Matériel : Partition
SKU: BT.CM168
Twelve Astrological Preludes were written over a period of roughly two years and several were broadcast on BBC Radio 2's Friday Night is Music Night as well as in other concerts. Aquarius was written in 1994 as a filler to apopular BBC solo piano series of the time called At the Piano. It was named Aquarius for programming purposes and as Elms left the studio the producer called after him 'Only eleven to go' and so Twelve Astrological Preludes cameinto being.The preludes, which run in the usual cycle, are based upon two melodic strands and there is one piece in each of the twelve major keys. The character and style of each prelude alludes to certaincharactertraits of its particular birth sign and each piece bears the initials of a friend born under that particular sign. Each prelude is prefaced by a printed description of some of the general characteristics deemed to beassociated with that sign. These are, of course, generalisations! Some preludes show a little deference to some of my favourite 'masters'.Elms has recorded Twelve Astrological Preludes for the Herald label and they areavailable on the CD Moody Moves together with other pieces of his chamber music including the piano sextet from which the CD takes its name. More information is available at masterkeyboards.co.uk.
SKU: HL.48180158
UPC: 888680948528. 9.0x12.0x0.15 inches.
Written for upper-advanced organ players, Three Preludes and Fugues is a work by Marcel Dupre. Dedicated to Rene Vierne, this Op. 7 uses complex figurations and pedals. With such challenging difficulty, the first and third preludes were pronounced?unplayable by Charles-Marie Widor due to their fast tempo, their figurations and the pedal chords. For a long time, Dupre himself was the only one able to play them. Marcel Dupre is a French organist who reviewed some works by J. S. Bach, including The little Organ Book. He composed numerous pieces such as Lamento, Scherzo and Titelooze Tombstone, among others.
SKU: IS.PN7065EM
ISBN 9790365070657.
On January 1st, 2016, Stephane Vande Ginste had an extraordinary intention: he planned to compose a 1-minute piece for piano every single day for the whole year. The result is an impressive collection of piano miniatures which - although contemporary - result in a variety of musical styles: apart from some experimental pieces, there are jazzy- and poppy pieces, more traditional etudes, polyphonic compositions and so on... The 366 pieces also tell various stories: from very emotional events like the terrorist attacks in Brussels over homages in honor of deceased artists (David Bowie,...) to birthdays and festive occasions,... . More than once, even poetry (Heinrich Heine, Anna Enquist, ..) or other pieces of art inspired Stephane to compose his daily one-minute piece. Every single composition originated from the here and now, and therefore capture the unfiltered feelings and emotions of that very unique moment in time: joy, enthusiasm, but also melancholy and sadness.
SKU: CF.H84
ISBN 9781491165539. UPC: 680160924530.
Marce l Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.
SKU: HL.49044195
ISBN 9790001190879. UPC: 840126933604. 9.0x12.0x0.065 inches.
The melodies from George Gershwin's (1898-1937) musicals, from 'Porgy and Bess', from orchestral pieces like 'Rhapsody in Blue' or 'An American in Paris', we all know them! But the career of the young musician started as a pianist in a music publishing house where he was to encourage customers to buy music by playing it. Soon he began to compose music himself and caught the attention of the Broadway, which paved the way to his international career. Inspired by Frederic Chopin's 24 Preludes, he began to write his own 'Preludes' for the piano in the mid-1920s: Of the five preludes composed by him, he used two for the violin composition 'Short Story' and presented the other three at a concert on 4 December 1926. These 'Preludes' combine classical moments and jazz elements into an effective whole and can be played individually or as a little jazz sonata (fast - slow - fast). Thanks to the present arrangement, the charming miniatures are now available in a version for solo instrument and piano accompaniment.
SKU: HL.49044196
ISBN 9790001190886. UPC: 888680784737. 9.25x12.0x0.06 inches.
SKU: BT.ALHE32440
English.
