SKU: HL.49010900
ISBN 9790001097369. 9.0x12.0x0.074 inches.
SKU: HL.49003610
ISBN 9790001035606. 9.0x12.0x0.056 inches.
SKU: PR.510076960
1. Choral: An improbably superimposing of Beethoven and Brahms. At the end of the first performance of the latter's 1st Symphony, someone asked the composer: Don't you find that your main theme remin ds one of the Ode to Joy? To which he retorted: Even an idiot would have noticed it! 2. Fugue: in the last exposition, the subject of Fugue I from volume 1 of Bach's Well-Tempered Keyboard is super imposed on the theme from Mozart's so-called easy sonata. 3. Passion: In his Violin Concerto, Mendelssohn, to whom we owe the rediscovery of Bach's Passions, seems to have borrowed a theme from a lost Passion. 4. Recitativo: Tribute to Franck's tribute to Bach in his Sonata for violin and piano. 5. Invention: A private revenge, after a bitter failure. Debussy's Toccata was on the compulsory list for the Conservatory piano class entrance exam. 6. Arpeggione: In which the listener realizes the similarity in the introduction to Schubert's Unfinished Symphony and Arpeggione Sonata. 7. Sarabande: The most iconoclastic, for Bach's 5th Cello Suite is already suffused with harmony. There might be an evocatioin of a Brahms-like overarching structure, though... 8. Variation: The slowest variation ever written on Paganini's 24th Caprice. 9. Scene: Schumann's Reverie as a Prelude. 10. Finale: In order to capture the elusive harmony of the Finale of Chopin's Sonate Funebre. 11. Fugue on Au clair de la lune: Our greatest nursery rhymes, fugue fitted and choralized. 12. Fugue de Noel (Christmas fugue): Quite appropriate. 13. Fugue on J'ai du bon tabac: Prohibited counterpoint. 14. Fugue on La Marseillaise: Franco-German reconciliation. 15. Pedal - Exercitium: Realization and conclusion of Bach's organ pedal exercies.
SKU: YM.GTP01097742
ISBN 9784636977424.
17 well-known J.S. Bach's works are arranged by Eiichi Fujii. This series is produced by Eiichi Fujii, known as a highly sophisticated jazz piano arranger as well as a pioneer of jazz piano in Japan. All music sheets in the series have samples of trio ensemble performances for reference; they can be found just by reading the QR code in each book with smartphones.
SKU: UT.TIB-13
ISBN 9790215318458. 9 x 12 inches.
A talented and complex figure with a character of rare depth and irreproachable morals, Fermo Bellini lived a life rich in experiences in the most disparate cultural fields, building his period in music between 1839 and 1850. A pupil of the distinguished violinist and conductor Gaetano Zocca in Ferrara, he specialized on the trombone, perhaps encouraged by his teacher, who had invented a new form of bow for this instrument. His son relates his success in the various theatres where he performed and in Milan, where he was held in esteem both as a composer and a theorist, transcribing opera scores particularly for wind instruments according to the fashion of the day. He was musically productive from 1833, the date of the printing of his first work continuing til the middle of the century when his passion for literature and social comment took on greater significance. Treatises, duets, trios, quartets and divertimenti demonstrate his considerable mastery and knowledge of wind instruments. such that it made him the leading exponent of the Milanese scene: works which were published by the major publishers of Milan such as Francesco Lucca and the Ricordi family confirm the reputation and success that Bellini achieved there.
SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes:My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
SKU: HL.48024676
ISBN 9781540058522. UPC: 888680952501.
Creat ed in 2004 for the radio production Orlando furioso of the WDR, 'Orlando-Lieder' tries to give new and colourful form to the old narrative style of an invented time of troubadours. Tenderness is juxtaposed to passion, harmony to brusqueness. The voice of the countertenor symbolizes the objective observation of what is happening in the novel by one of the balladeers travelling the courts of the world and informing us about the adventures of people, their strange encounters and their great emotions. Mezzo-Soprano and Guitar.
SKU: HL.48024675
ISBN 9781540058515. UPC: 888680952495.
Creat ed in 2004 for the radio production Orlando furioso of the WDR, 'Orlando-Lieder' tries to give new and colourful form to the old narrative style of an invented time of troubadours. Tenderness is juxtaposed to passion, harmony to brusqueness. The voice of the countertenor symbolizes the objective observation of what is happening in the novel by one of the balladeers travelling the courts of the world and informing us about the adventures of people, their strange encounters and their great emotions.Mezzo-Soprano and Piano. Contents: Lied der Sehnsucht * Lied der Wehmut * Der Hippogryph * Hexensabbat * Orlandos Traum * Logistillas Schloss * Amors Pfeil * Insel der Dufte * Lied der Augen * Eis * Liebesschmerz * Lied vom Meer * Lied vom Mond * Untrostlich * Erwachen.
SKU: LO.30-2425L
UPC: 000308121858.
Fill your sanctuary with Palm Sunday majesty and excitement with this anthem from Joe Martin. The first of three verses is a lively call-and-response setting of the scripture: “Who is this King of glory?†The contrasting middle verse is an inventive pairing of the traditional hymn tune LEONI with the text “All Glory, Laud and Honor.†The final verse returns the lively theme of the first in counterpoint with drum-like hosannas. An energetic accompaniment that ties all three verses together, whether provided by piano alone or orchestra, makes this anthem the perfect choice for Palm Sunday. (From the cantata Who Is This King? SATB – 55/1096L; SAB – 55/1097L.) Instrumentation: 2 Flutes, Oboe, 2 Clarinets, Bassoon, 2 F Horns, 3 Trumpets, 2 Trombones, Tuba, Timpani, 2 Percussion, Violin 1 & 2, Viola, Cello, Bass.
SKU: BT.CMP-0994-06-010
9x12 inches. English.
Provocativ e modal shifts and fresh melodic excursions take us to another land. The brooding minor key opening leads by stages to a big uplifting finish. There is also lots of contrast built into the orchestration, making Latin Journey a special treat for band and audience alike. Cross-cultural lessons are a natural fit with this one! Additionally, there is lots of opportunity to work on the finer points of balance and blend.Inventive! De hoofdmelodie van Latin Journey is in feite de eerste melodie die de componist ooit schreef, op vijftienjarige leeftijd. Hij bezocht toen een seminar voor jonge mensen die wilden leren componeren - en deze melodie kwam voortuit een taakopdracht. Bijna dertig jaar later besloot Carmine Pastore om diezelfde melodie te gebruiken in Latin Journey, a werk dat hij schreef voor de Senior Band van een high school in de Verenigde Staten. Het resultaatmag er zijn!Provokative modale Verschiebungen und erfrischende melodische Linien entführen den Zuhörer von Latin Journey in lateinamerikanische Gefilde. Die nachdenkliche Eröffnung in Moll verwandelt sich Schritt für Schritt hin zu einem heiteren Schluss. Kontraste prägen auch die Orchestrierung dieser musikalischen Reise. Eine willkommene Stilerweiterung für das Repertoire Ihres Jugendblasorchesters! La musique latino-américaine est une musique exubérante, souriante, vive, romantique, passionnée et ensoleillée. Ces adjectifs correspondent également cette œuvre de Carmine Pastore. La magie des rythmes et des sons envo te l’esprit des musiciens et les mélodies trotteront dans la tête des auditeurs pendant des semaines. Une œuvre sur mesure pour élargir les horizons stylistiques de votre jeune formation.
