SKU: PR.415411350
ISBN 9781598062137. UPC: 680160576012. 9.5 x 13 inches.
Carter Pann's Concerto Logic was commissioned by a consortium of 21 leading college bands throughout the country, in conjunction with the College Band Directors' National Association. Drawing its inspiration from games of chance, logic, and strategy, this work contains four movements and totals about 20 minutes. For advanced or university ensembles. Performance materials available on rental.
SKU: PR.41541135L
UPC: 680160608805. 11 x 17 inches.
Co-commissi oned by 21 university wind symphonies, CONCERTO LOGIC is a 25-minute piano concerto inspired by games of chance, logic, and strategy, both ancient and contemporary. Pann himself has performed as the concerto’s soloist on many occasions. I. Dogs and Jackals (C-minor Fantasy) is an ancient Egyptian game; II. Ernö Rubik’s Magic Cube is a musical depiction of working on Rubik’s Cube until finally, after several days, the last few turns are found and the puzzle is solved; III. Rondo Capriccio: “Rage over a Lost Pawn” (piano solo) is an extended piano cadenza referring to the title of Beethoven’s famous “Rage over a Lost Penny” as well as a game of chess; and IV. Dancing with Caissa honors the patron goddess of chess players.
SKU: HL.51480736
ISBN 9790201807362. UPC: 884088178505. 9.25x12.25x0.027 inches.
This volume completes Henle's urtext series of Joseph Haydn's three piano concertos. Written in or around 1765, the delightful first concerto is ideally suited for playing at home, for the relatively undemanding part for piano (or harpsichord) is accompanied merely by a string quartet. This edition draws on the musical text in our complete edition of Haydn's works, guaranteeing an urtext of the finest quality.
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What I can expect from Henle Urtext editions:
SKU: HL.51480735
ISBN 9790201807355. UPC: 884088178499. 9.25x12.25x0.02 inches.
SKU: HL.51480734
ISBN 9790201807348. UPC: 884088178482. 9.25x12.25x0.023 inches.
SKU: HL.51480733
ISBN 9790201807331. UPC: 884088178475. 9.25x12.25x0.027 inches.
SKU: BA.BA04016
ISBN 9790006442973. 33.1 x 26 cm inches.
For performance material please see BA 4209-4220.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: CR.977835
ISBN 9780758662217. 9 x 12 inches.
Followin g the successful Hymn Prelude Library series for organ comes a comprehensive set of piano preludes for all the hymn tunes in Lutheran Service Book. Not an adaptation of the organ series, this collection features newly composed pieces by dozens of composers who write in a variety of styles and harmonizations. The pieces are useful as preludes, postludes, music at the offering, for introductions, and during distribution, as well as for those who play hymns at home. The durable wire binding ensures that each page lies flat against the music stand.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 4 contains preludes for tunes starting with the letters F and G.
Subscribe and Save!With a subscription, you'll pay $40.00 for each volume in the series—a 20% savings. You'll also automatically receive each new volume as soon as it is released. Subscribe now >
About the EditorKevin Hildebrand is Kantor at Concordia Theological Seminary in Fort Wayne, Indiana. He has more than 75 music titles in print with CPH and was the editor of Hymn Prelude Library.
SKU: CR.977833
ISBN 9780758662194. 9 x 12 inches.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 2 contains preludes for tunes starting with the letters B and C.
SKU: CR.977839
ISBN 9780758662255. 9 x 12 inches.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 8 contains hymn tunes starting with NO.
Click here to find all previous volumes of the Piano Prelude Series.
Subscribe and Save!
With a subscription, you'll pay $40.00 for each volume in the series—a 20% savings. You'll also automatically receive each new volume as soon as it is released. Subscribe now >
SKU: CR.977837
ISBN 9780758662231. 9 x 12 inches.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 6 contains preludes for tunes starting with the letters J, K and L.
SKU: CR.977836
ISBN 9780758662224. 9 x 12 inches.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 5 contains preludes for tunes starting with the letters H and I.
SKU: CR.977832
ISBN 9780758662187. 9 x 12 inches.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 1 contains preludes for tunes starting with the letter A.
About the EditorKevin Hildebrand is Kantor at Concordia Theological Seminary in Fort Wayne, Indiana. He has more than 75 music titles in print with CPH and was the editor of the Hymn Prelude Library.
SKU: CR.977838
ISBN 9780758662248. 9 x 12 inches.
The complete library will include 12 volumes organized alphabetically by hymn tune. Volume 7 contains hymn tunes starting with M.
SKU: BA.BA10578-01
ISBN 9790260109056. 33 x 26.2 cm inches. Preface: Brezina, Aleš.
