/ Ensemble Mixte
SKU: SU.50034900
Copyright 1975. Published by: Seesaw Music.
SKU: BR.EB-8901
ISBN 9790004185292. 9 x 12 inches.
The composition of works for solo piano runs through Hans Gal's entire oeuvre. Like all of the piano reductions for his operas, cantatas and solo concertos, the piano reduction of the Piano Concerto Op. 57 was written by the composer himself. First performed in Bournemouth in 1949, the Piano Concerto fell into oblivion after 1959, only to be performed again in 2009 by Hartmut Hudezeck for the first time in 50 years. The chamber-musical texture of the Piano Concerto - each part literally plays a role and has an independent contrapuntal function makes rehearsing with the aid of the piano reduction virtually indispensable. The present critical new edition was prepared by Anthony Fox with the essential support of Hartmut Hudezeck, who, thanks to his practical performance experience and his expertise in the field, was able to address not only questions of content but also of performance practice. Moreover, the edition benefits from Sarah Beth Briggs's annotations, who first recorded the work with the Royal Northern Sinfonia under the baton of Kenneth Woods on CD. The Concerto is notable for its tightly organized musical material shared equally between soloist and orchestra: ...attractive and accessible... (Erik Levi, BBC Music Magazine).
SKU: PR.114417250
ISBN 9781491110928. UPC: 680160631469. 9x12 inches. Key: F.
Concertino in F for English Horn and OrchestraPreviously known only through a spurious edition in G Major, the authentic Concertino in F was recently discovered in Italy by Pedro Diaz, English Hornist of the Metropolitan Opera Orchestra. Diaz prepared this ground-breaking authentic edition through comparison of the multiple historical sources and an intimate knowledge of Donizetti's works. The new edition in F Major is embellished with footnotes regarding sources and ornamentation. The piano reduction and orchestral score and parts (available on rental) were prepared by composer/oboist Mark Biggam in tandem with Diaz's work, and the publication includes extensive historical notes by scholar Michael Finkelman. PEDRO DIAZ joined The Metropolitan Opera Orchestra in 2005 and has performed as solo English Hornist in hundreds of productions. As a sought after teacher, Mr. DÃaz has lectured extensively at top music conservatories including The Juilliard School, The Manhattan School of Music, The Eastman School of Music,The Hartt Music School, and Duquesne University. His international appearances include masterclasses in Panama, Italy, Mexico, Canada, Puerto Rico, Leipzig, Berlin, and Italy.A native of Puerto Rico, he received his early musical training in the “Escuela Libre de Musica,†an esteemed public school for the performing arts. He has performed as a guest artist with the Chicago Symphony, New York Philharmonic, and many other leading ensembles. His playing has been hailed by critics as evocative, eloquent and expressive and is considered one of the pre-eminent players of his generation. Mr. DÃaz has performed Wagner’s Tristan und Isolde 24 times under the batons of James Levine, Daniel Barenboim, and Sir Simon Rattle.Pedro DÃaz’s recording of the Donizetti Concertino in F and other concerti is available from Fox Products and online sources, performed with members of the Metropolitan Opera Orchestra. MARK BIGGAM’s compositions have been recognized in various venues throughout the United States, Central America, Asia, and Europe. He has received awards from ASCAP and the Cleveland Foundation. An oboist himself, many of Biggam’s compositions have been performed by notable oboists and English Horn players including John Mack, Joseph Robinson, Pedro DÃaz, Carolyn Hove, and Dwight Parry. Premieres of his works have been featured at events including the International Double Reed Society and John Mack Legacy Camp.Biggam’s choral works have gained recognition, awards, and commissions from organizations including the Moravian Music Foundation, Ohio BoyChoir, and Triad Pride Men’s Chorus. He also has published arrangements and piano reductions of J.S. Bach’s music for Bärenreiter-Verlag. His collaborations with Pedro DÃaz include the Donizetti Concertino in F as well as works of the lesser-known composers Pilotti and Mares, recorded by Mr. Diaz and members of the Metropolitan Opera Orchestra. Biggam has alsoprepared arrangements and settings of works for symphonic band, which have been performed by the Piedmont Wind Symphony.
SKU: AP.36-A151902
UPC: 660355031649. English.
Written by Norwegian composer Edvard Grieg (1843-1907) in 1868, the Piano Concerto in A minor, Op. 16 is the only concerto completed by Grieg. It remains one of his most popular works and is among the most popular concerti for piano in the repertoire. Similar to, and perhaps influenced by, Robert Schumann's Piano Concerto, the work also provides some evidence of Grieg's interest in Norwegian folk music, with the cascading motif of a falling minor second followed by a falling major third in the opening flourish typical to the folk music of the composer's native country. Recorded by Wilhelm Backhaus in 1909, this piano concerto is the first to ever be recorded, albeit heavily abridged to only six minutes due to technological limitations. Instrumentation: 2(2dPicc).2.2.2: 4.2.3.0: Timp: Str (9-8-7-6-5 in set): Solo Piano.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-A197001
UPC: 746241240415. English.
