SKU: BT.DHP-1115096-400

ISBN 9789043135344. 9x12 inches. Italian.

A tutti coloro che cercano un nuovo strumento pedagogico per imparare a suonare, la casa editrice musicale De Haske propone i metodi della serie ASCOLTA, LEGGI and SUONA, unâ??opera educativa e ludica con accompagnamento su CD.Questi metodi attuano un processo decisamente aperto, gratificante e moderno per rivoluzionare lâ??insegnamento musicale: attraverso lâ??ascolto, la lettura e lâ??interpretazione dei singoli esercizi, dei giochi e dei quiz potrete imparare divertendovi. Ogni singolo esercizio prevede lâ??esecuzione con accompagnamento di una vera band sul CD! In più troverete tante notizie sulla storia del vostro strumento, sugli interpreti, e sulla tecnica giusta per suonare.Sonodisponibli in italiano i volumi per tromba, clarinetto, saxofono contralto e flauto. Per tutti gli altri strumenti, il metodo è disponible in inglese.

SKU: BT.DHP-1196117-404

ISBN 9789043157278. Italian.

Ascolta, leggi & suona rappresenta oggi il testo di riferimento dedicato all’insegnamento della musica per ottoni e legni. Questo fantastico metodo, costituito da libro e CD, include canzoni, indovinelli musicali e giochiche permetteranno all'allievo principiante di progredire nella conoscenza della musica, fornendogli al contempo utilissime informazioni sul suo strumento e numerosi brani da suonare divertendosi. I tre volumi che compongonol’opera sono i primi della collana e sono affiancati da testi contenenti materiale supplementare per i differenti livelli del corso.

Incontra i classici offre utile materiale complementare a tutti e tre i volumi dellaserie Ascolta, leggi & suona e include melodie proposte secondo un ordine di difficolt crescente. In un fantastico viaggio nella storia della musica, l’allievo incontrer i più importanti compositori classici, da TielmanSusato ad Anton n Dvo ák. Ogni volume include per ogni brano cenni storici e l’accompagnamento pianistico, arrangiato sapientemente a un moderato livello di difficolt : tale accompagnamento è anche disponibile online e può essereutilizzato per il download o in streaming.

SKU: IS.OP4179EM

ISBN 9790365041794.

In 1901, Flor Alpaerts finished his music studies at the Flemish School of Music of Antwerp, which later became the Royal Flemish Conservatory. He studied harmony and composition with Jan Blockx. In 1903 he became professor at this institute and from 1934 until 1941 its director. For one season (1922-1923) he was also director of the Royal Flemish Opera House of Antwerp together with the bass Arthur Steurbaut. His fame, as a composer and a conductor, came shortly after World War I, when he succeeded Eduard Keurvels in 1919 as conductor of the concerts organized by the Royal Zoological Society of Antwerp and as artistic director of the Peter Benoit Fonds. He also conducted the choral group Arti Vocali. As a composer, Flor Alpaerts was the leading figure in the Flemish impressionistic movement, utilizing an impressionism that came closer to Richard Strauss and Ottorino Respighi than to Claude Debussy. A highlight in this direction was the symphonic poem Pallieter (1921-1924). With his suite James Ensor, inspired by four works of the Ostend painter, he created an expressionistic work. In his later compositions he turned to neo-classicism. Though mostly known for writing larger scale works during his life, this Concertstuk for oboe and piano, composed towards the end of his life came at a time when he unexpectedly because to compose chamber music. In addition to this work for oboe, he composed a solo piece for clarinet, as well as four string quartets during his final years.

SKU: ST.C461

ISBN 9790570814619.

This edition replaces the old Nova Edition NM394 and the subsequent but also now defunct EMA142. Both previous editions are now out of print. This is a freshly edited, updated and greatly improved edition.

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Gioacchino Rossini: Variations for Oboe and Piano
Rossini was still a student at the Liceo Filarmonico in Bologna when he wrote these Variations at the age of 18. Originally thought to have been written for Clarinet in C and Orchestra, recent scholarship, culminating in Heinz Holliger’s brilliant recording (Philips 9500 564), has provided many good reasons why the oboe is clearly the solo instrument. Not only does it ‘look like’ oboe music but the writing (within the oboe’s exact range at that time) ignores more than an octave of the clarinet’s potential range. Also, it is most unusual to find the solo wind instrument duplicated in the accompanying orchestral parts, thus providing unnecessary competition in timbre.

Frédéric Chopin: Variations on a Theme by Rossini
No such ambiguity surrounds the origin of Chopin’s Variations on a Theme from Rossini’s opera La Cenerentola — orginally for flute. It is not definitely known for whom they were written, but they may have been either for his father (who played the flute), or for his close friend Matuszynski. They date from 1826-30 and here transposed from the original E major into D major for the oboe, provide a valuable addition to the oboist’s nineteenth century repertoire.

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Arranged by Mark Goddard
Grades 7–8
Former Spartan Press Cat. No.: EMA142.

SKU: KU.GM-1655

On several themes from the opera 'I Capuleti e i Montecchi' by Bellini.

SKU: BR.EB-9240

ISBN 9790004185407. 9 x 12 inches.

Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter).