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SKU: BT.EMBZ13536
The series 300 YEARS OF FLUTE MUSIC was compiled with the history of music and the instrument in mind. The Early Baroque (Z. 13533) presents the beginnings, the Italian Baroque (Z. 13534) collates the Mediterranean style with the German, French and Netherlandish art of The High Baroque (Z. 13535). The volume entitled The Second Half of the 18th Century (Z. 13536) illustrates the end phase of the Baroque as well as the rise of Classicism. The Vienna Classics (Z. 13537) draws on the works of the three great masters only. The two volumes of Romantic Flute Virtuosos (Z. 13538 and Z. 13539) contain works by German and French composers.
SKU: BR.EB-8029
ISBN 9790004174326. 9 x 12 inches.
This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extent, since it is more stimulating for children to change the teaching material frequently. There are four existing harpsichord books with a total of 226 compositions by Francois Couperin le Grand (1668 -1733). His works are as unknown to pianists as they are famous among harpsichord players. The grace and imaginativeness of his works lend themselves especially well to the sound of the harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the haipsichord and clavichord, and no one would dare question their intetpretation on the pianoforte. In order to introduce these lmpressionists of the Baroque Era to piano instruction, the editor has added to this series a folio of both Couperin's and Rameau's (EB 8033) music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. The Butterflies and the Windmills are both especially typical of masterful character pieces. The demands made on technique certainly correspond to a level of moderate difficulty. The simplifications made are restricted to the artistically realized twopart accompaniment (eg. p. 4 f. and p. 8 f.) with regard to finger stretch and to the profuse ornamentation of the original. The indications for phrasing and articulation are those of the editor. The first two pieces have been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series; what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the respective footnotes; these directions, however, are not obligatory. lndications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case be used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realization of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.
SKU: HL.49011259
ISBN 9790001100465. UPC: 073999635973. 9.25x12.0x0.105 inches.
SKU: HL.49017077
ISBN 9790001148955. UPC: 841886009165. 9.0x12.0x0.137 inches.
Robert Valentine, born in Leicester around 1680, was one of the few English masters of Baroque music who achieved fame and enjoyed a high standing beyond the borders of his home country instead of within. He made his fortune in Italy where he seemed to have spent most of his lifetime. It is assumed that he returned to England in 1731. He died at an unknown place around 1735.Valentine was a talented composer. Apart from some concertos, he mainly wrote and published solo sonatas, trio sonatas and duets, works who clearly show his preference for the flute, he himself being a flutist.
SKU: BR.DV-32027
ISBN 9790200425192. 9 x 12 inches.
Bicinia - unaccompanied duos - have been known to us from the fifteenth century onwards. So quite early on it was customary tu practise this type of musical exercise, which later, especially during the Romantic period, achieved great popularity as the duo or duett. Equal numbers of this sort of instrumental duo were composed for nearly all wind and string instruments. On the other hand, only a small amount of compositions for two trumpets have come down to us. In order to play any music which progresses beyond pure fanfare on a natural (valueless) trumpet, it is necessary to make use of the clarion register (the top third of the natural harmonic). And if such a melody is to be accompanied by a second part, only the few natural notes lying below it are left, or else this high register itself, which calls for great virtuosity on the part of the trumpeter. As well as this, we must remember the fact that trumpet-playing was only allowed for the trumpeters of a royal court, army, staff, or for the field-trumpeter of a prince, plus a few council, city, and church musicians, who were bound by strict guild and corporation rules. Thus in spite of the preference for its festive sound, the spread and handing down of trumpet music was almost reduced to nothing under these circumstances. As well as this, pride of place and profession rivalry and envy amongst musicians contributed in large part. In England the situation was somewhat freer. Here pretty little trumpet duos originated, including, amongst others, those written by Handel for his master-trumpeter Valentin Snow and the Royal Sergeant-trumpeters of the Shore family. An especially happy exception was the diocese of Olmiitz. Here there was a capable group of musicians of the chapel royal with the brilliantly talented group of trumpeters and the field-trumpeter Pavel Vajvanovsky, who also composed himself. These trumpeters in the service of his prince-bishop played many sacred and secular pieces, all for several instruments. It was for them also that Heinrich Ignaz Franz Biber wrote the 12 double trumpet sonatas we present here. On the other hand, the representatives of the authorities in Germany ensured strict observation of all edicts and regulations. Even the celebrated Bach-trumpeter and towm-piper Gottfried Reiche was never allowed to be portrayed with a proper trumpet due to the priveleges of court and field trumpeters. In order to represent him as one of the greatest masters of his time and art, however, the painter placed an instrument similar to a corno-di-caccia in his hand, together with a sheet with a small piece for virtuoso clarion. When we try in spite of these difficulties and adverse circumstances to gather a collection of musically valuable and characteristic examples of popular pieces for two trumpets from the seventeenth and eighteenth centuries, it is in the first, place in order to acquaint modern trumpeters with something of the wealth of music, which can also be well played on a modern trumpet with valves. The originally used trumpets correspond to modern ones in the keys of C and D, but this does not mean that many of the pieces cannot be transposed to a more comfortable register. On top of this, we have tried to give a picture of the baroque court and field trumpeter, as well as of the mysterious clarion trumpeter, with the help of musically popular material. The origin of most of the pieces used is no longer clearly discernable. In most cases we possess second- or third-hand copies which have been handed down, and show signs of frequent use. A few cases where modernization of the second part obviously did not take place until the invention of stops, have been re-shaped into their supposed original form. A series of further dynamic details were left, and marked as optional suggestions in brackets. Kurt Janetzkyz.T. mit Pauken und B.c.
