En 1887, Antonín Dvorák deux terzettos pour deux violons et alto en succession rapide sous forme de compositions pour les amateurs occasionnels. Un peu plus tard, Dvorák a organisé la deuxième terzetto que quatre pièces pour violon et piano avec le titre 'Romantic Pieces', op. 75. Les deux oeuvres, qui est le premier 'Terzetto en ut majeur' et 'Pièces romantiques', ont été publiés en mai 1887 par Simrock à Berlin.- Basé sur le 'édition complète des oeuvres d'Antonín Dvorák', Vol. IV / 4- Répertoire de difficulté moyenne / 2 Violons Et Alto
SKU: HL.51487235
ISBN 9790201872353. UPC: 888680749729. 6.75x9.5x0.125 inches.
Dvorák composed his Terzetto op. 74 in 1887 as the result of a spontaneous desire to write some domestic music. Inspired by neighborhood violin lessons, he wrote these four little movements for two violins with viola accompaniment in the space of just a few days. This Terzetto is thus not technically difficult to play, though with its flowing melodies and spirited rhythms it still offers the best of Dvorák. It is not surprising that his publisher Fritz Simrock immediately snatched them up when Dvorák told him in 1887 that he was working on little bagatelles. The autograph of the score that contained many corrections nevertheless makes evident just how much hard work went into these little bagatelles. It also served as the engraver’s copy for the first edition. Both these sources were consulted for this Urtext edition that offers today's players an authentic text of this musical jewel.
SKU: PR.11441123S
UPC: 680160016303. 8.5 x 11 inches.
The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.
SKU: IS.CM6538EM
ISBN 9790365065387.
Char les Camilleri (1931 - 2009) was a Maltese composer. As a teenager, he composed a number of works based on folk music and legends of his native Malta. He moved from his early influences by Maltese folk music to a musical form in which nothing is fixed and his compositions evolve from themselves with a sense of fluency and inevitability. He composed over 100 works for orchestra, chamber ensemble, voice and solo instruments. Camilleri's work has been performed throughout the world and his research of folk music and improvisation, the influences of the sounds of Africa and Asia, together with the academic study of European music, helped him create a universal style. Camilleri is recognized in Malta as one of the major composers of his generation. He died on 3 January 2009 at the age of 77. His funeral took place two days later at Naxxar, his long-time town of residence. Flags across Malta were flown at half-mast in tribute to him.
SKU: CA.3810914
ISBN 9790007054342. Language: Latin.
While the solos in earlier masses form an integral part of the structure of the entire work, Christian Bach made the solo sections independent in the sense of the Neopolitan school. The orchestra is occupied with longer preludes and rustling figures. In the eleven movements, Bach was able to unite the compositional techniques and expressivity of the Baroque with the beautiful sound of an Italian cantilena. From the forward by Traugott Fedtke. Score and part available separately - see item CA.3810900.
