| BJORK - 34 SCORES FOR
PIANO, ORGAN, HARPSICHORD
and CELESTE Piano, Voix et Guitare Hal Leonard
Björk Guðmundsdóttir is one of the key recording artists of the 21st century....(+)
Björk Guðmundsdóttir is one of the key recording artists of the 21st century. Moving effortlessly between disciplines and genres so fluidly it would shame David Bowie, Björk has tackled neo-classical, showtunes, house, pop, indie as well as acting (winning best actress at the Cannes Film Festival for her turn in Dancer In The Dark) and creating a visual template for her work that is staggeringly rich. Björk has used collaboration as a key part of her work and her work available in sheet music is perhaps her most radical example of this. In her own words ?I wanted to question how I felt about musical documentation, when CDs were slowly becoming obsolete, I was curious about the difference of midi (digital notation) and classical notation and enthusiastic in blurring the lines and at which occasions and how one would share music in these new times. What is the difference of karaoke and the lyrical recitals of the 19th century' Can one meet at bonfires and sing techno songs' (well icelanders do obvs) Maybe I should share digital notation that people could connect to their synths or do harpsichord versions of electronic beats to enjoy in the living rooms and hopefully families singalong to?. All Is Full Of Love The Anchor Song Atom Dance Aurora Bachelorette Black Lake Cover Me Declare Independence Desired Constellation The Dull Flame Of Desire Gratitude I've Seen It All Immature Isobel Joga Mother Heroic My Juvenile New World Notget Oceania Pagan Poetry Pleasure Is All Mine Pneumonia Stonemilker Sun In My Mouth Unravel Venus As A Boy Vertebrae by Vertebrae Where Is The Line' / Partitions variété - pop - rock / Variété internationale / Piano voix guitare / HAL LEONARD
28.99 EUR - vendu par Woodbrass Délais: Sur commande | |
| 34 Scores
Björk Guðmundsdóttir is one of the key recording artists of the 21st century....(+)
Björk Guðmundsdóttir is one of the key recording artists of the 21st century. Moving effortlessly between disciplines and genres so fluidly it would shame David Bowie, Björk has tackled neo-classical, showtunes, house, pop, indie as well as acting (winning best actress at the Cannes Film Festival for her turn in Dancer In The Dark) and creating a visual template for her work that is staggeringly rich.Björk has used collaboration as a key part of her work and her work available in sheet music is perhaps her most radical example of this. In her own words 'I wanted to question how I felt about musical documentation, when CDs were slowly becoming obsolete, I was curious about the difference of midi (digital notation) and classical notation and enthusiastic in blurring the lines and at which occasions and how one would share music in these new times. What is the difference of karaoke and the lyrical recitals of the 19th century? Can one meet at bonfires and sing techno songs? (well icelanders do obvs) Maybe I should share digital notation that people could connect to their synths or do harpsichord versions of electronic beats to enjoy in the living rooms and hopefully families singalong to?. / Clavier / Voix
54.86 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Björk : La
Fée Septentrion En Français Biographie
Ce livre n'est ni une biographie ni une analyse pointue de l'?uvre de Björk. C'...(+)
Ce livre n'est ni une biographie ni une analyse pointue de l'?uvre de Björk. C'est une histoire de passion, celle d'Evelyn McDonnell pour Björk et celle de Björk pour la vie. Enfant prodige, la jeune Islandaise n'a jamais voulu se plier aux lois commerciales. Maîtresse de son destin, elle est au fil du temps devenue une artiste incontournable doublée d'une femme libre et épanouie. Qu'on l'aime ou qu'on la déteste, Björk ne laisse personne indifférent. Touche-à-tout de génie, elle a influencé le monde de la mode comme celui du cinéma. Mais Björk reste avan
tout une musicienne hors du commun et une diva moderne
22.00 EUR - vendu par Amazon Délais: En Stock | |
| Songspin Songbook: SSA:
Vocal Album Chorale 3 parties SSA University Of York Music Press
A genre-defying collection of songs for female vocal trio Songspin Songbook is ...(+)
A genre-defying collection of songs for female vocal trio Songspin Songbook is a collaboration between Juice Vocal Ensemble and UYMP funded by an Arts Council England grant. Described as “the 21st century’s answer to the Swingles or King’s Singers” (The Times) Juice have emerged as the face of a revitalised experimental scene for vocal music. Songspin Songbook publishes songs from their debut album Songspin. The album was released on Nonclassical in 2011 to critical acclaim winning an international Independent Music Award for Best Contemporary Classical Album in 2012. Featuring remixes by the likesof Camille producer MaJiker and Björk collaborator Mikhail Karikis the album was reviewed by The Observer as “eighteen immaculately achieved tracks spanning Elisabeth Lutyens to Gabriel Prokofiev via folk song and avant garde enchant and enthrall”. Songspin also featured the premiere recording of Elisabeth Lutyens' Of The Snow which The Telegraph described of a performance by Juice as 'an amazing sustained piece of virtuosity'. Songspin Songbook was edited by James Whittle and Paul Sild. Artwork designed by Christopher Leedham and Martin Scheuregger.
29.95 GBP - vendu par Musicroom GB | |
| Björk : Entre les
lignes, l'histoire
cachée
derrière les
chansons En Français
Tout en Bjôrk paraît magique, y compris sa carrière qui ressemble à un conte...(+)
Tout en Bjôrk paraît magique, y compris sa carrière qui ressemble à un conte de fée... subversif bien sûr. Après un premier album éponyme à l'âge de 11 ans, elle fonde quelques-uns des plus célèbres groupes d'Islande avant de créer en solo l'une des oeuvres les plus surprenantes de l'histoire de la musique. Car Björk est parvenue à faire de ses audacieuses expérimentations de véritables étalons musicaux...
19.00 EUR - vendu par Amazon | |
| John Tavener: Prayer Of
The Heart: String
Ensemble: Vocal Work ENS/VCE/STR INST::Ensemble
d'École/Voix/Instruments
À Cordes [Vocal Score] - Intermédiaire/avancé Chester
In Prayer Of The Heart the text of the Eastern Orthodox monastic prayer -- Lord...(+)
In Prayer Of The Heart the text of the Eastern Orthodox monastic prayer -- Lord Jesus Christ Son of God Have mercy upon me is sung in a mantra-like way in English Greek and Coptic while a slow recording of a human heartbeatplays. The singer is instructed to ?sit on a low stool bowing towards the heart? and may play the bell and bowl. The piece slowly explores the entire circle of fifths beginning in the key of C and playing each related minorand moving to the related dominant key then repeating until the return to C. It is a profoundly meditative work.The work was originally composed for Icelandic singer Björk and the Brodsky Quartet to benefit the charity TheChain of Hope. It was recorded by the original performers.John Tavener was that rare creature a composer of serious music and serious religious music who had also achieved commercial success. He burst into the popularconsciousness with the performance of his Song for Athene at the funeral of Princess Diana but had been a highly respected and frequently-performed composer since the premiere of his dramatic cantata The Whale in 1968.