SKU: FJ.FJH2328
UPC: 241444406908. English.
In this final installment of the Sonatina series, carefully selected classical Sonatinas from well-known composers, to the lesser known female composer, Sophia Dussek (1775-1831). Each book in this series contains historical and formal information relating to the Sonatina. Use the FJH Pianist's Curriculum Correlation Chart to see how the six-book Sonatina series correlates to the Succeeding with the Masters/The Festival Collection books and the Succeeding at the Piano method.
About The Festival Collection
The Festival Collection is an eight-volume series consisting of exceptional repertoire from the Baroque, Classical, Romantic, and Twentieth/Twenty-First Centuries. This series is carefully leveled from elementary through advanced repertoire, with each level covering the gamut of your repertoire needs. The Festival Collection is a companion series to the Succeeding with the Masters series, expanding upon the repertoire selections with no duplication of repertoire between the two series. Each book includes a CD recording of all the corresponding works to guide students in their interpretation.
The Festival Collection will provide teachers and students with a wide range of works that are carefully chosen for their pedagogical merit. They will be a key component for your students' success in their studies of the works by the masters!
SKU: BR.EB-8033
ISBN 9790004174364. 9 x 12 inches.
This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980.
SKU: HL.48188975
UPC: 888680948825. 9x12 inches. French.
?Richard Siegel won prizes for the Harpsichord and Chamber Music at the Paris Conservatoire before going on the win first prize in the 1977 International Harpsichord Competition. He has since recorded over 30 CDs and his passion for the instrument has been apparent further in his production of Learn to Play the Harpsichord. As stated in the preface, the study of the Harpsichord has long been reserved, frequently dismissed as an 'old-fashioned' instrument. However, a recent rise in the popularity of early music has rekindled interest in it. In Learn to Play the Harpsichord Volume 2 being the second of two helpful volumes to aid student's learning and progression, Siegel enables Harpsichord beginners to learn through repertoire pieces themselves, drawn from the Keyboard masters of the Baroque period. The pupil will be guided towards an understanding of technique and style suited to the Harpsichord. Furthermore, Learn to Play the Harpsichord enables adults who learnt the instrument as a child to return to the instrument and have the instant feeling of ??music making??. andrdquo.
SKU: BT.ALHE33874
French.
Richard Siegel won prizes for the Harpsichord and Chamber Music at the Paris Conservatoire before going on the win first prize in the 1977 International Harpsichord Competition. He has since recorded over 30 CDs and his passionfor the instrument has been further apparent in his production of Apprendre Toucher le Clavecin. As stated in the preface, the study of the Harpsichord has long been reserved, frequently dismissed as an 'old-fashioned'instrument . However, a recent rise in the popularity of early music has rekindled interest in the Harpsichord. In Apprendre Toucher le Clavecin, volume 1 being the first of two helpful volumes to aid student's learning andprogression, Siegel enables Harpsichord beginners to learn through repertoire pieces themselves, drawn from the Keyboard masters of the Baroque period. The pupil will be guided towards an understanding of technique and stylesuited to the Harpsichord. Furthermore, Apprendre Toucher le Clavecin, which is accompanied by a CD, enables adults who learnt the instrument as a child to return to the instrument and have the instant feeling of making music.
