SKU: M7.BBA-4024
The Cimarosa Sonatas represent a chest of melodic ideas in which the Neapolitan universe of contrasts takes shape, where freshness sometimes alternates tender melancholy and heartfelt sadness that have always been the counterpart in the culture of that city. Domenico Cimarosa was one of the most prominent opera composers of the late 18th century. He is a transitional figure between the generation of classical operas of the second half of the 18th century (e.g., Gluck and Mozart), and the later generation of early 19th century Italian composers such as Rossini and Donizetti. The work of Jorge Martínez Zárate as a composer and transcriber is vast, he has written original works for one and two guitars and has made more than a thousand transcriptions, a large number of them have been published in Argentina and also in the United States, France and Italy.
The Cimarosa Sonatas represent a chest of melodic ideas in which the Neapolitan universe of contrasts takes shape, where freshness sometimes alternates tender melancholy and heartfelt sadness that have always been the counterpart in the culture of that city. Domenico Cimarosa was one of the most prominent opera composers of the late 18th century. He is a transitional figure between the generation of classical operas of the second half of the 18th century (e.g., Gluck and Mozart), and the later generation of early 19th century Italian composers such as Rossini and Donizetti. The work of Jorge MartÃnez Zárate as a composer and transcriber is vast, he has written original works for one and two guitars and has made more than a thousand transcriptions, a large number of them have been published in Argentina and also in the United States, France and Italy.
SKU: FZ.52149
ISBN 9790700241384. 21 x 29.7 cm inches.
Guillaume Gommar KENNIS: Six sonates a violon seul et basse continue. Oeuvre 3e. Sonates IV a VI. Music score: violin and continuo. Presentation: Mihoko Kimura. Edition: Louvain, l'Auteur, s. d. Notice biographique. Tres jolies sonates. Une partie encore inconnue du repertoire. Publication en partition, avec parties separees jointes. Anne Fuzeau Classique propose classical music scores of Offenburg's publisher (Germany).
SKU: FZ.52150
ISBN 9790700241377. 21 x 29.7 cm inches.
Guillaume Gommar KENNIS: Six sonates a violon seul et basse continue. Oeuvre 3e - Sonates I a III. Music score: violin and continuo. Presentation: Mihoko Kimura. Edition: Louvain, l'Auteur, s. d. Notice biographique. Tres jolies sonates. Une partie encore inconnue du repertoire. Publication en partition, avec parties separees jointes. Anne Fuzeau Classique propose classical music scores of Offenburg's publisher (Germany).
SKU: UT.QC-2
ISBN 9788881094585. 6.5 x 9.5 inches.
The career of Muzio Clementi (1752-1832) spanned the lives of both Mozart and Beethoven and was exceptionally diverse. It encompassed performing on the keyboard, conducting, teaching, business activities and composition in the realms of keyboard, chamber and orchestral music. This book focuses on Clementi’s keyboard sonatas and aims to shed new light on their relationship with the complex cross-currents of late eighteenth-century musical style, both in England, where Clementi was active for much of his career, and the continent, which he visited periodically.The first chapter summarises Clementi’s historical reputation as it developed in the nineteenth and twentieth centuries, and evaluates the impact on it of the significant developments in Clementi scholarship since 2000. The aim is to stress the deficiencies of the established view of Clementi as a keyboard pedagogue and to stress the importance of liberating him as much as possible from this ingrained perception. This is attempted, in the remaining chapters, through close, analytical readings of a variety of keyboard sonatas from all stages of his career, comparing them with a range of works by Haydn, Mozart, Beethoven and other contemporaries such as Jan Ladislav Dussek (1760-1812). The comparisons are made from the perspectives of distinguishing features of Clementi’s style such as his unusually intense deployment of strict counterpoint in the later keyboard sonatas; his cultivation of irregularity in recapitulations; his use of the ‘three-key’ exposition in the middle-to-later stages of his career that seems to anticipate nineteenth-century developments, and also his assimilation of heightened virtuosity into the earlier sonatas, often in the form of cadenzas more suggestive of the keyboard concerto a genre Clementi seems, rather strangely, to have neglected. The book has been envisaged as a direct response, not only to the most recent scholarship on Clementi, but also to current approaches to eighteenth-century music in general, including the interdisciplinary work of Annette Richards.
