun-kissed
evening, his friends, the
musicians of his two
music societies --
Oefening Baart Kunst
(Practice Makes Perfect)
Otterlo, and the
Reünie Orkest
Artillerie
Trompetterkorps (Reunion
Band Artillery Trumpet
Corps) -- played the work
for Gerard -- an
unknowing yet beautiful
goodbye. $108.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| To a Friend Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1216293-010 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5 SKU:
BT.DHP-1216293-010
Composed by Jacob De
Haan. Concert and Contest
Collection CBHA. Hymns &
Chorals. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216293-010. Published by
De Haske Publications
(BT.DHP-1216293-010).
English-German-French-
Dutch. When you
have been playing in a
band for a long time, you
will know that music
belongs to the most
beautiful moments in
life, but also to the
roughest times. Making
music together can give
you strength when things
are difficult.To a
Friend is a
wonderfully comforting
work for anyone going
through a dark time.
Jacob de Haan composed
the work for his father
in law, Gerard Bosch, a
musician to the core. The
piece received its first
performance justweeks
before his passing. On a
sun-kissed evening, his
friends, the musicians of
his two music societies
Oefening Baart Kunst
(Practice Makes Perfect)
Otterlo, and the
Reünie Orkest
Artillerie
Trompetterkorps (Reunion
BandArtillery Trumpet
Corps) played the work
for Gerard - an unknowing
yet beautiful
goodbye.
Wanneer
je al lang samen in een
orkest speelt, weet je
dat muziek hoort bij de
mooiste momenten in het
leven, maar ook bij de
diepste dalen. Samen
muziek maken kan je
kracht geven wanneer je
het moeilijk hebt. To
a Friendis een
prachtig troostrijk werk
voor iedereen die donkere
tijden meemaakt. Jacob de
Haan componeerde het werk
voor zijn schoonvader,
Gerard Bosch, een
muzikant in hart en
nieren. Een paar weken
voor diens overlijden was
het klaarom te worden
uitgevoerd. Op een
zonovergoten avond
speelden zijn vrienden,
de muzikanten van zijn
beide muziekverenigingen
Oefening Baart Kunst
Otterlo en het Reünie
Orkest Artillerie
Trompetterkorps het voor
Gerard. Eenprachtig
afscheid.
Wer
lange in einem Orchester
gespielt hat, der
weiß, dass Musik zu
den schönsten Momenten
im Leben gehört, aber
auch zu den schwersten.
Gemeinsames Musizieren
kann einem in schwierigen
Zeiten Kraft geben. To
a Friend istein
wunderbar tröstliches
Werk für jeden, der
eine schwere Zeit
durchlebt. Jacob de Haan
komponierte das Werk
für seinen
Schwiegervater Gerard
Bosch, der Musiker durch
und durch war. Das
Stück wurde nur wenige
Wochen vor seinemTod
uraufgeführt. An einem
sonnigen Abend spielten
seine Freunde, die
Musiker seiner beiden
Musikvereine Oefening
Baart Kunst (Ãœbung
macht den Meister“)
Otterlo und das Reünie
Orkest Artillerie
Trompetterkorps (Reunion
BandArtillerie Trompet
Corps) , das Werk für
Gerard. Ein unbewusster
und zugleich schöner
Abschied.
Lorsquâ
€™on joue dans un
orchestre depuis
longtemps, on sait que la
musique fait partie des
plus beaux moments de la
vie, mais aussi
d’instants très
ardus. Jouer ensemble
peut donner de la force
lorsque les choses sont
difficiles.To a
Friend est une
Å“uvre
merveilleusement
réconfortante pour
toute personne
confrontée une
période sombre. Jacob
de Haan a composé
cette pièce pour son
beau-père, Gerard
Bosch, lui-même
musicien passionné.
Elle a
étécréée
quelques semaines avant
son décès. Lors
d’une fin de
journée
ensoleillée, ses amis,
les musiciens de ses deux
sociétés musicales
(Oefening Baart Kunst
Otterlo et le Reünie
Orkest Artillerie
Trompetterkorps ), ont
interprétéla
nouvelle composition pour
Gerard. Ils
l’ignoraient
alors, mais ce petit
concert constitua un
adieu merveilleux. $110.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| In a World of Invisible Waves: a Butterfly Piano seul Breitkopf & Härtel
Piano SKU: BR.EB-9246 Composed by Christian Mason. Solo instruments; stap...(+)
Piano SKU:
BR.EB-9246 Composed
by Christian Mason. Solo
instruments; stapled.
Edition Breitkopf.
World premiere: Passau
(Festspiele Europaische
Wochen), 26. Juni
2016 Music post-1945;
New music (post-2000).
Score. Composed 2016. 16
pages. Duration 7'.
Breitkopf and Haertel #EB
9246. Published by
Breitkopf and Haertel
(BR.EB-9246). ISBN
9790004185469. 9 x 12
inches. In a world
of invisible waves: a
butterfly is a response
to the idea of the
butterfly effect: that a
small cause can have a
disproportionately large
effect. Before composing
the music I wrote this
short poem in order to
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gestures:In a world of
invisible waves: a
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storm Which it
unknowingly created When
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flight.This narrative is
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but maybe you can hear
the resonances of
delicate flapping and
mercurial weather
somewhere amid the
rippling waves of the
music? It is warmly
dedicated to Catherine Le
Bris. (Christian Mason,
2016) Bibliography:
Whittall, Arnold:
Questioning the Sound:
the Music of Christian
Mason, in: The Musical
Times 161 (Summer 2017),
S. 85-99
World
premiere: Passau
(Festspiele Europaische
Wochen), 26. Juni
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