SKU: M7.ART-42139
ISBN 9783866421394.
'Romantic Piano Emotions' ist für Jugendliche und Erwachsene gedacht, die gerne emotionale und gefühlvoll-romantische Klaviermusik spielen. Die 25 mittelleichten bis leicht anspruchsvollen Stücke besitzen klare harmonische Strukturen und fantasievolle, leicht zu merkende Melodien. Die Kompositionen treffen sich musikalisch in der Mitte zwischen 'klassisch' und 'modern' und bereichern einerseits das klassische Repertoire durch moderne Klänge und Rhythmen, andererseits werden die technisch-pianistischen Fähigkeiten ausgebaut, die eine vielseitige Anwendung beim Spielen anspruchsvollerer Klaviermusik anderer Stilrichtungen finden. Das Erarbeiten der Klavierstücke bringt dem fortgeschrittenen Anfänger verschiedene technische Aufgaben wie Akkordspiel, leichte Zweistimmigkeit bzw. Melodie und Begleitung mit der rechten Hand gleichzeitig, Terz-Doppelgriffe, Tonleiter- und Arpeggiopassagen grundlegend näher. Besondere Aufmerksamkeit gilt der linken Hand, die unterschiedliche Begleitmuster beherrschen soll oder auch als melodieführende Hand hervortritt. Alle Stücke sind mit einem ausführlichen Fingersatz versehen, welcher Wiedereinsteigern und Autodidakten das Spiel erleichtert. 'Romantic Piano Emotions' ist für den allgemeinen Klavierunterricht, zum Selbststudium und für das entspannte häusliche Musizieren bestens geeignet. Freude und Spaß am Spielen stehen dabei im Vordergrund.
SKU: FG.55011-906-2
ISBN 9790550119062.
Harri Wessman's Summer Variations for viola and piano (1998) exploites the rich and romantic sound of the viola and enjoys the many shades of summer days. It is dedicated to violist Yuri Gandelsman, who premiered the suite with Risto Lauriala 15th June 1998.Duration: c. 11'Movements:1. Summer theme2. What is this?3. Pizzicato4. Con sordino5. Stile concitato ostinato6. Tango7. FinaleHarri Wessman (b. 1949) is interested in all aspects of music that may be expressive, without in any way ignoring the possibilities of melody. He himself describes his harmonic method as a kind of contrapuntally treated jazz harmony. Wessman is particularly preoccupied with the ability of music to express emotions, an interest which has led him to study the so-called doctrine of the affections and the musical rhetoric of the baroque era. His Eine kleine Figurenlehre for wind quartet and piano is a playful application of a set of baroque musical figures.His output is dominated by chamber and vocal music as well as a number of concertos for various instruments such as the Concerto for Trumpet and Orchestra and the Serenade for Piano and String Orchestra. During recent years pedagogic music has become a more and more central area in his output with an emphasis on creating repertoire for budding musicians, from beginners to young professionals. He has even tailored some solo and chamber works for young musicians that he personally knows: e.g. Five Trombone Pieces for Minna Kajander (1992), Five Horn Pieces for Jenni Kuronen (1993), Five Piano Etudes for Tiina Karakorpi, Five Trumpet Pieces for Alevtina Parland and Five Double Bass Pieces for Amanda Thieme. Other chamber and solo pieces include Pan and the Nymph Pitys (1979) for flute and guitar, Three Caprices for Konstantin Weitz (1994) for solo violin and Capriccio for wind ensemble (1989).
SKU: CF.WF232
ISBN 9781491153772. UPC: 680160911271.
Known internationally for superior flute editions, Robert Stallman continues his considerable expansion of the flute repertoire with re-creations, or “new†works for flute by Bach, Mozart, Schubert, Beethoven, Chopin, Dvořák, and other great composers.Conceived originally as a work for solo piano, this arrangement of Dvořák’s Suite in A Major for flute and piano is based on both the piano and orchestra versions. It is one in a series of Stallman’s “new†works for flute. Dvořák composed the Suite in A Major in 1894, inspired by his happy and fruitful stay in the “New World†—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in E≤ Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.PrefaceConceived originally as a work for solo piano, the Suite in A Major was composed by Dvořák in 1894, during his famous two-year visit to the United States. He wrote the work in a mere ten days, and a year later made a full orchestration of it. The Suite was first performed in this second version in 1910 in Prague at the Rudolfinum. Dvořák, who died in 1904, never had a chance to hear a performance of this stirring orchestral realization.The Suite was inspired by the composer’s happy and fruitful stay in the “New Worldâ€, especially by his unforgettable summers spent in the quiet Czech-American village of Spillville, Iowa—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in Eb Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.Several of the Suite’s affecting melodies find echoes in these other, better known compositions of this American period. Wistful themes abound in all five movements, reflecting Dvořák’s transformative American experience as it found resonance in his own emotions. Contrasting with deeply felt, contemplative passages are Dvořák’s joyous and tempestuous expressions, which open the second, third and final movements.This arrangement for flute and piano is based on both the piano and orchestra versions. It is one in a series of my “new†works for flute by some of our greatest composers and I am delighted to add it to the collection. I predict that the A Major Suite will become a popular addition to our Romantic recital repertoire, much like the Dvořák Sonatina.—Robert StallmanMarblehead, Mass.June 1, 2018.
SKU: HL.49018949
ISBN 9790001152259.
Hermann Schroeder (1904-1984) is one of the best-known German organ composers of the 20th century. His late piano work Funf Charaktere (1974) is based less on contrapuntal and neo-classical composition techniques (like the two early piano sonatas) but rather on the tonal possibilities of the piano. The five movements which live on the changes of different tempos and emotions bear titles that refer to the mood and the character of the music: Capriccio - Legende - Scherzando - Elegie - Burleske. Thus, the pieces are not far away from being Romantic character pieces. Funf Charaktere is published as printed edition for the first time, based on the autograph left in the composer's estate.
SKU: BR.EB-9391
ISBN 9790004188651. 9 x 12 inches.
Jean Sibelius composed far less music for the cello than for the violin. Malinconia (op. 20) - published in 1911 but composed in 1900 under the title Fantasia - remained his only opus-numbered work exclusively for cello and piano. The Fantasia for cello and piano, an early stage of Malinconia , was premiered at a soiree in the Solemnity Hall of the University of Helsinki on 12 March 1900 and was given positive press reviews: The work, which mainly drew attention with its logical and clear structure, begins with a powerful and substantial cello solo, to which the piano responds with a glimmering series of arpeggiated chords. At the end where the instruments unite in a harmonious, deeply emotional song, the harmonic impression they create is very bright and lovely. The autograph manuscript of Fantasia shows that Sibelius omitted a larger passage of music between the present bars 24 and 25 and that he made further revisions to the work, either before the publishing process or in the proofs he read in April 1911 for Breitkopf.
SKU: HL.50512037
ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.
The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.
SKU: BO.B.3585
Agitato: This is a movement with a clear romantic intention, as well as passionate. It is like a projection of different colors in an atmosphere of lightness. In this case I probably had Mendelssohn in the back of my mind. Everything in it is extroverted. Vigor and gentleness alternate until reaching the end, where I make a clear allusion to the music of Bach. The movement ends in a fast arpeggio.Capriccio: This part has a humorous touch to it. An evidently burlesque subject matter matches the various rhythmic and harmonic combinations. I do not wish to conceal a similarity of style with the music of Prokofiev. As a reminder, my Sonatina for violin solo comes from an idea taken from this Russian master's Sonata, also for violin solo. The mood is marcato and sharp, alternating expressive moments with others of a mysterious nature. To end up with, a fast and lively coda.Ricordo: It has a burlesque introduction, but this serves as a preamble to the expressive nature of the whole. There are several emotional atmospheres in which harmony plays an essential part. The left hand will be responsible for the melody while the right hand constantly draws semiquavers all in a reflexive mood. In the end, the music fades away gently.Animato: This movement brings us back to the extroverted mood of the Agitato. It transitions from an impressionistic atmosphere at the beginning, to a vigorous and energetic climate. Groups of 4, 5 and 6 notes with semiquavers cause certain instability, controlled, on the other hand, by an unchanging tempo. The movement ends in a forceful marcato, though in an overall maestoso atmosphere.
SKU: GI.WW1674
UPC: 785147012269. English. Text by Rumi.
This romantic work written for the composer's bride is built around fragments of Sufi Rumi poetry for a truly emotional setting. It requires a men's choir with mature sound, advanced high school, college, and beyond.
SKU: HL.48187233
UPC: 888680991616. 9x12 inches.
“Having been considered as a 'fashionable' and 'cliché' composer of his day, Hahn's compositions are possibly not as well-known as they ought to be. Latin Studies, however, shatter these prejudices held, representing the engaging diversity of the composer's music. Venezuelan born Reynaldo Hahn (1875-1947) entered the Paris Conservatoire at 10 years old. He received a high standard of musical education from Decombes, Lavignac, Dubois and Massenet before becoming a prolific and versatile composer himself, writing works for all genres. For Hahn, music was a magical art and his compositions often contain expressions of his otherwise hidden emotions and moods. With each of the ten pieces in Latin Studies arranged for a different selection of solo or ensemble voices, Hahn's Latin Studies provides pleasant and evocative pieces, incorporating a range of expressions, rhythms and other musical features.&rdquo.