10.99 GBP - vendu par Musicroom GB | |
| Nico Muhly: Nico Muhly:
Bright Mass With Canons:
SATB: Vocal Score Chorale SATB SATB, Orgue [Vocal Score] - Intermédiaire/avancé St Rose Music Publishing
In Bright Mass With Canons the canonical motifs are present right from the begi...(+)
In Bright Mass With Canons the canonical motifs are present right from the beginning and carry through almost every bar of the work.There are echoes of early English Choral writing and abstracted sections with flurries of sound interspersed with more Choral writing all in the most modern idioms. Contemporary American composer Nico Muhly is a prolific writer and arranger who at 32 is the youngest composer ever to have been commissioned by the Metropolitan Opera in New York. His oeuvre includes two operas and many solo pieces and works for small ensemble Orchestra and Chorus and he has collaborated with artists such as PhilipGlass Björk and Sigur Rós.In the December 2014 edition of Organists' Review Christopher Maxim writes that 'the vocal writing frequently evokes Renaissance polyphony' and 'the language is fresh and contemporary with much zest being added by the organ part.'
6.50 GBP - vendu par Musicroom GB Délais: En Stock | |
| Nico Muhly: An Outrage:
SATB: Vocal Score Chorale SATB SATB, Percussion(s) [Vocal Score] - Intermédiaire/avancé St Rose Music Publishing
An Outrage is an enticing piece of music composed by Nico Muhly and has been s...(+)
An Outrage is an enticing piece of music composed by Nico Muhly and has been scored for SATB Drones and Drum.It's galloping melodic lines slip out of the percussive writing as if by centrifugal force holding a sense of outrage at bay.Nico Muhly has composed a wide scope of work for ensembles soloists and organizations including the American Symphony Orchestra New York City Ballet The Royal Ballet and artist Conrad Shawcross to name a few. Muhly has also lent his skills as performer arranger and conductor to the likes of Usher and Björk.
6.50 GBP - vendu par Musicroom GB | |
| Une musique qui me vient
de loin En Français Biographie
Star Academy a révélé au grand public un personnage étonnant, complexe et ba...(+)
Star Academy a révélé au grand public un personnage étonnant, complexe et baroque : Armande Altaï, son professeur de chant. Grâce à une méthode élaborée tout au long d'une vie imprégnée de musique, du rock à l'opéra classique et contemporain, Armande a obtenu des résultats surprenants et permis à ses élèves de découvrir les vertus épanouissantes de la voix libérée... Armande est née à Alep, d'un père officier français et d'une mère turque, fille d'un bey d'origine tcherkesse. Après une petite enfance en Syrie, au Liban et en Afrique, Armande va s'installer à Marseille où elle fabriquera ses racines. Des études de peinture, gravure et dessin antique à l'Ecole des beaux-arts, des études au Conservatoire où elle obtient un premier prix d'art lyrique, et Armande monte à Paris. Cette chanteuse atypique à l'extravagance subtilement subversive, " cabarock " comme elle se définit elle-même, va faire la manche, avant de créer Godspell. Sa carrière sera " underground " comme se plaisent à la qualifier certains journalistes. Plusieurs créations pour le théâtre et l'opéra contemporains, cinéma avec Zulawski... Armande Altaï commence à se faire une place, bien à part, " entre Haendel et Bjôrk ", plaisante-t-elle. Dans les années quatre-vingt, plusieurs albums et Jacques, joseph, Victor dort, le spectacle de Jacques Higelin, lui valent les faveurs du public... Puis Armande Altaï va donner des cours de chant... Jeunes inconnus ou stars confirmées, tous ses élèves lui vouent une profonde reconnaissance. Une vie intense, peu conventionnelle... A son image
12.44 EUR - vendu par Amazon Délais: En Stock | |
| F. Keyper: Romance Et
Rondo: Double Bass:
Instrumental Album Contrebasse, Piano (duo) [Partition] - Intermédiaire/avancé Yorke Edition
An easy virtuoso work published here for the first time and now much performed. ...(+)
An easy virtuoso work published here for the first time and now much performed. Recorded Slatford/Academy of St Martin-in-the-Fields (EMI). AMEB (Australian Syllabus) 2004. Orchestral material on hire from Yorke Edition (not Spartan).Programme Note:As a young professional player in the 1960s my work as a double bassist with chamber ensembles and small orchestras took me all over the world. This presented an unparalleled opportunity to scour libraries and archives wherever I went. Long before the advent of the photocopier and e-mail research was far more challenging than it is today. Eastern Europe was particularly difficult to access with manycollections kept under lock and key for all but a few hours a week. One quickly found colleagues who were keen to share information gleaned in passing even though they had no specific interest in one's own particular specialism (it is so often the peripheral topics that fascinate as much as the main subject under investigation and one can quickly be side-tracked into political and social issues that have only slender bearing on the job in hand!).In the early 1970s James Brown the then sub-principal oboist of the English Chamber Orchestra with whom I was working at the time stumbled across a small collection of double bass manuscripts at the Royal Danish State Library in Copenhagen. They were by Franz Anton Leopold Keÿper (b. c.1756 d. Copenhagen 7 June 1815) a double bassist of Dutch origin who worked as principal of the Royal Chapel Orchestra in Copenhagen. Keÿper's son was the bassoonist Franz Jacob August Keÿper (1792-1859). The collection included a number of concertos some chamber music and various naïve fragments. Although hardly the work of a Mozart or Haydn the style is characteristic of the period. For an instrument such as the double bass whose 18th century solo repertoire is largely written for tunings that are no longer in everyday use Keÿper's music is easily approachable in its
8.50 GBP - vendu par Musicroom GB Délais: En Stock | |
| Musical Songs Piano, Voix et Guitare Bosworth
Cet ouvrage rassemble plus de 20 des meilleures chansons de comédies musicales ...(+)
Cet ouvrage rassemble plus de 20 des meilleures chansons de comédies musicales des plus populaires : les hits de Cabaret au Roi Lion de High School Musical. Chaque titre est arrangé pour Piano, voix et guitare et il existe des photos pour chaque musical et les notes d'information supplémentaire. Un véritable trésor pour tous les fans de musique ! Paroles de la chanson en anglais (à l'exception d'Out Of The Dark), tous les autre texte en allemand. / Piano/Vocal/Guitare (PVG)
19.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Légendes Urbaines
(MURAIL TRISTAN) En Français 22 Instruments [Partition] Lemoine, Henry
Par MURAIL TRISTAN. (Prendre les mots 'légendes' et 'urbaines' dans leurs diff...(+)
Par MURAIL TRISTAN. (Prendre les mots 'légendes' et 'urbaines' dans leurs différents sens et en tester toutes les combinaisons)
Légendes urbaines est le résultat d'une commande précise de l'Ensemble intercontemporain, à l'occasion d'un concert 'à thème', lui-même partie d'une saison thématique. Ces thèmes, comme l'on sait, sont: la ville, le voyage, et plus précisément, pour ce concert, New York - New York n'étant évidemment pas une destination de voyage pour moi, sinon celle d'un 'commuting' fréquent depuis ma résidence semi-rurale. Les thèmes littéraires ou visuels en musique ont fait couler beaucoup d'encre et plongent plus d'un dans la perplexité. La musique peut-elle exprimer ou raconter ? Est-il possible de ressusciter le poème symphonique ? D'écrire encore des opéras ? Si oui, est-il légitime de le faire, ou n'est-ce pas définitivement obsolète ? Comme je crois à la méthode expérimentale, j'ai décidé de relever le défi et de m'essayer au thème proposé, non sans garder quelque distance ironique vis-à-vis de l'exercice. Occasion aussi de rechercher quelques modèles et de ne pas se priver de références, plus ou moins transparentes, à quelques-uns de mes prédécesseurs sur le nouveau continent. Le modèle formel est celui des Tableaux d'une exposition, avec sa suite de vignettes sonores entrelacées de promenades - les références musicales, on pourra s'amuser à les deviner. Les allusions visuelles, points de départ ou d'arrivée de la rêverie musicale, ne seront pas l'Empire State Building, la Statue de la Liberté et autres cartes postales formatées pour le tourisme, mais plutôt les images et sensations suscitées par la fréquentation d'une ville à la fois très familière et tout à fait étrangère.