The two concertos contained in this volume represent two different stylistic periods within Martinu's work. TheConcerto da Camera(1941) is the last of his works inspired by the Baroque concerto grosso. TheRhapsody-Concerto, composed eleven years later (1952), was the first work of his so-calledfantasia period, marked by a more open sense of form and an expansion of tonality. The edition of theConcerto da Camerashows, for the first time, the extent of Martinu's modifications to the work since its composition and publication, particularly to the solo violin part. The edition of theRhapsody-Concertotakes into account previously unknown contemporary performance materials which have recently been discovered.This volume of the Bohuslav Martinu Complete Edition (BMCE) is based on a wealth of text and music sources, in particular autographs and contemporary copies that were recognized by the composer and early performers of the works, as well as some first editions produced under the supervision of Martinu.
SKU: HL.132240
UPC: 884088970741.
Piano concertos combine two elements: pure playing and full poetic expression. Virtuosity and romance. Pianistic brilliance, educated in the works in the stile brillant, brought to perfection, but at the same time - a farewell. Both are forms of direct expression of the personality of the composer, which showed itself in them for the first time with so much strength and is manifested in a group of characteristics of forming Chopin's individual style. Piano Concerto in E minor Characterised by an extensive, in terms of Chopin's concert pieces, orchestral part. The melody here is less ornamented, and more fluid, the sketch of the cantilena very noble and clear, the highly virtuosic element is exposed, but not to the extent of overwhelming the logic of the design. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form.
SKU: HL.233151
ISBN 9788759886427. 10.0x14.5 inches. English.
Piano solo part for Paganini Variations - Piano Concerto No.3 by Poul Ruders (2014). Score available: WH32201 Programme note: In 1999 my friend, American guitar virtuoso David Starobin, wanted me to write a concerto for guitar and orchestra. It quickly dawned on me, that this commission presented a golden opportunity to contribute to the time-honoured tradition of composing a series of variations on Nicolo Paganini's famous 24th Caprice for violin solo, a work which itself is a set of variations. The 16 bar (with the first 4 bars repeated) theme is not particularly sophisticated or intricate, but its inherent simplicity and logic just grow on you, almost to the point ofdistraction - and the secret behind it being hauled through the wringer by composers as disparate as Liszt, Brahms, Rachmaninoff and Lutoslawski is perhaps found in its - what I'll call, with a quick nervous look over my shoulder: brilliant banality. You can do anything with that tune, it'll always be recognizable and just there, however much you maul it. The piece (subtitled Guitar Concerto no 2) was written pretty quickly, premiered and subsequently recorded for Bridge Records with David and the Odense Symphony Orchestra conducted by Jan Wagner, and everybody was happy. But the story didn't end there, and it must be the ultimate proof of the durability of the theme, not to mention the flexibility and far-sightedness of David Starobin , when he 14 years later suggested why not transcribe the solo part for piano?. The idea appealed to me immediately. One thing was clear from the beginning: the new version could in no way sound like a transcription. My aim was to end up with a solo-part sounding like were it the one-and-only, the real thing, if you like. The orchestral score remains exactly the same in both cases. Both versions, the two Paganini Variations, are comparable to a set of twins, not quite identical, but almost. And both each others's equal. Poul Ruders.
SKU: HL.48025411
UPC: 196288202288.
The composer states that her Cello Concerto is antithetical to her other concertos. “While in the concertos for violin and piano, in the Double Concerto, and in my new sheng concerto I was seeking to merge the solo instrument and the orchestra into a single virtuoso super-instrument, here its all about the competitive tension between the soloist and the orchestra. The 'aura' of the cello was the initial nucleus and forms the basis of the music, so the whole structure of the piece is thus 'carried' by the cello. However, the orchestra responds to it in an antagonistic way. This antagonism is much stronger than in traditional Classical-Romantic concertos; one could even speak of a 'psychological warfare' between soloist and orchestra. In my cello writing, I often ask the soloist to disguise the nature of the instrument so the perception can be blurred. I try to explore the boundaries of the cellos expressivity and to broaden the definition of 'expression'. Therefore I also use special playing techniques and call for unusual timbres, including noises and rasping sounds. For me, this actually serves the expressivity by suggesting new meanings. The unique artistry of Alban Gerhardt inspired me immensely. Not only his solo part but also the orchestral parts are often characterized by extreme virtuosity, by the idea of the instrumentalists being pushed to the edge.”.
SKU: HL.50601598
8.0x11.75 inches.
The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulatio n and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova).
SKU: BA.BA11550
ISBN 9790260108608. 31 x 24.3 cm inches. Key: E-flat major. Preface: Honigova, Alena.
