Format : Score and Parts
SKU: HL.48024520
UPC: 888680900410. 9.0x12.0x0.08 inches.
Written as a part of the Frank L. Battisti 85th Birthday Commission Project, 'Neapolitan Ode' is a powerful and evocative addition to the repertoire. Utilizing a tone row suggested by Mr. B. himself, Michael Weinstein incorporates a Neapolitan harmonic flaovr and a wide range of textures and moods in creating this vehicle of praise (or ode) for his former conductor/mentor. Recorded by the New England Conservatory Symphonic Winds - William Drury, conductor. Dur: ca. 5:00.
SKU: HL.44010794
UPC: 884088547868. 9x12 inches.
In this work the composer follows the models of Mendelssohn (Fourth Symphony), Elgar (In the South: Alassio) and Respighi (Roman Trilogy) by using instrumental color to produce a sunny piece, following a holiday in southern Italy, and describing a festival day in Naples. The work starts with brilliant woodwinds and percussion accompanying an opening celebratory theme in the brass. The mood subsides until a trumpet intones a new theme in the style of a Neapolitan serenade, taken up by the whole band. This is interrupted by a passing parade (the local band is not particularly accomplished!) but this disappears into the distance. A vivace follows in typical Neapolitan 6/8 meter, representing the festive dancing which characterises the local celebration. A change of mood is introduced by a horn chorus, but the dancing resumes and eventually joins with the horn theme to bring festivities to a close.
SKU: HL.44010793
UPC: 884088547851. 9x12 inches.
In this work the composer follows the models of Mendelssohn (Fourth Symphony), Elgar (In the South: Alassio) and Respighi (Roman Trilogy) by using instrumental color to produce a “sunny” piece, following a holiday in southern Italy, and describing a festival day in Naples. The work starts with brilliant woodwinds and percussion accompanying an opening celebratory theme in the brass. The mood subsides until a trumpet intones a new theme in the style of a Neapolitan serenade, taken up by the whole band. This is interrupted by a passing parade (the local band is not particularly accomplished!) but this disappears into the distance. A vivace follows in typical Neapolitan 6/8 meter, representing the festive dancing which characterises the local celebration. A change of mood is introduced by a horn chorus, but the dancing resumes and eventually joins with the horn theme to bring festivities to a close.
SKU: KN.10315
UPC: 822795103151.
Designed for a first contest or recital performance, this grade 1-2 collections contain 14 pieces that have been carefully edited by baritone specialist Donald Sherman, and edited by Carl Strommen. The free downloadable piano accompaniment MP3s will be an invaluable tool for students. Piano accompaniment book sold separately (#10316). Available in SmartMusic. Contents:Chester (Billings); The Dancing Master (Turk); Minuet (Telemann); Wedding Madrigal (Sullivan); The Nightingale's Secret (Grieg); Ah, Leave Me Not To Pine (Sullivan); Remember Provence (Verdi); The Thief's Regret (traditional Catalan folk song); Danse Du Roy (Susato); In The Steppes Of Central Asia (Borodin); Sunlight On The Ganges (Scarlatti); March Of The Priests (Mozart); Neapolitan Serenade (Meglio); Plaisir D'Amour (Martini).
SKU: KN.KEN10314
UPC: 822795103144.
Designed for a first contest or recital performance, this grade 1-2 collections contain 14 pieces that have been carefully edited by baritone specialist Donald Sherman and edited by Carl Strommen. The free downloadable piano accompaniment MP3s will be an invaluable tool for students. Piano accompaniment book sold separately (#10316). Available in SmartMusic.Contents:Chester (Billings); The Dancing Master (Turk); Minuet (Telemann); Wedding Madrigal (Sullivan); The Nightingale's Secret (Grieg); Ah, Leave Me Not To Pine (Sullivan); Remember Provence (Verdi); The Thief's Regret (traditional Catalan folk song); Danse Du Roy (Susato); In The Steppes Of Central Asia (Borodin); Sunlight On The Ganges (Scarlatti); March Of The Priests (Mozart); Neapolitan Serenade (Meglio); Plaisir D'Amour (Martini).
