SKU: IS.GP4589EM
ISBN 9790365045891.
Belgian composer René Barbier (1890 - 1981) was born in Namur and studied music composition with at the Royal Conservatory of Brussels with Paul Gilson, and the Conservatory of Liège with Sylvain Dupuis. His Concerto for Guitar was first published in 1966 and is presented here in reduction form for guitar and piano.
SKU: HL.48184213
UPC: 888680861001. 9x12 inches.
1er Mouvement en Hommage à Frédéric Chopin; 2e Mouvement en Hommage à Gustav Mahler; 3e Mouvement en Hommage à Giuseppe Verdi.
SKU: MB.31076M
ISBN 9781513477695. 8.75x11.75 inches.
Following the model established by Bach and Chopin, George Gershwin (1898 â?? 1937) originally planned to write 24 modern preludes for piano, one in each major and relative minor key. The collection was to be called The Melting Pot as it combined cross-cultural elements of classical, popular, jazz, and blues styles. Already established as a composer of popular songs, Broadway musicals, and masterpieces like Rhapsody in Blue and Concerto in F, Gershwinâ??s frenetic musical activities and an early death intervened, and for various reasonsâ??only three of the completed 5-7 preludes were published in 1927. By omission and circumstance, these three compositions have endured the test of time as Gershwinâ??s Three Preludes.àThis book presents idiomatic flute/guitar arrangements of Gershwinâ??s iconic Three Preludes. The original keys of the preludes were altered to accommodate drop-D guitar tuning and highlight the strengths and tessituras of the two instruments. The music is written in standard notation only and presented in guitar and flute scores, guitar accompaniment with extensive suggested fingering, and a pull-out flute solo part with guitar cues. Includes access to an outstanding online audio recording by The Cypress Duo, featuring flutist Amanda Hoke and author/guitarist Justin Hoke.àAudiences are going to love hearing these preludes rendered by the flute and guitar, particularly â??Prelude IIâ?Â, in Gershwinâ??s words, â??a sort of blues lullabyâ? that is familiar to many musicians and listeners alike.
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 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: CR.983464
Close choral harmonies, optional C instrument, optional guitar, and keyboard flow together to create a unique arrangement. The instrumental introduction leads to a stanza for optional soprano solo and two-part women. Text by Timothy Dudley-Smith. SATB, opt guitar, optional C-instrument, keyboard; Easy-medium difficulty.
SKU: DZ.DZ-4287
ISBN 9782898522048.
Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
SKU: BT.DHP-1012654-060
ISBN 9789043149990.
Dit Concerto is melodisch en harmonisch gebaseerd op de grondbeginselen van de barokke concerto-stijl. Ook een aan de popmuziek ontleend ritme werd erin verwerkt, op zo’n manier dat het succes bij zowel muzikanten als toehoordersniet kan uitblijven.Dieses aus Radio und Fernsehen bekannte Concerto basiert melodisch und harmonisch auf den Grundsätzen des barocken Concerto-Stils. Ein der Popmusik entstammender Rhythmus wurde so integriert, dass der Erfolg sowohl bei Ihren Musikern als bei Ihren Zuhörern nicht ausbleiben wird. En 1980, le pianiste et compositeur italien Gian Piero Reverberi fonde l’ensemble Rondò Veneziano. Le style musical, directement inspiré de la musique baroque et associé des instruments modernes (batterie, guitare basse, synthé), séduit immédiatement. Concerto est basée tant pour la forme que pour l’harmonisation sur les principes du concerto baroque italien. L’adjonction d’un rythme emprunté la musique pop apporte une touche énergique et dansante. Gerd Huber a réalisé cet arrangement original qui conserve le charme authentiquement vénitien du Rondò Veneziano.
SKU: HL.14009153
ISBN 9788759887776. Danish.
Double Concerto for Harp, Guitar and Orchestra by Karl Aage Rasmussen (1998). Orch. parts are available on hire: hire@ewh.dk Harp solo part: KP00678C Guitar solo part: KP00678D.