SKU: BO.B.3649
Padre Antonio Soler is the most important Spanish composer of keyboard instruments of the XVIII century. Born in Olot he was baptized in 1729 and died in El Escorial in 1787. As a young boy he entered the Escolania of Montserrat, where he studied composition and organ, coinciding at the same monastery with the also Spanish composer of that time, Fernando Sor. Padre Soler spent great part of his life in El Escorial as chapel master and organist and met in Madrid Italian composer Domenico Scarlatti with whom he developped a deep friendship inspired on mutual admiration.In spite of the similar styles of both composers the fluid inspiration of Padre Soler excels for his own personality, definitely influenced by Spanish roots. Furthermore, I ask myself if the fact of being at the same monastery of Montserrat with guitarist composer Fernando Sor didn't play an important role in the future development of Padre Soler's style.I have transcribed for two guitars these three sonatas in the hope that also the guitarists can enjoy playing these little jewels, truly musical delights, that Padre Antonio Soler left for us.
SKU: BO.B.3388
English comments: A Bach for string quartet is another evocation of the past, in this case of J.S. Bach's works for violin. Written in 2004, it is a recreation of two of the most important movements in the series of Sonatas and Partitas: The Adagio of the third Sonata and the Prelude of the third Partita (BWV 1005 and 1006, respectively). Jordi Cervello was a violinist and, as such, it should come as no surprise that he once again makes use of compositions written for his instrument. The Adagio, here in common time (the original by Bach is in three-four time), keeps up the constant rhythmic figure of the dotted quaver and semi-quaver throughout the movement, with a calmness that is shrouded in mystery. The second movement, Preludiando, retains the same lively spirit as the original, but explores different moods. Moments of calm, vigour and even some dramatic points give it a new dimension thanks to the fact that it is written for a quartet and to Cervello's original treatment of harmony and counterpoint.Co mentarios del Espanol:A Bach para cuarteto de cuerda es otra evocacion del pasado, en este caso de la obra para violin de J.S. Bach. Escrita el ano 2004, se trata de una recreacion de dos de los movimientos mas importantes de la serie de Sonatas y Partitas: El Adagio de la tercera Sonata y el Preludio de la tercera Partita (BWV 1005 y 1006 respectivamente). Jordi Cervello fue violinista y, como tal, no debe sorprender que una vez mas se sirva de material compositivo procedente de su instrumento. El Adagio, aqui en compas de cuatro (el original de Bach es de tres) conserva en todo el movimiento la constante figura ritmica de corchea con puntillo y semicorchea, dentro de un clima sereno pero rodeado de misterio. El segundo movimiento, Preludiando, conserva el mismo espiritu vivo del original, pero recorriendo diferentes estados de animo. Momentos de calma, de vigor e incluso dramaticos dan nueva dimension gracias a la escritura cuartetistica y al original tratamiento armonico y contrapuntistico de Cervello. A Bach se estreno en La Pedrera de Barcelona dentro del ciclo Celebracions de la Fundacio Caixa de Catalunya en el ano 2006 con el Quarteto Prometeo.
SKU: BT.DHP-1125253-070
9x12 inches. International.