SKU: HL.50490551
UPC: 884088596781. 9x12 inches.
Piano Diamonds collections include the best popular music of all time, each volume dealing with a specific theme. This edition highlights well-known Neapolitan songs, including: Funiculì Funiculà, 'O Sole Mio, Santa Lucia, and 22 more.
SKU: HL.49005133
ISBN 9790001054980. UPC: 884088109721. 9.0x12.0x0.073 inches. Italian.
SKU: HL.50490661
UPC: 884088646165. 8.75x12 inches.
16 Neapolitan tunes transcribed for the beginning pianist, including: Caruso • Santa Lucia luntana • Tu vuò fa l'americano • and more.
SKU: DB.01-00406
ISBN 9790012193036.
Klavierschule - Piano MethodDetektiv (4ms ad lib.) / Detective - Wiegenlied (4ms ad lib.) / Lullaby - Ein sonniger Tag (4ms ad lib.) / A Sunny Day - Walzer (4ms ad lib.) / Waltz - O When the Saints (4ms) - Au Clair de la Lune - Herbst / Autumn - Bourree - Chicago - Greensleeves - Piano Rock - When Israel Was In Egypt's Land (4ms) - Kristall / Crystal - Was soll das bedeuten? / What does it mean? - Schmetterlinge / Butterflies - In der Halle des Bergkonigs (4ms) / In the Hall of the Mountain King - Plattfussmarsch / Flatfooted March - Geisterstunde / The Witching Hour - Melodie / Melody - Praludium / Prelude - Karawane / Caravan - Musette / Musette - Der Regen / Rain - Flug der Elfen / Flight of the Elves - Neapolitanisches Lied / Neapolitan Air - Blues - Ganoven-Tango / Gangster-Tango - Das Standchen (4ms) / Serenade - Lied der Eisbaren / Song of the Polar Bears - Mazurka - Abendlied / Evening Song - Krabbentanz / Dance of the Crabs - Le Coucou - Menuett / Minuet - Altfranzosisches Lied / Old French Song - Maxi'.
SKU: CA.9136000
ISBN 9790007122126. Key: G major. Language: German.
SKU: UT.CH-282
ISBN 9790215325432. 9 x 12 inches.
’A Vucchella; Torna a Surriento; Core ’ngrato; ’O marenariello; Palomma ’e notte; Luna nova; Serenata napulitana; Autunno; ’A nuvena
SKU: UT.CH-251
ISBN 9790215324237. 9 x 12 inches.
’A Vucchella; Torna a Surriento; Scétate; ’O marenariello; Furturella; Era de maggio; Serenata napulitana; Autunno; Marechiare
SKU: LM.P1362
ISBN 9790230916462.
COTTRAU : Santa Lucia (Chant national napolitain) - DIABELLI : Piece melodique Op.149 - GRETRY : Une fievre brulante (Richard Coeur de Lion) - LACK : Le bapteme de la poupee Op.61 bis - LANDRY : Valse espagnole op.77 - LAVIGNAC : Priere et Choral - SOR : Galopade - THOME : Alsacienne Op.58 bis - En chasse Op.58 bis - WOHLFART : L'Ami des enfants Op.87.
SKU: BT.DHP-1175852-140
English-German-French-Dutch.