SKU: CF.CY1404F
ISBN 9780825868603. UPC: 798408068608. 11 x 14 inches.
SKU: FG.55011-324-4
ISBN 9790550113244.
Quadri Morandi (2014) ties together two essential themes of Kai Niminen's (b. 1953) compositional style: guitar and a subject inspired by Italy. The strong presence of the guitar in his works is natural since he is in an actively performing guitarist himself, and guitar works indeed play a significant role in his oeuvre. Moreover, he has written plenty of orchestral music; for instance two symphonies, numerous concertos, and chamber music. In the field of Finnish music he is a composer who can be characterized as free from any specific school or style. In his musical language, free tonal in essence, one can detect traces of Impressionism, Neoromanticism and even Expressionism at times, but he is also willing to employ more recent 20th-century stylistic devices. Nieminen has mentioned that he finds himself very similar to Japanese Toru Takemitsu both musically and in thought. Mediterannean culture and Italy especially have been close to Nieminen's heart ever since he first visited the country and appeared in the jury of the international Fernando Sor guitar competition in 1981. He has composed a great number of works which refer to Italian landscapes or artists. The work Quadri Morandi (Morandi's pictures) is written in four movements. It has at its centre the painter Giorgio Morandi (1890-1964), who is known as a master of still lifes and landscapes painted in a plain manner and is subdued colours. Their atmosphere typically reflects a calm spirit. This is the third guitar work that nieminen has written for Kleemola. It is easy to find a counterpart for the encaptivating realm of Morandi's art in Nieminen's clear and pure expression. The titles and expression markings also include several references to Morandi. For example, in the opening movement Prelude the words la Natura morta (still life) appear as an additional note on the chord sequence following the freely flowing opening section. At the end of the movement one can hear rhythmic motif coloured with flageolets that repeats the syllables of the painter's name: Gior-gio Moran-di. A similar motif can be heard at the end of the second movement Quasi cadenza. The tranquilly breathing third movement Paesaggio (landscape) creates an illusion of landscape by imitating the echo of monastery bells (come campane del monastero) and at the same time refers to il monaco (the monk), the name by which Morandi was often called. The final movement Ritratto (Portrait) is the most extensive of all the movements and can be seen, with its recurring motifs, as a reflection of the stable yet subtly varying elements of Morandi's art. The work ends with the rhythmic motif that once more echoes Morandi's name, like signature.
SKU: BT.1604-09-010-MS
9x12 inches. English-German-French-Dutch.
De Italiaanse pianist, componist, arrangeur en dirigent Gian Piero Reverberi is de oprichter en muzikaal leider van het succesvolle barokensemble Rondo Veneziano. Sinfonia per un Addio is een van de bekendste werken, die Reverbivoor dit unieke ensemble schreef. Het is een gemakkelijk in het gehoor liggend werk, dat op een mooie wijze door Lorenzo Bocci is bewerkt voor harmonieorkest.Der italienische Pianist, Komponist, Arrangeur und Dirigent Gian Piero Reverberi ist der Gründer und musikalische Leiter des erfolgreichen zeitgenössischen Barockensembles Rondo Veneziano. Sinfonia per un Addio ist eines der bekanntesten Stücke, die Reverberi für diese einzigartige Formation schrieb. Die eingängige Musik eignet sich gut für eine Blasorchesterbearbeitung, die Lorenzo Bocci ausgezeichnet gelungen ist. En 1980, le pianiste et compositeur italien Gian Piero Reverberi fonde l’ensemble Rondò Veneziano. Le style musical, directement inspiré de la musique baroque et associé des instruments modernes (batterie, guitare basse, synthé), séduit immédiatement. Avec Concerto et San Marco, Sinfonia per un Addio est un des plus grands succès de cet ensemble unique. La musique est légère, mélodieuse et facile suivre. Lorenzo Bocci a réalisé un arrangement pour Orchestre d’Harmonie qui conserve le charme authentiquement vénitien du Rondò Veneziano.
SKU: BT.1604-09-140-MS