T re Volti (Three Faces) has been commissioned by the renowned “New Trombone Collectiveâ€, exclusively existing of top-trombonists from the Dutch symphony orchestras. The world première was given by the commissioners and took place in “De Doelen†in Rotterdam on april 16th 2011 - during the “Slide Factory†- European Trombone Festival.The composer aimed to illustrate 3 different aspects of the instrument in as many movements. Effetti e Tecniche (Effects and Techniques) displays a large amount of specific spectacular and acrobatic possibilities and also various colors and sounds by using different mutes. It contains many “glissandi†as well as clusters with semi tones andquarter tones, all being “typical†for the trombone indeed. The Lamento Lirico (Lyrical Lamento) combines the rather serious and noble voice of the trombone with an aspect which not automatically is connected to that instrument: the melodical character. The overall atmosphere of this movement is somewhat sad and strained and refers to the many beautiful but rather dark passages in the orchestral and opera literature where the trombone section as such is used ...The final movement is called Sonata Antica (Antique Sonata) and is directly inspired by two “sonatas†for 3 and 4 trombones by Daniel Speer (1636 - 1707). It illustrates the “historical†dimension of the trombone: indeed it was the only brass instrument being able to play chromatically - many centuries before all other brass instruments - thanks to the unique slide system which even during the Middle Ages was applicable already. The antiphonal position, the dialoguing motives and the “neo-early-baroque € idiom really pay homage to Daniel Speer: he composed a certain number of pieces for brass instruments indeed and the composer used thematic material from his Sonatas in d and a in various ways, thus concluding this varied composition in a festive way. Een driedelige - uitdagende - suite voor trombone ensemble.Tre Volti (zu deutsch: Drei Gesichter) - In drei deutlich kontrastierenden Bewegungen versucht der Komponist, ebenso viele Facetten der Posaune zu beleuchten. Der erste Teil EFFETTI E TECNICHE präsentiert eine Reihe akrobatischer und spektakulärer Effekte, die auf diesem vielseitigen Instrument möglich sind, sowie einige Klangfarben (letztere mit einem Dämpfer gespielt). Das LAMENTO LIRICO enthält die eher ernsten Töne, welche die Posaune in der Regel spielt und kombiniert diese mit einem Aspekt, der doch eher ungewöhnlich für dieses Instrument ist: einem melodischen Charakter. Der dritte Satz - SONATA ANTICA - wurde unmittelbar von zwei der bekanntesten Sonaten vonDaniel Speer (1636-1701) inspiriert. Hier geht es um die historische Dimension der Posaune: Tatsächlich war sie das erste Blechblasinstrument, auf dem man - Jahrhunderte vor allen anderen - schon chromatisch spielen konnte. Tre Volti (Trois Visages) est une commande du prestigieux New Trombone Collective, composé des meilleurs trombonistes des orchestres symphoniques néerlandais. La première mondiale, assurée par la formation dédicataire, a eu lieu le 16 avril 2011 au Doelen de Rotterdam dans le cadre du “Slide Factoryâ€, le festival européen consacré aux trombones.Le compositeur souhaitait illustrer trois aspects de l’instrument en trois mouvements. Effetti e Tecniche (Effets et Techniques) évoque les nombreuses possibilités acrobatiques du trombone, ainsi que l’emploi de sourdines pour obtenir différents timbres et couleurs. Ce mouvement développe de nombreux glissandi ainsi quedes mesures avec des demi-tons et quart de tons, des effets “typiques†du trombone. Le Lamento Lirico (Complainte Lyrique) tisse une trame l’empreinte mélodique et aux motifs plutôt nobles et sérieux, mettant en évidence l’une des caractéristiques que l’on n’associe pas toujours avec cet instrument. Le climat général de ce mouvement, quelque peu triste et tendu, fait référence aux nombreuses oeuvres orchestrales et opératiques où les trombones se voient attribuer des passages sombres et mélancoliques.Le dernier mouvement, intitulé Sonata Antica, s’inspire directement de deux sonates de Daniel Speer (1636-1707) pour trois et quatre trombones respectivement. Il illustre la dimension historique du trombone, qui était d’ailleurs, au Moyen ge, le seul cuivre capable de jouer chromatiquement gr ce au système de coulisse, et ce plusieurs siècles avant les autres cuivres. La forme antiphonale, les motifs de dialogue et l’idiome “ancien néo-baroque†rendent hommage Daniel Speer. Le compositeur de Tre Volti a emprunté, sa manière, plusieurs thèmes des sonates en Ré et en La pour conclure joyeusement cette composition aux multiples facettes.