Promenade 1
Les 'promenades' de Moussorgski s'effectuaient d'un pas à la fois martial et guilleret... Dans Manhattan, les distances sont grandes, qui inciteront à prendre plutôt le 'Subway', célèbre pour son infernal vacarme métallique. Par prudence pour nos tympans, on l'écoutera d'assez loin, accompagné d'appels de cuivres, le plus souvent sous forme de tierces descendantes - les 5 espèces de tierces permises par l'écriture en quarts de tons. Vacarmes métalliques et appels de cuivres ne se limitent d'ailleurs pas à constituer l'essentiel des 'promenades', mais envahissent les recoins de toute la pièce.
Staten Island Ferry
Autrefois, la 'skyline' (la ligne des gratte-ciels) de Manhattan surgissait pour le voyageur lentement sur l'horizon, objet de tous les rêves et de tous les espoirs, au terme d'une longue traversée maritime. Le bateau franchissait la rade de New-York, saluait au passage la Statue de la Liberté, et allait s'amarrer directement au pied des 'high-rises'. On se rappelle les vieux films et vues d'archives. New York ne s'aborde plus par la mer et cet aspect du rêve américain a donc disparu, mais on peut revivre l'expérience, dans une certaine mesure, en prenant le ferry de Staten Island. Au retour, on peut s'imaginer, accoudé à la rambarde d'un paquebot, découvrant la ville longtemps espérée... la vue est splendide, et le ferry gratuit - chose rare en ce pays.
Central Park at twilight
Superposition de musiques émanant de lieux différents, et se mouvant à différentes vitesses. Sensation étrange d'échapper un moment à la réalité de la ville dont les bruits ne parviennent qu'étouffés. Instants ambigus du crépuscule, brefs et éternels, bruissements dans les fourrés déjà obscurs (ce ne sont que les écureuils), les silhouettes des gratte-ciels s'illuminent une à une à travers les frondaisons. Chant harmonique de la 'Swainson's thrush' (grive à dos olive). Les derniers promeneurs se hâtent vers les sorties: de nos jours, il n'est plus très recommandé de rester écouter les sons de 'Central Park in the Dark'.
Sunday Joggers
Toujours à Central Park: le dimanche, s'installer le long de l'une des routes qui traversent le parc, et qui, fermées à la circulation, sont envahies par une foule ahanante, transpirante et clopinante. 'Joggers' de tous âge, sexe, taille, couleur et embonpoint - toutes vitesses, allures et harnachements. Certain(e)s promènent leur progéniture dans des poussettes de course (3 roues surdimensionnées, profilage aérodynamique), d'autres peinent à suivre leur(s) chien(s). Quelques tricheurs passent à vélo ou sur patins à roulettes. Toute une humanité pantelante défile devant vos yeux, et il faudrait être Daumier pour croquer le spectacle - ici c'est le prétexte d'une modeste étude sur les tempi superposés.
Whirlwinds
Le plan de Manhattan est intéressant: systématiquement rectangulaire, mais avec quelques grandioses irrégularités, en particulier celles provoquées par Broadway qui, vestige d'un vieux chemin indien, coupe diagonalement rues et avenues, provoquant de ce fait quelques extravagances architecturales et topologiques. Une autre conséquence du plan d'urbanisme - ou d'une absence de celui-ci - est que la circulation atmosphérique se trouve très fortement perturbée. Certains carrefours sont ainsi le siège de redoutables tourbillons venteux, en particulier ces carrefours complexes provoqués par l'intrusion de Broadway dans le damier urbain, ou encore la climatiquement terrifiante intersection entre Riverside et la 122ème rue, où la présence d'un clocher-gratte-ciel néo-pré-raphaélite perturbe fortement les masses d'air qui circulent le long de la rivière Hudson.
Promenade 2
Plus agitée que la Promenade 1, et conduisant au triptyque suivant:
George Washington Bridge 1
The Frozen River
George Washington Bridge 2
'Non seulement les possibilités des harmoniques des sons seront-elles révélées dans toute leur splendeur, mais encore l'usage de certaines interférences créées par les partiels constituera-t-il une contribution appréciable. On pourra s'attendre à l'utilisation, jamais envisagée jusqu'à ce jour, des résultants inférieurs et des sons différentiels et additionnels. Une magie sonore totalement nouvelle !' (Edgar Varèse, extrait d'une conférence donnée à Santa Fe en 1936).