Written in only 17 days at the request of famed Russian pianist Anton Rubinstein so that Rubinstein could enjoy his Parisian conducting debut with Saint-Saëns, this PIANO CONCERTO NO. 2 in G minor is an example of Saint-Saëns' more musically progressive early period and is probably his most popular piano concerto. This edition by Clinton Nieweg and Nancy Bradburd is newly engraved and includes transposed parts along with the original keys for certain instruments to make the work more accessible. The set includes the piano solo, with an orchestra reduction by Adam Laussel, which is also available sepa rately. Instrumentation in set: 2.2.2.2: 2.2.0.0: Timp.Cym(opt): Str (9-8-7-6-5 included): Solo Piano.
SKU: AP.36-A197048
UPC: 660355070747. English.
Written in only 17 days at the request of famed Russian pianist Anton Rubinstein so that Rubinstein could enjoy his Parisian conducting debut while Saint-Saëns, this PIANO CONCERTO NO. 2 in G minor is an example of Saint-Saëns' more musically progressive early period and is probably his most popular piano concerto. This reduction of the orchestra with the piano solo has been completed by Adam Laussel. An edition of the score and parts by Clinton Nieweg and Nancy Bradburd is also available from the publisher.
SKU: AP.36-A701601
UPC: 660355013560. English.
Rachmaninoff's Piano Concerto No. 4 in G minor, Op. 40, was completed in 1926. The work exists in three versions. Following its unsuccessful premiere, the composer made cuts and other amendments before publishing it in 1928. With continued lack of success, he withdrew the work, eventually revising and republishing it in 1941 (Second revised version, most generally performed today). The original manuscript version was released in 2000 by the Rachmaninoff Estate to be published and recorded. The work is dedicated to Nikolai Medtner, who in turn dedicated his Second Piano Concerto to Rachmaninoff the following year.
SKU: AP.36-A241901
UPC: 660355021398. English.
Written between the autumn of 1900 and April 1901, Sergei Rachmaninoff's Concerto for Piano No. 2 remains one of the composer's most enduringly popular pieces and cemented his reputation as composer of concerti. It also served as confirmation of the end of Rachmaninoff's three-year bout with clinical depression and writer's block that stemmed, in part, from the poor reception by critics of his first symphony in 1897. Instrumentation: Solo Piano: 2.2.2.2: 4.2.3.1: Timp.Perc: Str (9-8-7-6-5 in set).
SKU: HL.359826
ISBN 9781705122280. UPC: 840126946390. 9x12 inches. Kamillo Lendvay.
Henri Vieuxtemps was a remarkably productive composer who wrote seven violin concertos, concert etudes, two viola sonatas and a dozen or so chamber works, yet the bulk of his output consists of works for violin and piano. Vieuxtemps's favorite musical form was the then-fashionable fantasy on themes from well-known operas, of which he left us quite a number. The Romance originally composed for violin and piano is based on a theme from Stanislaw Moniuszko's national opera Halka (Jontek's famous aria 'Szumia jodly na gór szcycie' [The firs sough on the mountain top.]). The present edition is based on Zdzislaw Jahnke's 1952 edition. This work gives the player the opportunity to display a beautiful tone and proficiency in both the left and right hand; it is also a marvelous exercise in rubato playing.
SKU: PR.114419850
ISBN 9781491135808. UPC: 680160681044. 9 x 12 inches.