SKU: BR.EB-9450
ISBN 9790004189276. 9 x 12 inches.
It is quite amazing that the piano works of the English composer Ethel Smyth had remained unpublished until 2003. All of them were written during her Leipzig study years after 1877, a period that Ethel Smyth herself described as the happiest time of her life. In Leipzig, she met such musical giants as Brahms, Clara Schumann, Dvorak, Grieg and Tchaikovsky. It should come as no surprise that these encounters left stylistic traces in Ethel Smyth's piano oeuvre.Smyth wrote the three piano sonatas in 1877, yet they are stylistically diverse: Smyth raced through a kind of musico-historical evolution. Her point of departure was Haydn and Mozart, who clearly inspired her sonata in C major. It was followed by the impassionate sonata in C sharp minor, which was inspired by the actress Marie Geistinger. The two-movement fragment in D major, reflecting Ethel Smyth's admiration for Brahms, concludes the sonatas.Most of the other piano pieces borrow their atmosphere and titles from Baroque models (dance movements, genre pieces) and are technically undemanding. They have been arranged in this edition in order of progressive difficulty.It is quite amazing that the piano works of the English composer Ethel Smyth had remained unpublished to this day. She wrote all of these pieces during her years of study in Leipzig, after 1877.
SKU: HH.HH286-FSP
ISBN 9790708092254.
A true Grand Duo for cello and piano to provide a much needed connection between the first sonatas for this combination -- by Beethoven -- and the later 19th century repertoire. Eberl's heroic style provides a masterly alternative to the over familiar works, with the balance of power between the two players scrupulously maintained throughout, and ingenious formal innovations. The Rhapsodie finale in particular, with sections in varying metres and moods, resolves in an elegant Pastorale, an entirely new format for this combination. The composer thoughtfully provided an adaptation of the cello part for violin containing many differences which will be of interest to players of both instruments; both string parts are included in this publication.
SKU: BT.DHP-1125079-400
ISBN 9789043141321. 9x12 inches. English-German-French-Dut ch.
J.S. Bach (1685-1750) wrote several solo unaccompanied works, such as the six suites for Cello, and many sonatas and partitas. Frits Damrow has worked on 22 such solo works to arrange them for trumpet solo and make Bach accessible to all trumpetplayers. The CD includes demonstrations by Fritz Damrow.J.S. Bach (1685-1750) schreef meerdere solowerken zonder begeleiding. Voorbeelden hiervan zijn zes suites voor cello en diverse partitas en sonates voor fluit en viool. Trompetvirtuoos Frits Damrow bewerkte tweeëntwintig van dezesolowerken voor trompet. Hij maakte daarmee de solomuziek van deze geniale componist toegankelijk voor alle trompettisten. Damrow zélf speelde de bijbehorende cd in.J.S. Bach (1685-1750) schrieb mehrere Solowerke ohne Begleitung, wie z. B. die sechs Suiten für Cello und diverse Partitas und Sonaten für Flöte und Violine. Frits Damrow bearbeitete 22 solcher Solostücke für Trompete und machte damit die Solomusikdieses genialen Komponisten allen Trompetern zugänglich. Auch die CD spielte der Meistertrompeter selbst ein.J. S. Bach (1685-1750) a composé un grand nombre dÅ?uvres pour instrument solo, comme par exemple les Six Suites pour Violoncelle seul, et autres pièces et sonates pour Violon ou Fl te Traversière. 22 dentre elles ont été arrangées par Fritz Damrow,rendant de véritables pépites musicales accessibles aux trompettistes. Sur le CD joint au recueil sont enregistrées toutes les pièces interprétées par Fritz Damrow lui-même.J. S. Bach scrisse molti testi per strumento solo senza accompagnamento, come per esempio le sei suite per violoncello e diverse Partite per violino. Frits Damrow ha arrangiato per tromba 22 soli, rendendo così accessibile ai trombettisti solistiquesta splendida musica. La traccia con la versione demo è eseguita dallo stesso Frits Damrow.