George Washington Bridge, c'est notre Grande Porte de Kiev - et l'une des peu nombreuses voies d'accès à l'île de Manhattan (car Manhattan est une île, on l'oublie parfois). Une 'Grande Porte' en ferraille et en réfection permanente, mais qui fut un symbole de modernité en son temps et fascina, dit-on, Edgar Varèse, qui venait en surveiller l'avancement des travaux. C'est aussi l'occasion d'un triptyque intérieur, qui respecte la symétrie de l'ouvrage, ses deux piliers de métal argenté, son double pont d'où l'on peut jouir de vues somptueuses sur la skyline, le tout jeté sur un fleuve parfois gelé en hiver. C'est enfin un hommage à l'intuition prophétique de Varèse, dont la citation ci-dessus décrit très précisément les types d'harmonies développés quarante ans plus tard par les techniques dites 'spectrales' - sans que lui-même n'ait pu mettre ces idées en application.
Promenade 3
Au ralenti, et tuilée avec:
Hyperlinks
Où des connexions s'établissent subitement entre divers moments entendus précédemment - établissement de 'liens' inattendus entre textures les plus opposées.
Promenade 4
Rappel de la promenade 1, puis retour à Central Park, qui maintenant s'enfonce dans la nuit - dernier chant de la grive à dos olive...
Tristan Murail
Programme de l'EIC, Concert à la Cité de la Musique / contemporain / Répertoire / 22 Instruments
88.70 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Per Nørgård: 10 Danish
Songs: Voice: Vocal Work Piano, Voix [Partition] Wilhelm Hansen
10 Danish Songs 1955-1987 for Voice and Piano (or keyboard) is a collection pri...(+)
10 Danish Songs 1955-1987 for Voice and Piano (or keyboard) is a collection printed in 1989 consisting of earlier songs in new versions. Two songs are from 9 Danske Sange. Opus 14 (Overstået angst;Mit løv mit lille træ - Vedi´s Vuggevise) the rest from different vocal works. The composer arranged the songs in three section: Nature: 1. Du skal plante et træ. Text: Piet Hein 2. Året. Text: Ole Sarvig 3. Stjernespejl. Text: Ib Michael Man: 4. Mit løv mit lille træ (Vedi´s Vuggevise). Text: Johannes V. Jensen 5. Overstået angst. Text: HalfdanRasmussen 6. Landskabsbillede. Text: Thorkild Bjørnvig 7. Sangleg.Text: Ole Sarvig
13.99 GBP - vendu par Musicroom GB | |
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| Romance Et Rondo Contre Basse Yorke Edition
Double Bass SKU: BT.YE0030 Composed by F. Keyper. Exam Material. Book Onl...(+)
Double Bass SKU:
BT.YE0030 Composed by
F. Keyper. Exam Material.
Book Only. Yorke Edition
#YE0030. Published by
Yorke Edition
(BT.YE0030).
An easy
virtuoso work published
here for the first time
and now much performed.
Recorded Slatford/Academy
of St
Martin-in-the-Fields
(EMI). AMEB (Australian
Syllabus) 2004.
Orchestral material on
hire from Yorke Edition
(notSpartan).
Pr
ogramme Note:
As
a young professional
player in the 1960s, my
work as a double bassist
with chamber ensembles
and small orchestras took
me all over the world.
This presented an
unparalleledopportunity
to scour libraries and
archives wherever I went.
Long before the advent of
the photocopier and
e-mail, research was far
more challenging than it
is today. Eastern Europe
was particularly
difficult to access,
withmanycollections kept
under lock and key for
all but a few hours a
week. One quickly found
colleagues who were keen
to share information
gleaned in passing, even
though they had no
specific interest in
one's own
particularspecialism (it
is so often the
peripheral topics that
fascinate as much as the
main subject under
investigation, and one
can quickly be
side-tracked into
political and social
issues that have only
slender bearing on the
job inhand!).
In
the early 1970s James
Brown, the then
sub-principal oboist of
the English Chamber
Orchestra with whom I was
working at the time,
stumbled across a small
collection of double bass
manuscripts at the
RoyalDanish State Library
in Copenhagen. They were
by Franz Anton Leopold
Keÿper (b. c.1756, d.
Copenhagen 7 June 1815),
a double bassist of Dutch
origin who worked as
principal of the Royal
Chapel Orchestra in
Copenhagen.Keÿper's son
was the bassoonist Franz
Jacob August Keÿper
(1792-1859). The
collection included a
number of concertos, some
chamber music, and
various naïve fragments.
Although hardly the work
of a Mozart or Haydn,the
style is characteristic
of the period. For an
instrument such as the
double bass, whose 18th
century solo repertoire
is largely written for
tunings that are no
longer in everyday use,
Keÿper's music is easily
approachablein its. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| In the King's Hall Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-0930507-010 Composed by Edvar...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-0930507-010
Composed by Edvard Grieg.
Arranged by Wil van der
Beek. The Great Classics.
Set (Score & Parts).
Composed 1993. De Haske
Publications #DHP
0930507-010. Published by
De Haske Publications
(BT.DHP-0930507-010).
Grieg’s
suite from ‘Sigurd
Jorsalfar’ remains
one of his most popular
works and here, arranged
by Wil van der Beek, we
are pleased to be able to
offer a version for
Concert Band. This one
will be a sure-fire hit
with any fans of
classical music.
In 1872 - Twee
jaar voor hij Peer
Gynt gegon te werken
- componeerde Grieg de
muziek bij het toneelstuk
Sigurd Jorsalfar
(Sigurd de kruisvaarder)
van Bjørnsterne
Bjørnsons. Enkele
jaren later voegde hij de
drie
belangrijksteorkestgedeel
ten samen tot een
gelijknamige
concertsuite. In The
King's Hall is
overigens de orkestversie
van een inn 1867 door
Grieg geschreven gavotte
voor viool en piano. Wil
van der Beek schreef de
versie voor
armonieorkest.
In der Königshalle
erweckt die Atmosphäre
der historischen
Szenerie, in der sich das
mittelalterliche Drama
Sigurd Jorsalfar
abspielt, zum Leben. In
der Bühnenmusik wird
mit diesem Stück der
zweite Akt eingeleitet,
in dem die beiden
Brüder zum Wortgefecht
um den Königsthron in
der Königshalle
antreten. Wil van der
Beek schuf eine
authentische,
überzeugende
Bearbeitung für
Blasorchester von Edvard
Griegs Komposition.
Bjørnstjerne
Bjørnson influença
profondément la
littérature
norvégienne du
XIXème siècle. En
1872, Grieg écrivit
une musique de scène
pour la nouvelle pièce
de thé tre de son ami,
intitulée Sigurd
Jorsalfar
(‘‘Sigurd, le
croisé’’
). La musique comporte
huit pièces, dont deux
chorals. En 1892, Grieg
remaniait trois de ces
pièces qu’il
faisait publier un an
après, sous forme de
suite séparée, Op.
