Format : Score and Parts
SKU: HL.14047144
ISBN 9788850717477. Italian.
SKU: HL.14047158
ISBN 9788850717859. Portugese.
SKU: HL.14047156
ISBN 9788850717835. Portugese.
SKU: HL.14047146
ISBN 9788850717491. Italian.
SKU: BA.BVK01834
ISBN 9783761818343. 28 x 24.7 cm inches. Language: German. Preface: Albertini, Gabriele / Carrubba, Salvatore / Häupl, Michael / Caroli, Flavio.
The exhibitionSalieri sulle tracce di Mozartwas held on the occasion of the re-opening of the Scala on 7 December 2004 and the performance of Salieri's operaEuropa riconosciutain Milan from 3 December 2004 until 30 January 2005. The exhibition shows paintings, letters, scores, architectural models und many other exhibits. It draws the picture of a fascinating epoch and the dramatic lifetime of Salieri . The exhibition-catalogue not only shows these exhibits but also includes many essays as to the epoch, music-theoretical questions and many others. It is therefore indispensable for musicologists, dramatic advisers, stage directors and also for enthusiasts who want to know more about both composers Mozart and Salieri .
SKU: DZ.DZ-832
ISBN 9782895007180.
SKU: YM.GTP01096375
ISBN 9784636963755.
20 arrangements of songs by UNIZON SQUARE GARDEN, creephyp and sumika.
SKU: BA.BVK01833
ISBN 9783761818336. 28 x 24.7 cm inches. Text Language: Italian. Preface: Albertini, Gabriele / Carrubba, Salvatore / Häupl, Michael / Caroli, Flavio.
SKU: CA.5199711
ISBN 9790007225728. Language: Latin.
Haydn entered the motet Non nobis Domine in the catalogue of his works as an Offertorium in stilo a cappella. Its strictly contrapuntal style, which Haydn had learned as a choirboy at St. Stephen's Cathedral in Vienna, suggests the liturgical use of this work during Advent or Lent. Score and part available separately - see item CA.5199700.
SKU: HL.48186155
French composer, Jean Gilles (1668-1705) received his musical training as a choirboy in Aix-en-Provence. His substantial works are entirely religious, Mass for the Dead being no exception. Gilles catalogue comprises a significant amount of choral work. His choral composing style often alternate passages sung by soloists and the chorus, as is the case in Mass for the Dead. His musical style was influenced by Andre Campra, a leading Opera composer of the day who Gilles succeeded as music master at the Cathedral of Saint Etienne in Toulouse. For all choirs seeking alternative repertoire, Mass for the Dead provides a riveting performance..
SKU: BA.BA06947
ISBN 9790006498673. 27 x 19 cm inches.
Johann Vierdanck (1605-1646) was a choirboy in Dresden and a pupil of Heinrich Schütz. After short stays in Lübeck and Copenhagen he became an organist at St Mary's in Stralsund. His 1641 collection of 45 „sacred concerts“ appeared in several editions reflecting its popularity among his contemporaries. All the settings are based on Luther's translation of the Bible and are related stylistically to Heinrich Schütz's „Symphoniae sacrae“ (1629) and “Kleine geistliche Konzerte” (1636). The three psalm settings in this volume are ideally suited for small choirs or solo voices in church or concert performance.
SKU: CA.5199705
ISBN 9790007129972. Language: Latin.
Haydn entered the motet Non nobis Domine in the catalogue of his works as an Offertorium in stilo a cappella. Its strictly contrapuntal style, which Haydn had learned as a choirboy at St. Stephen's Cathedral in Vienna, suggests the liturgical use of this work during Advent or Lent. Score available separately - see item CA.5199700.
SKU: HL.14026202
9.0x11.75x0.033 inches.
The composer, conductor, and pianist Andre Previn (b. 1929) is originally of Russian Jewish origin. He left his native Germany in 1938 to live in Paris and subsequently settled in Los Angeles in 1940. His early career of orchestrating film scores at MGM led quickly to conducting engagements of symphonic repertoire, and onto an international career as Music Director of orchestras such as London, Los Angeles, Oslo and Pittsburgh. In the 1980s, he concentrated increasingly on compositions for the concert hall and opera. His own richly lyrical style underscores his love of the late Romantic and early 20th-century masterpieces of which his interpretations as conductor areinternationally renowned.