SKU: UT.QC-3
ISBN 9788881094639. 6.5 x 9.5 inches. Performed by Arthur Schoonderwoerd.
Saggi di Rudolf Angermüller, Bianca Maria Antolini, Luca Aversano, Otto Biba, Ala Botti Caselli, Anik Devriès-Lesure, Arnfried Edler, Markus Engelhardt, Christoph Flamm, Anselm Gerhard, Rudolf Hopfner, Roberto Illiano, Janina Klassen, Laurence Libin, Elena Previdi, Rudolf Rasch, Massimiliano Sala, Guido Salvetti, Duane White, Christian Witt-DörringThis volume offers the reader a journey into the highways and byways of the culture of the pianoforte, covering certain new aspects. The range of themes treated is vast, proof of the central nature of the instrument in European musical life on the cusp of the eighteenth and nineteenth centuries. On the basis of original research, investigations have been made into the different ways in which the spread of instruments and printed music occurred; into the movements of musicians circulating from one end of Europe to the other; into the circulation of genres, forms, musical styles and stylistic elements conveyed including through the teaching of the instrument; into the presence of the pianoforte in the European literature and the arrangements for instruments at the beginning of the nineteenth century; into the role of the pianoforte in certain important centres in Europe and the United States. A rich period for European music, therefore, in which the opportunities for contact and mutual exchange among the musicians were particularly intense and in which the pianoforte acted as a catalyst in private and public musical life in all the cities of Europe.The volume comes with the bonus of a CD, appositely providing pianoforte sonatas by Cramer, Hummel, Eberl and Beethoven.
SKU: BT.DHP-0900159-030
In this composition, Dizzy Stratford gives a musical impression of Wolfgang Amadeus Mozart’s beautiful hometown. The theme of the work has been derived from the middle movement of one of Mozart’s piano sonatas and provides the concert band with a glimpse into the creative genius of this great composer. Das Andante in G-Dur KV 501 wurde von Wolfgang Amadeus Mozart ursprünglich für Klavier zu vier Händen geschrieben. Dizzy Stratford nahm die bezaubernde, leichte Melodie und setzte sie in ein etwas moderneres, aber ebenso leichtes und reizvolles Stück für Brass Band um, in dem tiefe und hohe Register gleichermaßen zum Zug kommen. C’est de Salzbourg l’enchanteresse, ville natale du grand Mozart, que Dizzy Stratford s’est laissé inspirer pour rendre hommage au génie musical autrichien. La courbe mélodique basée sur le célèbre Andante en Sol Majeur de Mozart est superbe, et fl ne travers plusieurs pupitres de la formation. Le fond orchestral est éthéré et délicat.
SKU: HL.50566030
ISBN 9798350104448. UPC: 196288168393. 9.0x12.0x0.147 inches.
Debussy composed the Sonate for cello and piano in Normandy, in July 1915. At the age of 53, distressed by the war and afflicted by an illness that prevented him from composing, he resumed his work with the writing of this Sonate. Though his intention of assertinga French style in the tradition of the great masters of the 18th century, Debussy repeatedly affirmed the absence of a programmatic idea in the sonata: “I have written nothing but pure music. [...] in the old form, so flexible (without the grandiloquence of modern sonatas)â€. This volume is part of “Musique françaiseâ€, a series designed for students and teachers as well as professionals; it offers historical introduction and performance suggestions by the notable cellist Emmanuelle Bertrand.