56. La première
pièce, Prélude :
dans le hall du roi (In
The
King’sHall)
développe un thème
solennel qui chemine vers
des mélodies plus
intimistes auxquelles les
bois apportent une
coloration
nostalgique. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| In the King's Hall Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band - Grade 3 SKU: BT.DHP-0930507-040 Composed by Edvard Grieg. ...(+)
Concert Band - Grade 3
SKU:
BT.DHP-0930507-040
Composed by Edvard Grieg.
Arranged by Wil van der
Beek. The Great Classics.
Set (Score & Parts).
Composed 1993. De Haske
Publications #DHP
0930507-040. Published by
De Haske Publications
(BT.DHP-0930507-040).
Grieg’s
suite from ‘Sigurd
Jorsalfar’ remains
one of his most popular
works and here, arranged
by Wil van der Beek, we
are pleased to be able to
offer a version for
Concert Band. This one
will be a sure-fire hit
with any fans of
classical music.
In 1872 - Twee
jaar voor hij Peer
Gynt gegon te werken
- componeerde Grieg de
muziek bij het toneelstuk
Sigurd Jorsalfar
(Sigurd de kruisvaarder)
van Bjørnsterne
Bjørnsons. Enkele
jaren later voegde hij de
drie
belangrijksteorkestgedeel
ten samen tot een
gelijknamige
concertsuite. In The
King's Hall is
overigens de orkestversie
van een inn 1867 door
Grieg geschreven gavotte
voor viool en piano. Wil
van der Beek schreef de
versie voor
armonieorkest.
In der Königshalle
erweckt die Atmosphäre
der historischen
Szenerie, in der sich das
mittelalterliche Drama
Sigurd Jorsalfar
abspielt, zum Leben. In
der Bühnenmusik wird
mit diesem Stück der
zweite Akt eingeleitet,
in dem die beiden
Brüder zum Wortgefecht
um den Königsthron in
der Königshalle
antreten. Wil van der
Beek schuf eine
authentische,
überzeugende
Bearbeitung für
Blasorchester von Edvard
Griegs Komposition.
Bjørnstjerne
Bjørnson influença
profondément la
littérature
norvégienne du
XIXème siècle. En
1872, Grieg écrivit
une musique de scène
pour la nouvelle pièce
de thé tre de son ami,
intitulée Sigurd
Jorsalfar
(‘‘Sigurd, le
croisé’’
). La musique comporte
huit pièces, dont deux
chorals. En 1892, Grieg
remaniait trois de ces
pièces qu’il
faisait publier un an
après, sous forme de
suite séparée, Op.
56. La première
pièce, Prélude :
dans le hall du roi (In
The
King’sHall)
développe un thème
solennel qui chemine vers
des mélodies plus
intimistes auxquelles les
bois apportent une
coloration
nostalgique. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zog, Maran (Tell Me, Marrano) (From Mark Zuckerman Yiddish Choral Series) Chorale SATB SATB A Cappella Schirmer
Arranged by Mark Zuckerman. Text: Avrom Reisen. For SATB Choir unaccompanied. (...(+)
Arranged by Mark
Zuckerman. Text: Avrom
Reisen. For SATB Choir
unaccompanied. (Mixed
Voices). Secular. Choral.
Published by E.C.
Schirmer Publishing.
$1.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Quartet For Double Basses 4 Contrebasses Yorke Edition
Double Bass Quartet SKU: BT.YE0036 Composed by Joseph Lauber. Classical. ...(+)
Double Bass Quartet
SKU: BT.YE0036
Composed by Joseph
Lauber. Classical. Set
(Score and Parts). Yorke
Edition #YE0036.
Published by Yorke
Edition (BT.YE0036).
Four movements,
top part advanced.
Several recordings and
many broadcasts. Duration
c.13'.
Programme
Notes:
The Swiss
composer Joseph Lauber
was born at Ruswil near
Lucerne in 1864. After
studying with Heger in
Zürich and Rheinberger
in Munich, Lauber worked
with Diémer and
Massenet in Paris. With
Massenet he learnt a
great deal about
orchestration, a subject
that he subsequently
taught until the end of
his life at the Geneva
conservatoire as well as
piano and composition. He
died in
1952.
Lauber's
193 catalogued works are
many and varied. He wrote
for all instruments and
in every genre except
oratorio and opera. Among
his output areseveral
works for double bass,
most written for Prof.
Hans Fryba, a personal
friend with whom he
worked as a double bass
and piano recital duo.
Fryba was one of the
leading players in Europe
in his day and was
principal of the Berlin
Philharmonic Orchestra.
First was Theme and
Variations (1936-7) and a
Rhapsodie with orchestra
(1937). Three Walzes
followed in 1939, a
Gavotte and Gigue, a
Sonata and then in 1943
Fantasie de Concert,
written for the Geneva
Competition. Four
Caprices appeared in
1942, the same date as
the Quartet for double
basses which was
dedicated to Fryba and
written for the Berlin
Philharmonic Double Bass
Quartet, one of the first
ever such ensembles to
exist.
The
Quartet for double basses
was revived by Klaus
Stoll in the 1970s for
the Philharmonic Double
Bass Quartet at that time
to play. It was
subsequently published in
1975 by Yorke Edition by
kind permission of the
composer's son Edmund
Lauber.
Rodney
Slatford 2004
$19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Tod Und Verklärung Op. 24 Orchestre [Conducteur] Schott
Clothbound Orchestra (Score) SKU: HL.49047172 (Death & Transfiguration...(+)
Clothbound Orchestra
(Score) SKU:
HL.49047172 (Death
& Transfiguration)
Clothbound Score,
Complete Edition in
G. Edition Schott.
Classical. Hardcover.
Duration 1440 seconds.
Schott Music #RSW306.
Published by Schott Music
(HL.49047172). UPC:
196288143406. When
the 24-year-old Richard
Strauss, assistant
conductor in Munich,
began the composition of
his third tone poem in
the summer of 1888, he
saw himself close to the
aspiration prescribed by
his mentor Alexander
Ritter: to become the
successor of Richard
Wagner as a musical
dramatist. Strauss had
already been working on
the text of his first
opera Guntram for a year
and additionally devoted
himself to programmatic
orchestral works oriented
to the musical language
of Liszt and Wagner in
order to prepare himself
compositionally for his
new task. With the aid of
Strauss and other
musicians including
Ludwig Thuille and
Friedrich Rösch who
had been gathering for
“Ritter's round
table†in Munich
between 1886 and 1889,
RitterÂ’s intention
was to achieve success on
a broad front with the
New German School
following the death of
its two protagonists
Wagner and Liszt. We do
not know whether Ritter
and his supporters
jointly planned Strauss's
compositional path
towards opera, determined
the subjectsof his
prospective tone poems
and considered various
strategies of their
musical realization, but
the influence of this
group shouldnot be
underestimated. It cannot
be ruled out that the
number of three tone
poems was fixed, as was
their sequence of
composition, which would
progressively achieve its
zenith in an increasing
orientation to Liszt and
Wagner. The circle could
possibly have also
discussed initial links
to literary subjects
(Macbeth and Don Juan)
and ultimately the
abstention from this
practice in the third and
final tone poem. The
subject of the work, or
rather in StraussÂ’s
formulation its
“poetic
modelâ€, has
occasionally been
interpreted from an
autobiographical aspect.