Jean-He nri d'Anglebert (1629-1691) was one of the foremost composers of Keyboard music of his day. Therefore, the collection of his works, Pieces for Harpsichord is essential to all players of early Baroque Keyboard music. D'Anglebert's Pieces for Harpsichord represents some of the finest achievements of the French Harpsichord school and shows the composer's mastery of counterpoint as well as his ability to experiment with texture to achieveorchestral sonority. Moreover, d'Anglebert's collection contains a table of ornaments which formed the basis of those of J. S. Bach and other significant composers. The first volume of Pieces for Harpsichord comprises fourHarpsichord Suites composed by d'Anglebert, each of which consist of the usual dance movements together with transcriptions from Lully's operas. Furthermore, the three unmeasured preludes included in Suites one, two and three aretruly remarkable examples of their kind. With a descriptive preface in French, English and German, volume one of d'Anglebert's Pieces for Harpsichord is a sublime addition to the repertoire of early Baroque Keyboard music.
SKU: HL.48180923
UPC: 888680907976. 9.0x12.0x0.092 inches.
Composed by Jehan Alain, Three Pieces is a set of upper intermediate / advanced works for organ, with pedal-use. The first piece, ?Variations sur un theme de Clement Jannequin (Variations on a Clement Jannequin's Tune), should be played?in the same way as Couperin's Preludes: freshly and softly. It contains four distinctive parts: Affetuoso, Maggiore, Fuggato and Grave. The second piece is called ?Le jardin suspendu (The hanging garden) and features three different parts that can't be played separately. The last piece, Litanies, is quite religious and consists of the repetition of lamentations. Its introduction in vivo is played only by the right hand, then followed by a?Lirico ma sempre vivo part. These are followed by switches between the main tempo and some vivacissimo parts, sounding declamatory. This third piece ends really harmoniously. Jehan Alain is a French organist who became famous with his Suite for Organ. Student of Marcel Dupre and Roger Ducasse among others, he kept composing all his life. One of his most famous international pieces is Litanies.
SKU: FG.55011-472-2
ISBN 9790550114722.
Prel udes, etudes and poems are like a planetarium with points of light twinkling in every direction. The grand old man of Finnish Modernism Paavo Heininen's (b. 1938) extensive output for piano expands with a comprehensive four-part collection of etydes (Etydes op. 104, 2011/2016). Each cycle consists of 12 etudes and a finale in a form of a set of variations. Complexity as style and humour as guideline in titles and ideas, these etydes can be programmed in combination with other pieces and as interludes between them.
SKU: FG.55011-469-2
ISBN 9790550114692.
SKU: BR.EB-6774
ISBN 9790004169735. 9 x 12 inches.
The pieces contained in this volume prepare the student for the playing in three and four parts that is required for the perfomance of the three-part inventions and the French suites. They are most appropriately incorporated into the teaching material after the two-part inventions have been studied. New technical problems, such as the passing under and over of fingers without using the thumb and the rapid substitution of fingers on one key, must here be solved. In order to make the fonn clear, the notation has been simplified as much as possible; the indications of fingering remain quite complicated enough, even though they cannot by far show all the possibilities. lt is necessary to adapt the fingerings to the mobility and span of the particular player's hands, whilst retaining the chosen phrasings to the best of his ability. Isolated notes which require a span exceeding the octave have been placed in brackets; the performance of the ornaments is shown in footnotes. As in the first volume, the missing dynamic and tempo indications must be supplied by the performer himself in accordance with the character of each piece. Especial attention must be paid in polyphonic music to the problem of phrasing and articulation. The editor's suggestions can be replaced by other solutions that make musical sense; these should then be written into the parts. An intensive preoccupation with polyphone structures can even at an early age increase the understanding and love of the musical work of art. Heinz Walter, Salzburg, Summer 1977.
SKU: HL.50495989
ED. A. CAVUOTO - TRASCRIZIONI PER VIOLONCELLO E PIANOFORTE.
SKU: FG.55011-470-8
ISBN 9790550114708.
SKU: FG.55011-471-5
ISBN 9790550114715.
SKU: AP.36-M296291
UPC: 679360762097. English.
A diverse collection of piano miniatures, 13 Pieces contains several very popular works composed between 1911 and 1919. Highlights include Etude, a violinistic technique exercise; Arabesque, a swift and light piece in the style of Liszt; Linnaea, a poetic lyrical piece; Cappriccietto, an exciting and ever-modulating selection; and Harlequinade, a whimsical and mercurial piece similar to Debussy's preludes.
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