The composer, conductor, and pianist Andre Previn (b. 1929) is originally of Russian Jewish origin. He left his native Germany in 1938 to live in Paris and subsequently settled in Los Angeles in 1940. His early careerof orchestrating film scores at MGM led quickly to conducting engagements of symphonic repertoire, and onto an international career as Music Director of orchestras such as London, Los Angeles, Oslo and Pittsburgh. In the 1980s, heconcentrated increasingly on compositions for the concert hall and opera. His own richly lyrical style underscores his love of the late Romantic and early 20th-century masterpieces of which his interpretations as conductor areinternationally renowned.
SKU: UT.MAG-274
ISBN 9790215326859. 9 x 12 inches.
Rediscovering, studying and analyzing the musical art of Philipp Joseph Hinner means enhancing a piece of the eighteenth-century harp music mosaic. Hinner's work intrigues for its extraordinary simplicity, for its regularity and harmony; the ordered balance of the parts, symmetry and sense of proportion are essential elements for the author, and give character and unity to his work. The harp repertoire has long been overshadowed by the keyboard one, which boasts extensive solo and chamber literature, and consolidated for over two centuries. The rediscovery of the history of our instrument, however, is still recent and the research work in the field of harp music is still long.Hinner, with the apparent simplicity of his opus 10, can thus regain his role in the harp repertoire of the eighteenth century, as well as covering a considerable didactic value today. The part of the first harp undoubtedly presents characteristics of greater rhythmic and virtuosic complexity than that of the second, which consists of a continuous accompaniment interspersed with simple thematic imitated episodes. Furthermore in the composition are included arias such as O ma tendre Musette, a French popular melody of the 18th century (previously set to music by Pierre-Alexandre Monsigny), and <>, taken from the opera-comique L'erreur d'un moment ou la Suite de Julie by Nicolas Dezede, as well as themes from Gluck's Iphigenie en Aulide, which had been all used also by Hinner's first harp master, Francesco Petrini (1744-1819).Hinner's opus 10, originally written in separate parts for two harps, or harp and fortepiano, is presented here updated and completed with its score, for a thorough perception of the work.
SKU: HL.14010478
9.0x12.0x0.115 inches.
Hilarion Eslava (1807-1878) was a Spanish priest, musician, and pedagogue. Although he was a prolific and well-known composer in his own time, today he is primarily remembered for his 1846 work, Metodo De Solfeo , a successful Solfege Method which has been in constant use all over the world for more than 150 years. Having been a choirboy at Pamplona, the method was published while Eslava was choirmaster at the Royal Chapel in Madrid, and he undoubtedly used it as he was training the choristers there.
SKU: HL.14043500
UPC: 840126947366. 9.0x12.0x0.042 inches. English.
Click here to download the pre-recorded element (first link below the separator). Please email Wise Music if you encounter problems downloading the audio file. On the page, the violin part for Honest Music looks something like Terry Riley's In C, insofar as it's a collection of discrete, modular phrases to be recombined in “performance,” or in this case, by the electronic manipulation of the recording. But these aren't Riley's musical Lego blocks; most of these are long, expressive, idiomatic gestures, combining Nico's soaring English-choirboy diatonicism with Romantic, violinistic leaps and slides up and down the fingerboard. As these figures pile on top of each other, the close-miked, aberrant fiddle timbre comes to seem, as per the title of the piece, brutally candid. The other fragments, imitated in character by the sputtering harp and percussion of the accompaniment, sound more like scraps swept from a cutting-room floor somewhere - all false starts, warm-ups and afterbeats - and the glitchy, staticky noises in the background contribute to the sense of something rough, half-finished. The result is to suggest that all of Honest Music is an out-take, a rehearsal for another, wholly imaginary piece. But the gravity and authority of the harmonies (and the low drones) lend the makeshift nature of the piece an authentic drama in its own right: the sad beauty of things coming together and things falling apart.