Both a spectacular concerto for saxophone, and a dramatic tone poem on Roman mythology, QUICKSILVER is a 23-minute concerto for Alto Saxophone and Wind Ensemble by one of the sax literature’s most commissioned and admired composers.Through worded captions as well as gorgeously expressive tone painting, Movement 1 depicts the birth and childhood pranks of Mercury, Movement 2 shows him escorting souls to the gates of the Underworld, and Movement 3 is a phantasmagoric finale portraying Mercury as messenger amid the conflicts of other mythological figures. There are many YouTube performances available, both in the original version with Wind Ensemble, and with Piano.In addition to being another name for the element mercury, “quicksilver†is used to describe something that changes quickly or is difficult to contain. My concerto of the same name was inspired by the Roman god Mercury, as well as the mercurial nature of the saxophone: unpredictable, very lively, and volatile. Mercury (known as Hermes in Greek mythology) is best known for his winged shoes, which allowed him to fly swiftly as the messenger of his fellow Olympians. Mercury had other duties too, including serving as the god of merchants, travelers, and tricksters; he also ushered souls of the departed to the Underworld.Quicksilver tells three tales of the Roman god. The first movement (Antics of a Newborn God) opens with the birth of Mercury; after he takes his first steps, he toddles around, gleefully looking for mischief. He stumbles across a herd of cows that belong to his brother Apollo; Mercury slyly lets the cows out of their pen before toddling onward with his mischief-making.In the second movement (Guiding Souls to the Underworld), Pluto, god of the Underworld, bids Mercury to bring him fresh souls. The movement begins with death-knells tolling for humans who are about to die; Mercury picks up these souls and leads them down to the gates of the Underworld.The third and final movement (Messenger of Olympus) depicts Mercury as he is busily running errands for various gods and goddesses. We first encounter him mid-flight as he dashes to earth to find Aeneas, a Trojan lieutenant who had been run out of Troy by the invading Greeks. Aeneas is on a quest to find land on which to establish a new city that would eventually become Rome. While traveling, he is distracted from his quest when he meets the beautiful queen Dido. They live together for many years before Mercury intervenes; he chastises Aeneas for giving up on his quest and persuades him to pick it up again. As Aeneas mournfully resumes his journey, we hear Dido perish of a broken heart. Mercury then takes to the skies to seek out Perseus, who is preparing to kill Medusa, the hideous gorgon who has snakes for hair and a gaze that turns those who catch her glance into stone. Mercury advises Perseus on how to slay Medusa and lends Perseus his sword to do the deed. We hear Perseus victorious in the beheading of Medusa, after which Mercury takes to the skies once more to fly home to Olympus.
SKU: PR.114418820
ISBN 9781491113998. UPC: 680160667697.
Composed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.______________________________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,†for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.
SKU: AP.36-M326991
UPC: 660355184079. English.
Max Bruch (1838-1920) was a German composer and contemporary of Johannes Brahms, with a style very much in the same Romantic classicism camp as that of his better known friend. Best known for his violin concerti and choral works, his chamber works are also revived occasionally. This reprint collection of short Romantic works for piano include the following: I. Andante sostenuto, II. Andante con moto, III. Impromptu. Allegretto, IV. Moderato, V. Walzer. Grazioso, and VI. Andante con larghezza.
SKU: ST.C354
ISBN 9790570813544.
Attractive and very playable concerto for bassoon with either piano or strings.The five concertos of Henry Hargrave were published in 1760 or 1765 and were available to customers in London, Grantham and Cambridge, as well as from Henry Hargrave’s home in Nottingham. He has an impressive list of subscribers backing the publication, suggesting that he was a respected musician and a shrewd businessman. They are probably the earliest concerti to be published in parts in Britain. Concertos I, II and IV are scored for bassoon and strings, whereas Nos. II and V are for oboe, bassoon and strings. In Concerto IV, there is a figured bass provided for use by a keyboard player. A string quartet will provide a very successful accompaniment to the concerto, with or without keyboard. The bassoon concerto has been recorded by Daniel Smith with the English Chamber Orchestra, conducted by Philip Ledger.This edition and the piano reduction were prepared by C.M.M. Nex, F.H. Nex and K.R. Malloch from the copy held in the British Library (shelf mark g.32. and h.210.j.(1.). Originally published by Phylloscopus Publications.Grades 6–8Former Spartan Press Cat. No.: PP26Piano reduction version available here.
SKU: ST.C353
ISBN 9790570813537.
Attractive and very playable concerto for bassoon with either piano or strings.The five concertos of Henry Hargrave were published in 1760 or 1765 and were available to customers in London, Grantham and Cambridge, as well as from Henry Hargrave’s home in Nottingham. He has an impressive list of subscribers backing the publication, suggesting that he was a respected musician and a shrewd businessman. They are probably the earliest concerti to be published in parts in Britain. Concertos I, II and IV are scored for bassoon and strings, whereas Nos. II and V are for oboe, bassoon and strings. In Concerto IV, there is a figured bass provided for use by a keyboard player. A string quartet will provide a very successful accompaniment to the concerto, with or without keyboard. The bassoon concerto has been recorded by Daniel Smith with the English Chamber Orchestra, conducted by Philip Ledger.This edition and the full score and parts were prepared by C.M.M. Nex, F.H. Nex and K.R. Malloch from the copy held in the British Library (shelf mark g.32. and h.210.j.(1.). Originally published by Phylloscopus Publications.Grades 6–8Former Spartan Press Cat. No.: PP26AFull score and parts available here.