SKU: CY.CC2869
Jan Freidlin's lush and beautiful Romantic Concerto for Trombone, Piano and Strings was composed in 2004 and is in the traditional three movements. The 15-minute work is appropriate for advanced performers.A 4 1/2 minute sample of the Concerto (on our site) is beautifully performed by the Odessa Philharmonic Chamber Orchestra, Conductor Igor Shavruk and Trombone solist Andrei Sokolov.Below is what the composer has written about his work: Written in 2004 , this composition combines three contrasting movements, however their style is not typical of a classical concerto, nor of a romantic work.The 1st movement - Moderato has a long recitative-like introduction performed by the soloist over a background of aleatoric sounds of divisi strings. The tonality is indefinite with many harmonic changes.

The music gradually builds up more and more leading the listener to the 2nd movement - Vivace energico in which the Piano makes its first appearance, adding rhythmic complexity. In the 2nd movement the main motive from the 1st movement is reintroduced and the mood gains in intensity with various syncopated rhythmic phrases as the orchestra and solo Trombonist accelerate together into a major climax.

With the energy drained out of the music by the conclusion of the 2nd movement the listener is brought to the 3rd movement - Adagietto. This movement is absolutely lyrical, elegiac and unexpectedly tonal. Its main melody has an atmosphere of nostalgia leading to the emotional center of the whole work, the softest climax of the Concerto . The soloist plays it in many tonalities, then gradually this warm wave eases, leaving the listener in a cathartic condition.The Concerto contains many virtuosic moments for the soloist that sound very expressive and heroic.Jan Freidlin
SKU: HL.48025063
ISBN 9783923051755. UPC: 196288031758. 9.0x12.0x0.338 inches.
Sergej Bortkiewicz (1877-1952) wrote his Russian Rhapsody, Op. 45 (1935) and the Piano Concerto No. 2 in C minor, Op. 28 (1924) for the pianist Paul Wittgenstein. He lost his right arm in the First World War and thereupon commissioned works from important composers. While Wittgenstein made some of the contributions by Ravel, Britten, Hindemith, Richard Strauss and others. sounded too modern, he had a preference for Bortkiewicz's concerto, as it paid homage to the “pharaonic virtuoso†late romantic tradition à la Rachmaninoff. It is precisely this “sound†that the Piano Concerto No. 2 recommended for a new version for two hands, which is now available and opens up a broader scope for the charming, emotional work. In addition to the redesign of the solo part, the arranger Alfonso Soldano also offers a new cadenza that ensures a smoother transition between tempo and sound changes.
SKU: BR.EB-9364
ISBN 9790004188347. 9 x 12 inches. German.
The Song of the Earth, composed in the summer of 1908, is Mahler's best-known and most personal work. Reflecting drastic changes in his life, its immense emotional density is very moving. Until the very end, Mahler continued to refine the extremely differentiated instrumentation, as is evident in numerous retouchings in the autograph score and engraver's model. It is therefore all the more regrettable that he was neither able to perform his Symphony in Songs himself nor that he was involved in its printing. Unfortunately, in the posthumously published first edition of 1912 and the subsequent editions edited by Erwin Ratz and Karl Heinz Fussl, many questions remained unanswered, while other were answered in a dubious way.The edition is the first text-critical one of the work on a scientifically sound basis. It offers not only a more reliable musical text, but also systematically and lucidly prepared information on the sources, their transmission and evaluation. All editorial decisions have been documented in a transparently comprehensible manner - in particular those leading to new audible results. Work-related notes on performance practice, which for the first time include Mahler's conducting indications, offer valuable, indispensable interpretive aids. In addition to the regular five clarinet parts, the set of parts includes two additional parts (3rd clarinet/Eb clarinet, bass clarinet/3rd clarinet in places where the latter plays Eb clarinet) to allow performances with only four clarinets.The completely revised piano reduction reproduces the orchestral texture true to the score without losing sight of playability. Both Mahler's piano autograph and the piano reduction by Woss, which was commissioned by the composer himself, served as an inspiration for this.
SKU: BR.OB-5641-23
ISBN 9790004348819. 10.5 x 14 inches.
SKU: BR.PB-5671
ISBN 9790004216088. 10.5 x 14 inches.
SKU: BR.OB-5641-16
ISBN 9790004348796. 10.5 x 14 inches.
SKU: BR.PB-5641
ISBN 9790004215388. 10.5 x 14 inches.
SKU: BR.OB-5641-27
ISBN 9790004348826. 10.5 x 14 inches.
SKU: BR.OB-5641-15
ISBN 9790004348789. 10.5 x 14 inches.
SKU: BR.OB-5641-60
ISBN 9790004348833. 10.5 x 14 inches.