Strauss however did not
experience serious
illness until May 1891
and once more in June
1892, long after Tod und
Verklärung had been
composed. Even without an
external reason, the
material would have been
only too attractive for
an admirer of Wagner and
Liszt like Strauss, not
to mention for his mentor
Alexander Ritter. The
concept of 'death and
transfiguration' had
already played a central
role in LisztÂ’s
symphonic poems Tasso and
Prometheus. $380.00 - Voir plus => Acheter | | |
| Homage March Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-0940598-010 Composed by Edvar...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-0940598-010
Composed by Edvard Grieg.
Arranged by Wil van der
Beek. The Great Classics.
March. Set (Score &
Parts). Composed 1994. De
Haske Publications #DHP
0940598-010. Published by
De Haske Publications
(BT.DHP-0940598-010).
Along with the
movement In the
King’s Hall, The
Homage March from Act III
of Sigurd Jorsalfar
remains one of the most
popular Scandinavian
pieces of classical
music. This arrangement
has, once again, has been
skilfully crafted by Wil
van der Beek for a
younger Concert Band and
will be a popular
addition to any concert.
Grieg schreef
Homage March voor
het toneelstuk Sigurd
Jorsalfar (Sigurd de
kruisvader) van
Bjørnsterne
Bjørnsons. Dit
voorstreffelijke en
feestelijke werk
inspireerde Wil van der
Beek tot het schrijven
van een
schitterendebewerking
voor harmonieorkest. Een
uitstekende
keuze!
Sigurd
Jorsalfar ist die
Bühnenmusik zum
gleichnamigen Drama des
berühmten norwegischen
Dichters Bjørnsterne
Bjørnson. Das Werk
basiert auf einer
altnordischen Sage von
zwei Brüdern, die
beide um den
Königsthron kämpfen
und einer Frau, die den
Streit schlichten soll.
Wil van der Beek
bearbeitete den
feierlichen
Huldigungsmarsch
aus diesem Werk für
Blasorchester.
La
Marche
d’Hommage de
l’acte III de la
suite orchestrale
Sigurd Jorsalfar
d’Edvard Grieg, se
trouve l’opposé
des marches au
caractère sombre ou
martial.
L’introduction en
forme de fanfare est
superbement lyrique. Puis
vient l’exposition
d’un thème
joué cantabile.
L’instrumentation
développe quelque peu
le thème initial avec
des accents rythmiques la
basse. Le thème de la
marche est ainsi
amorcé. Un trio
central, lumineux et
serein, précède le
retour du thème de
marche au tutti. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Homage March Orchestre d'harmonie - Intermédiaire/avancé De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-0940598-040 Composed by Edvard Grieg. ...(+)
Concert Band - Grade 4
SKU:
BT.DHP-0940598-040
Composed by Edvard Grieg.
Arranged by Wil van der
Beek. The Great Classics.
March. Set (Score and
Parts). Composed 1994. De
Haske Publications #DHP
0940598-040. Published by
De Haske Publications
(BT.DHP-0940598-040).
Along with the
movement In the Kingâ??s
Hall, The Homage March
from Act III of Sigurd
Jorsalfar remains one of
the most popular
Scandinavian pieces of
classical music. This
arrangement has, once
again, has been skilfully
crafted by Wil van der
Beek for a younger
Concert Band and will be
a popular addition to any
concert.
Grieg
schreef Homage
March voor het
toneelstuk Sigurd
Jorsalfar (Sigurd de
kruisvader) van
Bjørnsterne
Bjørnsons. Dit
voorstreffelijke en
feestelijke werk
inspireerde Wil van der
Beek tot het schrijven
van een
schitterendebewerking
voor harmonieorkest. Een
uitstekende
keuze!
Sigurd
Jorsalfar ist die
Bühnenmusik zum
gleichnamigen Drama des
berühmten norwegischen
Dichters Bjørnsterne
Bjørnson. Das Werk
basiert auf einer
altnordischen Sage von
zwei Brüdern, die
beide um den
Königsthron kämpfen
und einer Frau, die den
Streit schlichten soll.
Wil van der Beek
bearbeitete den
feierlichen
Huldigungsmarsch
aus diesem Werk für
Blasorchester.
La
Marche
dâ??Hommage de
lâ??acte III de la suite
orchestrale Sigurd
Jorsalfar dâ??Edvard
Grieg, se trouve
lâ??opposé des
marches au caractère
sombre ou martial.
Lâ??introduction en
forme de fanfare est
superbement lyrique. Puis
vient lâ??exposition
dâ??un thème joué
cantabile.
Lâ??instrumentation
développe quelque peu
le thème initial avec
des accents rythmiques la
basse. Le thème de la
marche est ainsi
amorcé. Un trio
central, lumineux et
serein, précède le
retour du thème de
marche au tutti. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Mechanical Turk For Solo Oboe Hautbois Schott
Oboe SKU: HL.49044074 For solo oboe. Composed by Kenneth Hesketh. ...(+)
Oboe SKU:
HL.49044074 For
solo oboe. Composed
by Kenneth Hesketh. This
edition: Saddle
stitching. Sheet music.
Woodwind Solo. Softcover.
Composed 2002. 12 pages.
Duration 8'. Schott Music
#ED13220. Published by
Schott Music
(HL.49044074). ISBN
9790220134586. UPC:
841886021976.
9.0x12.0x0.075
inches. Stimulated
by my love of automata,
this work for solo oboe
takes its name from the
invention of Wolfgang von
Kempelen, who in the late
eighteenth century
constructed an
extraordinary mechanical
man powered by clockwork,
dressed in a stylish
Turkish costume and
capable of playing chess.
The chess player turned
out to be a fraud but
sparked many other
thinkers and inventors to
pondering what the
possibilities of
automation might be. In
Hesketh's highly
virtuosic work, the
through-composed melody
is subjected to a series
of distortions by
pulleys, cams, gears and
cranks. There are also
the onomatopoeic effects
of winding up and
whirring noises that add
to the air of the
mechanical. $15.99 - Voir plus => Acheter | | |
| Organ Works Orgue Breitkopf & Härtel
Organ SKU: BR.EB-9306 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU:
BR.EB-9306 Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
84 pages. Breitkopf and
Haertel #EB 9306.