Johann Joseph Rösler (1771–1812) was a composer, conductor and pianist who was active in Prague and Vienna. Later he was in the service of Prince Franz Joseph von Lobkowitz. His Piano Concerto No. 2 in E-flat major of 1803 is a fitting companion to the piano concertos of Beethoven; indeed, his first Piano Concerto in D major was mistakenly attributed to Beethoven until 1925.Now Rösler’s second Piano Concerto is appearing in print for the first time. This is due to editor Alena Hönigová discovering and identifying an autograph score which is the only preserved source in the Prague Conservatory archive. In this Urtext edition Hönigová takes into account the distinctive features of Rösler’s handwriting and the division of parts in the score, as befits the performance practice of his day.
SKU: BA.BA05146
ISBN 9790006566761. 32.5 x 25.5 cm inches. Key: G minor. Preface: Fischer, Wilfried.
This violin concerto in G minor has not come down to us in the form presented here. It has been reconstructed from a lost violin concerto that survives solely in Bach’s arrangement for harpsichord, namely, as the Harpsichord Concerto in F minor (BWV 1056).The reconstruction is based on a meticulous evaluation of those autograph harpsichord concertos that also survive in an original version for violin. In particular, the autograph harpsichord parts contain changes that Bach made when preparing his arrangements, thereby revealing the manner in which he transcribed his solo violin works for the harpsichord.The keyboard realization is presented in a transparent way allowing players the possibility to embellish and fill in the harmonies at their discretion.
SKU: HL.49006193
ISBN 9790001067331. 9.0x12.0x0.336 inches.
For many people, Kurt Godel (1906-1978) is the most important logician of the 20th century. His epistemological theorem: 'In any sufficiently powerful logical system statements can be formulated which can neither be proved nor disproved within the system, unless possibly the system itself is inconsistent' was the central issue of Hans Magnus Enzensberger's poem Hommage a Godel which served as subject matter for the Second Violin Concerto of Hans Werner Henze.3 (auch Picc.) * 1 * Engl. Hr. * 2 (1. mit Kontaktmikr.) * Bassklar. * 2 - 2 * 2 * 1 (oder Wagnertb.) * 0 - S. ( I: Vibr. * Marimbula [oder Psalter] * 3 Gl.; II: 3 Tomt. * Log drums * Woodbl. * Guiro * hg. Bambusstabe; III: 3 hg. Beck. * gr. Tr. [mit Ped.] * 8 Boo-bams [oder Marimba mit Dampfer]; IV: 3 Tamt. * Dobaci * Flex. * 2 Mar. * hg. Donnerblech * Rohrengl.) (4 Spieler) - Git. (mit Kontaktmikr.) * Mand. (mit Kontaktmikr.) * Hfe. * Klav. * prap. Klav. (mit Kontaktmikr.) - Str. (0 * 0 * 4 * 3 * 2).
SKU: HL.51487451
UPC: 196288158110. 6.75x9.5x0.294 inches.
Thanks to its skilful combination of Romantic melody and sparkling virtuosity, Koussevitzkys Double Bass Concerto op. 3 has been one of the most popular works of its genre since its Moscow premiere in 1905. No wonder, for the virtuoso double bass player Koussevitzky had composed it for his very own instrument. As early as 1906/07 a first piano reduction was published in Moscow, followed by a second in 1910 in Leipzig. However, both contain so many mistakes in the solo part that there is still uncertainty about the correct musical text in many passages to this day. The double bass player Tobias Glöckler has therefore prepared his Urtext edition using several sources: as well as the manuscript performance material and the piano reductions published during the composer's lifetime, he has also studied recordings with Koussevitzky as soloist - thereby finally producing a thoroughly-researchedUrte xt edition of the orchestral score and piano reduction of this classic of the double bass literature. As with all double bass concertos published by Henle Publishers, this edition also contains the piano reduction by Christoph Sobanski in two keys (E minor and F sharp minor) for performance with solo or orchestral tuning.
SKU: BA.BVK02472
ISBN 9783761824726. 40 x 24 cm inches.
Music for a Leipzigcoffee houseand for other venues - Johann Sebastian Bach composed not only for the nobility and the church, but also for bourgeois musical culture. Among these works are the harpsichord concertos. They are noted down in a manuscript that is a unique and probably the most important document for the instrumental repertoire of the LeipzigCollegium Musicum.Bach arranged his concerto movements in such a way that the harpsichord is given a solo part that exploits the instrument'sclavieristicp ossibilities to the full. These works thus fix a decisive moment in the early history of the piano concerto genre which received significant impulses from Bach and his circle of students.The autograph offers revealing insights into the composer's working methods, elucidated by Christoph Wolff in an accompanying essay. Martina Rebmann describes the genesis of the Bach collection at the Staatsbibliothek zu Berlin, which holds the autograph.The facsimile in high-quality four-colour printing reproduces the extensive score in its original size; BWV and bar numbers on every page facilitate its use.
