SKU: HL.366183
UPC: 810100410483. 3.0x9.0x1.714 inches.
The Heil HH-1 drum mic mount is patent pending, in part, for its utility in mounting microphones to drums securely. The HH-1 offers several options to mount, including via the rim, or to the mounting hoops of the drums. The fully adjustable HH-1 was developed with input from jazz drummer and producer Hunter Herman (hence the HH-1 designation). The HH-1 addresses the need to place drum mics in perfect proximity to the drum to get the desired sound, while ergonomically mounting and remaining fully adjustable. Whether top mounting, or for when you need a little space between the drum & mic, and/or you're mounting from underneath, you can place your mic with confidence. With the HH-1, you can get into the tightest of tight spots, and you can place microphones where they are going to operate at their optimum level of performance. In live situations, the HH-1 lets sound technicians do great work, without fear of mic stands moving around, or worrying about inferior mounts that tend to break. Accepts 1/4″-20 and 5/8″-27 standard mic threads.
SKU: HH.HH584-FSP
ISBN 9790708185994.
Stanley Sadie’s opinion, expressed in 1963, that the two of the twelve trio sonatas by Frederick Ernest Fisher(1711/12–1760), divided equally between Op. 1 (c.1751) and Op. 2 (c.1761), were ‘among the finest of their time’ while some of the others were ‘remarkably inventive and original’ almost sells this composer short. Every single one of these works, scored for two violins, cello and harpsichord, is masterly and deserves a permanent place in the repertoire. Born in or near Kassel, Fisher spent several years in Holland, teaching music from 1741 to 1745 at the university of Leiden, before emigrating to England. After spending about two years in London he settled permanently in Cambridge, where he taught music to members of the local music society. His Op. 1 set, dedicated to the same society, epitomizes the ‘social’ character of the trio sonata genre, where individual virtuosity yields its place to amicable interaction between the players. Fisher was a cellist as well as a violinist, and this background is brought out by the rare eloquence of his bass lines. The diversity of movement types in these ordinarily three-movement sonatas is very attractive. They include powerful fugues, expansive movements in sonata form, languorous middle movements reminiscent of those in operatic overtures and a selection of dance movements, all of which mix baroque, galant and classical elements in a convincing synthesis.
SKU: HH.HH585-FSP
ISBN 9790708213000.
SKU: HH.HH587-FSP
ISBN 9790708213024.
Fisher’s Op. 2 set is externally very similar to its Op. 1 predecessor in its combinations of movement types and musical language, but now has an added spaciousness and audacity born of greater maturity. Everything is wonderfully blended: the fugal movements are melodious; the ‘singing allegros’ are harmonically rich and contrapuntally charged; the dance-like movements, full of happy surprises, fizz and purr. Op. 2 appeared in print only in the year following Fisher’s death. Surprisingly in the circumstances, the level of accuracy in the engraved parts matched the high standard set by Op. 1. This would have gratified the composer, who was so evidently a perfectionist in all he undertook.
SKU: HH.HH425-FSP
ISBN 9790708146261.
Among Vienna’s many composers and pianists of the time, Anton Eberl (1765–1807) was the one considered most worthy of comparison with Beethoven. His Sonata in A minor, Op.10 No.1, is probably the third of his seven sonatas with violin, and was published with an optional ‘basse’ – doubtless intended to be a part for a cellist – which permitted performance as a piano trio. In its duration, formal and harmonic novelty, and in the lively relationship between the violin and keyboard, his Op.10 No.1 shares much of the musical ambition and quality of Beethoven’s early works in this genre.
SKU: HH.HH577-FSP
ISBN 9790708185932.
In these sonatas he betrays his Italian leanings and especially his debt to the Italian violinist Carbonelli, who was his friend and possibly also teacher. Mixed in with the Italian elements are ones taken from English song, where Holcombe excelled. The result is a fascinating stylistic synthesis and a valuable contribution to violin literature.
SKU: HH.HH586-FSP
ISBN 9790708213017.
Saint Pancras refers to the original name of the Hooglandse Kerk in Leiden, the Netherlands, where Emma is composer in residence.
SKU: HH.HH572-FSP
ISBN 9790708185871.
The cello sonatas, now published in a modern edition for the first time, are all in three or four movements. They bubble with life and have moments of great drama, particularly in the development sections of the sonata-form movements. The expressive depth of their slow movements is equally impressive. Ignored for too long, Eiffert deserves respect, recognition and, above all, a chance for his music to be heard again.
SKU: HH.HH569-SOL
ISBN 9790708185840.
Rigel’s keyboard music is a relatively neglected area within his oeuvre. This edition of his first published collection – a set of six sonatas for solo harpsichord or piano issued in 1767 – seeks to bring it to the attention of players and listeners. These highly idiomatic sonatas display the richness and pan-European character of Rigel’s musical inheritance. In them we hear a blend of influences drawn from the Italian tradition of galant keyboard music, the drama-filled world of the German symphony and the intimate milieu of French pièces de clavecin.
SKU: HH.HH588-FSP
ISBN 9790708213031.
Magito's sonatas are at once beautifully melodic and virtuosic. They were unmistakably composed by a composer who knew the technical possibilities of the instrument. They bear a resemblance to the Opus 8 & 13 sonatas by another Dutch composer, Willem de Fesch, insofar as many of the last movements are minuets.
