Eighteenth Century Recorder Music (2 CD SET)

ISBN 9789633307687. English.

The purpose of this book is to describe the function of military music in the musical life of Hungary in a historical context. With this historical account, it can contribute to the general wind music history revealing the details of band music in that culture. The study analyzes the music of the Hungarian Permanent Army from the early eighteenth century until the middle of the twentieth century. The musical development from the instruments of tunesters is described from the oboists, harmonie, and the seminal appearance of wind band as we know it today. Through the biographical sketches of conductors, descriptions of instruments used in various instrumentations, the role of theuniform unique to each band, and programs of the performed music, the study also describes the function of band music in the cultural life of Hungarian cities during this particular period. This descriptive study is an account of 200 years of Hungarian military music. László Marosi was born in Sárvár, Hungary. He studied conducting at the Liszt Academy of Music, Budapest, with Tamás Breitner. From 1982 to 1997 he was conductor of the Hungarian Central Army Wind Orchestra and recorded several works by Franz Liszt and contemporary Hungarian composers such as Kamilló Lendvay, Frigyes Hidas, László Dubrovay, Iván Patachich, János Decsényi, István Láng, and György Ránki.Following his professional career in Hungary, he earned a MM in conducting and a PhD in music education at Florida State University with James Croft and Philip Spurgeon. He frequently conducted the University Symphony Orchestra, including acclaimed performances of the music of Ellen Taaffe Zwilich and Shulamit Ran. As Visiting Professor, Dr. Marosi served as Associate Conductor of the FSU Wind Orchestra during the 2002/2003 academic year.

SKU: HL.49004635

ISBN 9790001048620. UPC: 884088108656. 6.0x9.0x0.085 inches.

In Frankreich wurde im Zeitalter des Rokoko viel auf der Blockflote, der Flute douce, und auf der Musette musiziert. Boismortier, Baton und die Bruder Chedeville waren beruhmte Solisten auf diesen Instrumenten. Wie auch andere Komponisten jener Zeit, haben sie zahlreiche Sammelbande hinterlassen, die fur ihre Schuler und das hausliche Musizieren bestimmt waren. Aus diesen Sammlungen, in deren Titeln sich bereits das franzosische Rokoko spiegelt, wurden einige Tanze ausgewahlt, die im Original so praktisch gesetzt sind, dass sie mit Blockfloten in den verschiedensten Zusammenstellungen gespielt werden konnen.

SKU: PR.114418820

ISBN 9781491113998. UPC: 680160667697.

Compo sed 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: UT.HS-312

ISBN 9790215327269. 9 x 12 inches.

In a few decades José de Nebra, previously almost completely unknown to musicians and amateurs - outside a narrow circle of connoisseurs -, has become one of the most appreciated Spanish composers in history. Famous and renowned during his lifetime, his music has been forgotten - except for one composition - for more than two centuries, but the publication of a certain number of editions of his music, especially theatrical and religious, since the 1990s has contributed to giving him back a preeminent role in the history of Spanish music and to providing him with a certain presence in concert programs and recordings.
As for Nebra’s keyboard music, which from the start was to be his main occupation, we have a sad panorama of scattered, late sources, and often of doubtful - if not erroneous - attribution, until the appearance and subsequent study of the manuscript to which the present edition is dedicated. This notebook was discovered in the Music Archive of the Cathedrals of Zaragoza. The content of the manuscript consists of a set of thirty-one pieces grouped in eight large works in several movements, which often depart somewhat from the Scarlattian sonata model so common in eighteenth-century Iberian keyboard music and which link with other traditions of keyboard music: the purely Hispanic (in some examples of great intentos or fugues, imitative compositions derived from the ancient tientos) and also other European traditions, such as the French, detectable in numerous dance movements. Nebra gives the name ‘sinfonía� � to two of these large-scale compositions in several movements, so that in this edition, respecting the name given by the author, the editor used such a name for the series of eight pieces, which could probably also have been called suites, ordres or even sonatas.