Published by Breitkopf
and Haertel (BR.EB-9306).
ISBN 9790004187708. 12
x 9 inches. This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions)
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only))good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility)contains
facsimiles. $45.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Organ Works Orgue Breitkopf & Härtel
Organ SKU: BR.EB-9415 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU:
BR.EB-9415 Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
192 pages. Breitkopf and
Haertel #EB 9415.
Published by Breitkopf
and Haertel (BR.EB-9415).
ISBN 9790004188897. 12
x 9 inches. This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions)
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only))good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility)contains
facsimiles. $90.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Organ Works Orgue Breitkopf & Härtel
Organ SKU: BR.EB-9305 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU:
BR.EB-9305 Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
84 pages. Breitkopf and
Haertel #EB 9305.
Published by Breitkopf
and Haertel (BR.EB-9305).
ISBN 9790004187692. 12
x 9 inches. This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions);
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only)); good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility); contains
facsimiles. Contains the
Critical Commentary of
the subvolumes I/1 and
I/2. $50.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Organ Works Orgue Breitkopf & Härtel
Organ SKU: BR.EB-9304 Urtext - Critical Source Edition of the Free Org...(+)
Organ SKU:
BR.EB-9304 Urtext
- Critical Source Edition
of the Free Organ
Works. Composed by
Dietrich Buxtehude.
Edited by Harald Vogel.
Solo instruments;
Softbound. Edition
Breitkopf.
Renaissance/early
Baroque; Baroque. Score.
108 pages. Breitkopf and
Haertel #EB 9304.
Published by Breitkopf
and Haertel (BR.EB-9304).
ISBN 9790004187685. 12
x 9 inches. This
edition is the result of
Harald Vogel's many years
of practice as an
organist and
musicologist. The music
text is based on a
reevaluation of 17th- and
18th-century manuscripts
containing the free organ
and keyboard works by
Buxtehude. They
originated during a
transitional phase
between the traditional
letter tablature and the
staff notation still in
use today. Since many
works have survived only
in transcriptions for
staff notation, the
editor was confronted
with a high error rate,
which he carefully
analyzes in the
Einzelanmerkungen. During
the preparation of the
edition, the editor
always kept sight of the
performance practice, but
still, the image of the
sources is never
distorted (e. g. by
superfluous rests,
beaming not conforming to
the sources and the
unhistorical adjustment
of time signatures) and
stays very close to the
compositional notation,
the letter tablature. The
flexible use of three
staves and the
differentiated
distribution of the
voices on the staves
allow for an
approximation in reading
conventions of historical
notation with its
resulting information
about hand division.
Grouping the free organ
repertoire into works
with obbligato pedal and
works for manuals, this
edition is organized in
two volumes. The first
subvolume (I/1, EB 9304)
contains the Preface and
the Preludes, whereas the
second subvolume (I/2, EB
9305) contains Toccatas,
Ostinato works,
alternative versions and
a comprehensive Critical
Commentary (in German
only). Volume II (EB
9306) contains
Buxtehude's free organ
and keyboard works
(manualiter) with the
corresponding texts
(Preface and Critical
Commentary).Until 1971,
Harald Vogel worked on a
dissertation (with Georg
von Dadelsen, Hamburg) on
Die Fuge um Bach. Besides
the description of the
inclusion of triple
measures into the C
notation and the
irregularities of the
voice mutation in the
polyphonic structures,
this also included a
discussion about the
justification of the
inner textual criticism.
With the inner textual
criticism, deviations in
parallel passages are
unified. The North German
fugue style, reaching a
peak in Buxtehude's work,
is characterized by a
constant diversity of
details in subject and
polyphonic progressions.
One of the indicators of
the fantastic style is
the dissolution of the
polyphonic structures at
the ends of the fugues,
evident in Buxtehude's
work.In this edition, a
musical text is presented
that avoids the
uniformity of detail not
conforming to the
sources. However, there
are many examples of
transcription and cursory
errors, which are
analyzed in a methodical
systematic manner. About
the editor: As an
organist, professor,
organ expert, and
scholar, Harald Vogel has
rendered outstanding
services to the
interpretation of early
music and especially to
historical performance
practice concerning the
organ for decades. He has
received numerous awards,
including an ECHO Klassik
as Instrumentalist of the
Year (2012), honorary
doctorates from Lulea
University of Technology
(Sweden, 2008) and
Oberlin College (USA,
2014), as well as the
Buxtehude Prize of the
City of Lubeck (2018).
Harald Vogel is the
author and editor of
numerous scholarly
publications and
editions. Through his
lifelong performance
practice, he can look
back on an extensive
discography, including
the complete recording of
Buxtehude's organ works,
which he recorded in
various locations with
historical organ
instruments of the North
German organ building
tradition in Scandinavia,
North Germany and the
Netherlands.
pure
source edition (no
mixture of different
transmissions);
comprehensive commentary
(Vol. I/2 & II) (with
texts about the sources,
chronology, use of keys,
liturgic placement as
well as detailed critical
remarks, incl. music
examples (in German
only)); good page
turnsflexible division of
voices (on 2 or 3
systems, good
legibility); contains
facsimiles. The
corresponding Critical
Commentary is contained
in Volume I/2 (EB
9305). $50.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Vær Stærk Min Sjæl Orgue Wilhelm Hansen
SSA and Organ SKU: BT.WHFU38A Composed by Bjarne Hersbo. Book Only. Editi...(+)
SSA and Organ SKU:
BT.WHFU38A Composed
by Bjarne Hersbo. Book
Only. Edition Wilhelm
Hansen #WHFU38A.
Published by Edition
Wilhelm Hansen
(BT.WHFU38A).
$7.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| V R St Rk Min Sj L Wilhelm Hansen
(Highlights) SKU: HL.14064466 Composed by Bjarne Hersbo. Choral. General ...(+)
(Highlights) SKU:
HL.14064466 Composed
by Bjarne Hersbo. Choral.
General Merchandise.
Duration 240 seconds.
Edition Wilhelm Hansen
#FU38A. Published by
Edition Wilhelm Hansen
(HL.14064466).
$5.69 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| V R St Rk Min Sj L Wilhelm Hansen
SKU: HL.14064467 Composed by Bjarne Hersbo. Choral. General Merchandise. ...(+)
SKU: HL.14064467
Composed by Bjarne
Hersbo. Choral. General
Merchandise. Duration 240
seconds. Edition Wilhelm
Hansen #FU38B. Published
by Edition Wilhelm Hansen
(HL.14064467).
$5.69 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ives C Ausgewaehlte Texte Schott
(HC) SKU: HL.49020804 Essays before a Sonata. Composed by Charles ...(+)
(HC) SKU:
HL.49020804 Essays
before a Sonata.
Composed by Charles Ives.
Edited by Werner
Baertschi. This edition:
Hardback/Hard Cover.
Book. Edition Schott.
Charles Ives, der
radikale Neuerer, der in
seinen Kompositionen mit
den gangigen
musikalischen Formen
seiner Zeit brach, legt
hier seinen
philosophischen
Standpunkt, seine
Gedanken zu seinen
Kompositionen und zu
Fragen seiner Zeit dar.
286 pages. Schott Music
#ATL 6118. Published by
Schott Music
(HL.49020804). ISBN
9783254001184.
German. Obwohl
Charles Ives (1874-1954)
eine grundliche
musikalische Ausbildung
an der Yale University
genossen hatte, schlug er
sehr bald eine
erfolgreiche Laufbahn als
Versicherungskaufmann ein
und widmete sich seiner
musikalischen Arbeit nur
abends und an den
Wochenenden. In fast
volliger Isolation vom
Musikgeschehen der Zeit
schuf er ein
umfangreiches OEuvre,
dessen grosse Bedeutung
erst in den 60er Jahren
entdeckt wurde: Ives
entpuppt sich darin als
radikaler Neuerer, der
sowohl mit der damals
gangigen musikalischen
Syntax als auch den
auffuhrungspraktischen
Bedingungen seiner Zeit
weitgehend brach.
Allerdings ware es
verfehlt, ihn bloss zum
musikalischen Enfant
terrible abzustempeln,
das sich dank seiner
materiellen
Unabhangigkeit uber die
Grenzen des
Musikbetriebes
hinwegsetzen konnte.
Dafur war Ives ein viel
zu reflektierender,
verantwortungsbewusster
Mensch, der zudem fest in
der denkerischen
Tradition des
neuenglischen
Transzendentalismus
verwurzelt war. So
gesehen erstaunt es kaum,
dass Ives sich ausser der
Musik - und
gewissermassen parallel
dazu - noch eines andern
Mediums, des
literarisch-philosophisch
en Essays, bediente, um
seinen Uberzeugungen
Ausdruck zu
verschaffen.Dies gilt
insbesondere fur Ives'
tiefsinnigsten und
ausgereiftesten Text, die
Essays before a Sonata
(1920), der als
Begleitschrift zur
zweiten Klaviersonate
(Concord, Mass.,
1840-1860) des
Komponisten konzipiert
war. Allerdings sind die
Essays keineswegs ein
Werkkommentar im
traditionellen Sinne: Sie
gehen zwar von konkreten
musikasthetischen Fragen
(namlich der Problematik
der Programmmusik) aus,
weiten sich aber zu einer
sehr subjektiv gefarbten
Darstellung von vier
hochbedeutenden
amerikanischen
Schriftstellern des 19.
Jahrhunderts aus - die
Rede ist von Ralph Waldo
Emerson, Nathaniel
Hawthorne, Bronson Alcott
und Henry David Thoreau.
Die vier Hauptabschnitte
der Essays, die den vier
behandelten Autoren
entsprechen, geben in
ihrem innigen Konnex zu
den vier Satzen der
Concord-Sonata - er
erstreckt sich von vagen
inhaltlichen
Vorstellungen und Bildern
bis hin zu ganz konkreten
syntaktischen und
formalen Parallelen -
Aufschluss uber die
Kompositionsprinzipien
nicht nur der
Concord-Sonata, sondern
der Musik Ives' ganz
allgemein, so dass man
die Essays before a
Sonata als sehr gelungene
und in ihrer
Ausfuhrlichkeit wohl
einmalige Paraphrase von
Musik bezeichnen darf.Das
Nachwort zu den 114
Liedern (1922) ist mit
den Essays insofern
verwandt, als es zwei
langere Stellen aus ihnen
zitiert. Diese
Zitierpraxis - man
begegnet ihr auch in
Ives' Musik - ist
bezeichnend fur Ives'
Denkweise: Ives macht von
seinem Stoff sehr
flexiblen Gebrauch, er
setzt ihn in der Art von
Versatzstucken immer
wieder neu zusammen und
kommt so immer wieder zu
einem neuen, anders
gearteten Ganzen. So geht
Ives im Nachwort weniger
allgemein
kunstphilosphischen
Problemen als der ganz
individuellen Frage nach,
warum er die Musik nur
als Nebenberuf ausuben
wollte. Seine Antwort,
die er mit seinem
typischen Yankee-Humor
vortragt, macht
einerseits deutlich, wie
sehr Ives von einem
puritanischen
Verantwortungsgefuhl
gegenuber der
Gesellschaft gepragt war,
und zeigt andererseits
Ives' tiefen Glauben an
eine Musik, die fest im
Alltagsleben verwurzelt
und somit denkbar weit
von der europaischen
Tradition der art pour
l'art entfernt war.Die
Memos (ca. 1932-34)
schliesslich sind ein
Dokument ganz anderer
Art: Weder sollten sie,
wie die beiden andern
hier vorgelegten Texte,
ein bestimmtes
musikalisches Werk
begleiten, noch besitzen
sie den hohen
gedanklichen Ausspruch
der Essays und des
Nachworts. Es sind
autobiographische
Aufzeichnungen, die Ives
ursprunglich diktierte,
deren Manuskripte er aber
danach mehrmals durchsah
und korrigierte. Sie
gliedern sich in drei
lose aneinandergereihte
Teile: Im Anlass
betitelten Abschnitt
nimmt Ives auf teils
humoristische, teils
sarkastische Weise zu den
Anfeindungen Stellung,
die ihm die damals
sparlichen Auffuhrungen
seiner Werke bescherten.
Im Sammelalbum gibt er
einen chronologischen
Uberblick uber Entstehung
und Gehalt seiner
wichtigsten Werke. Und in
den Erinnerungen
verschafft Ives nochmals
den Grundpositionen
seiner idealistischen
Musikasthetik, seiner
Abneigung gegen jede Form
von Kommerz und Routine
und seiner Verachtung
aller musikalischen
Kleingeister Ausdruck.
Uberdies sind die Memos -
trotz ihrer defensiven
Grundhaltung - so
humorvoll, engagiert und
bildreich verfasst, dass
sie nicht nur die
detaillierteste, sondern
auch die wohl anregendste
Primarquelle zum Leben
und Werk dieses
vielleicht
eigenwilligsten
Komponisten des fruhen
20. Jahrhunderts
bilden. $17.95 - Voir plus => Acheter | | |
|
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