Addio Napoli is a medley of well-known Neapolitan melodies, including Torna a Surriento by Ernesto de Curtis (1875 1937), Neapolitan Dance by Pyotr Ilyich Tchaikovsky (1840 1893) which he used in his famous ballet, SwanLake Maria, Mari!, a Neapolitan song by composer Eduardo di Capua (1865 1917), and of course, Funiculì, Funicul by composer Luigi Denza (1846 1922). This cheerful medley by the renowned arranger Wil Van der Beek is ideal for allof your concerts!Addio Napoli is een medley van bekende Napolitaanse melodieën, met daarin Torna a Surriento van Ernesto de Curtis (1875 1937), een Napolitaanse dans van Pjotr Iljitsj Tsjaikovski (1840 1893), die hij in zijn beroemde balletHet zwanenmeer gebruikte, Maria, Mari!, een lied van componist Eduardo di Capua (1865 1917), en natuurlijk Funiculì, Funicul van Luigi Denza (1846 1922). Deze vrolijke medley vol aanstekelijke melodieën, bewerkt door degerenommeerde arrangeur Wil Van der Beek, is een ideale aanvulling op elk concert!Addio Napoli ist ein Medley mit bekannten neapolitanischen Melodien, darunter Torna a Surriento von Ernesto de Curtis (1875 1937), der Neapolitanische Tanz von Peter Tschaikowski (1840 1893), den er in seinem berühmten BallettSchwanensee verwendet hat, Maria, Mari!, ein neapolitanisches Lied des Komponisten Eduardo di Capua (1865 1917), und natürlich Funiculì, Funicul von Luigi Denza (1846 1922). Mit seinen wunderbaren Melodien eignet sich diesesfröhliche Medley des bekannten Arrangeurs Wil van der Beek hervorragend für jedes Konzert!Addio Napoli est un medley de mélodies populaires napolitaines telles que Torna a Surriento d’Ernesto de Curtis (1875-1937), la Danse napolitaine du ballet Le Lac des cygnes de Piotr Illitch Tcha kovski (1840-1893),Maria, Mari !, une chanson napolitaine du compositeur Eduardo di Capua (1865-1917), et bien s r Funiculì, Funicul de Luigi Denza (1846-1922). Ce medley entraînant de l’arrangeur Will Van der Beek vous propose de nombreuses mélodiesentraînantes, ce qui en fera une œuvre idéale pour tous vos concerts !
SKU: BT.DHP-1175852-010
SKU: UT.HS-307
ISBN 9790215327146. 9 x 12 inches.
Antonio Valente blind, Neapolitan since a long time according to the list of Neapolitan musicians by Scipione Cerreto and organist in S. Angelo a Nilo in Naples, is known in modern times for his two volumes of keyboard music: Versi spirituali published in 1580 and, some years before, the volume here in transcription, Intavolatura de cimbalo, printed by Giuseppe Cacchio in 1576.This volume has many original features: first keyboard tablature ever printed in Naples, it??s not written in musical characters but in a number-based system never met, according to the current studies, in any other print or manuscript both in and outside Italy. The dedication letter, written by Fra?? Alberto Mazza, praises Valente as the inventor of this writing method, so easy and effective that everybody, even uncouth youths that did not know music and keyboard, could attain the result of playing from it in two months.The Intavolatura presents different genres of music: a fantasia, six ricercatas, a Salve Regina on a cantus firmus, four vocal chansons intabulated for keyboard with more or less diminutions,and nine dances, variations and dance/variations on long-living tenors like Romanesca or Zefiro. There are no liturgical compositions, both because unsuitable in a collection for amateurs and because Valente will publish a new book of sacred music in a few years. The book is a sort of compendium of the keyboard genres of the period, similar to some older Spanish publications and to the later Neapolitan ones by Trabaci and Majone. Other contemporary volumes on the contrary choose to present a single type of composition: this is the case of the Versetti by Valente and the Ricercate by Rocco Rodio.
SKU: UT.NAP-4
ISBN 9790215318373. 9 x 12 inches.
Concerto in Mi bem. magg. per Violino principale, 2 Violini, Viola e Basso; Concerto in Re min. per 2 Violini e Basso (1728); Concerto in La magg. per 3 Violini e Basso (1728)_x0008_; Concerto in La min. per 3 Violini e Basso (1727)_x0008_; Concerto in La min. per 3 Violini e Basso; Sinfonia in Fa min. a 2 Violini e Basso; Sinfonia in Sol magg. a 3 Violini e Basso; Sinfonia fugata in Fa min. a 3 Violini e Basso; Sinfonia in Do min. a 4 Violini e Basso; Trio in Si min. per 2 Violini e CembaloNicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas. Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the a terrazze style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the schools of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.
