Format : Sheet music
SKU: PA.H07911
ISBN 9790260104457. 31 x 23.5 cm inches.
Lubos Fiser (1935-1999) was one of the most talented Czech composers of his generation. Born in Prague, he studied at the Prague Conservatoire from 1952-1956 and then at the Academy of Music. He was known to the public for his many film scores but it was his other compositions, many of them written under difficult political conditions, which mark him out as a composer of significance.Fiser's eight piano sonatas have a special place in his oeuvre. Fiser subsequently eliminated his second sonata (1956) from his compositional repertoire. From the third sonata onwards (1960), subtitled Fantasia, the composer wrote a two-movement composition, in which he continued to incorporate as his fundamental musical device the confrontation of sharp contrasts in tempo and mood. Beginning with his fourth sonata (1962-1964), Fiser created a single-movement work in an expressive, formally focused composition which betrays a progression towards greater compactness of musical shape in a concise yet effective musical testimony. The fifth sonata was written in 1974, the sixth sonata in 1978. The seventh sonata from 1985 was dedicated to Frantisek Maxian, the eighth sonata was written in 1995.Piano Sonata No.1 was written in 1955. Fiser worked on it during his last year at the Prague Conservatoire under the supervision of Emil Hlobil. The piece is one of Fiser's early works which still respect a traditional compositional approach. Unlike his major and late piano sonatas, this sonata has three movements, each representing the traditional Classical-Romantic form. The sonata was premiered by Fiser's fellow-student and friend Antonin Jemelik in Theatre D34 on 30 January 1956.The new setting for this piece is based on the single edition to date (SNKLHU, 1957); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music, acquisition number 297/2006).
SKU: UT.APS-9
ISBN 9788881095001. 6.5 x 9.5 inches.
Saggi di Robert Abels, Fabian Brinkmann, Bernd Edelmann, Thomas Emmerig, Vincent Grau, Hartmuth Kinzler, Michael Klaper, Beate Angelika Kraus, Heinz von Loesch, Albrecht von Massow, Gerhard Poppe, Michael Raab, Wilhelm Seidel, Bernhold Schmid, Christian Speck, Glenn Stanley, Andreas Traub, Reinhard WiesendMusical composition is always related to the work's realisation in sound. A written form is required in order to give shape to the compositional intention. Consequently it is text, the musical text, which mediates between the act of composition and the performance. The object of the musical edition is to prepare the text so that the will of the composer is presented to the musicians in a way that allows the composition to become realised musically. The edition thus inevitably establishes a conflict between divergent orientations, such as between science and practice, preservation and actualization, as well as textual criticism and hermeneutics. Because his editorial decisions are fundamentally interpretive the editor must know and understand the historical and hermeneutical problems of his subject, especially when it comes to determining what stage of the work is to be presented. The editing of music is not always restricted to mediation; it may also represent a translation.The present collection of essays -- all but one, in German -- is a Festschrift for Petra Weber's 60th birthday. It combines contributions on music and music editing by Robert Abels, Fabian Brinkmann, Bernd Edelmann, Thomas Emmerig, Vincent Grau, Hartmuth Kinzler, Michael Klaper, Beate Angelika Kraus, Heinz von Loesch, Albrecht von Massow, Gerhard Poppe, Michael Raab, Bernhold Schmid, Wilhelm Seidel, Glenn Stanley, Andreas Traub, and Reinhard Wiesend. Among the composers treated, Ludwig van Beethoven will occupy a prominent place. Special consideration will also given to Didier Lupi, Francesco Cavalli, Johann Sebastian Bach, Johann Adolf Hasse, Franz Schubert, Giovanni Simone Mayr, Ferruccio Busoni, Carl Orff, and Sandor Veress.
SKU: HL.50606821
ISBN 9798350114355. UPC: 196288188216.
Mikrokosmos is perhaps the 20th century's most influential set of piano pieces and one of the milestones in pedagogical piano repertoire. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition. In addition, they include character pieces and even pieces with programmatic ideas. The Microcosm of String Ensemble Music provides 148 transcriptions from this series for making music for various string ensembles and graded in four volumes according to level of difficulty. Volumes 1 to 3 also include one copy of each part in additionto the full score. For performances with orchestra, further printed parts can be ordered individually. The parts are also available. 1. Elementary (first position): for three violins and cello or children's string orchestra (50605347) 1. Intermediate: for three violins and cello or string quartet or junior string orchestra (50605348) 3. Advanced: for string quartet and quintet or string orchestra (50605349) 4. Advanced: for string orchestra (50605350) Following Bartók's example, Volume 1 includes preparatory exercises, designed for practicing the more challenging technical and musical tasks, in the appendix. At the end of the volume, there are also notes on some of the pieces. This publication is printed on high-quality, age-resistant paper that is produced in an environmentally-friendly, climate-neutral manner using renewable raw materials.
SKU: HL.50606819
ISBN 9798350114331. UPC: 196288188193.
SKU: HL.50606818
ISBN 9798350114324. UPC: 196288188186.
SKU: HL.50606820
ISBN 9798350114348. UPC: 196288188209.
SKU: TA.TSPB-37
ISBN 9780976434481.
Take your percussion fundamentals to the NEXT LEVEL with exercises students actually look forward to! Nine Minute Drill picks up where its predecessor, Five Minute Drill, leaves off with a series of next level exercises for practice pad and mallet keyboard. Take intermediate students through the paces with their technique, rudiments, and ultimately their musicianship. This product includes engaging play-along tracks at a variety of styles and tempos. Set up your pads or mallet instruments, press PLAY...and away you go! More fun than any metronome alone could ever be, these tracks will engage students in a way that only real musical compositions can. INCLUDED: * 22 comprehensive exercises for practice pad and mallet keyboard * Play-along tracks for each exercise at 3 different tempos * Data tracking tools so you can record your progress * Helpful tips and techniques anyone can benefit from.
SKU: CF.CPS251F
ISBN 9781491159880. UPC: 680160918478.
About the Music Semper Gratus is Latin for always grateful. The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful. Performance Notes Measures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section. Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92-94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible. Measures 95-End: In mm. 99-107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114-115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.About the MusicSemper Gratus is Latin for “always grateful.” The piece was written in honor of James E. Champion, who taught band for thirty-eight years, twenty-five of which were spent in Florence, Alabama, where he was my elementary school and high school band director. His bands consistently achieved superior ratings throughout his career. He holds multi-decade-spanning memberships in professional music education organizations, continues to serve in helping with Alabama Bandmasters Association events, and conducts and performs in various community bands and ensembles. As my band director at Bradshaw High School, Mr. Champion encouraged me to perform one of my first compositions, a clarinet quartet, at solo/ensemble festival. He taught his students the fundamentals of music, the technical aspects of performance, and exposed them to the great standards of band literature. But in doing so, he also modeled leadership, work-ethic, good character, and fostered the love of the activity of band that led me to choose music education as a career. And for that, I will always be grateful.Performance NotesMeasures 1-12: The beginning of the piece should be performed in a majestic, fanfare-like style. The woodwind cues should only be used if absolutely needed during this section.Measures 41-58: The concert toms should establish a presence, but not overpower the winds. The triangle and woodblock parts should be heard distinctly over the concert toms. A higher pitched woodblock should be used for this section. (A set of claves could be used in place of the woodblock if desired.) Measures 59-94: The entirety of the middle section should be played in a rubato style to maximize musical expression, exaggerating dynamics and ritardando sections. The quarter-note triplets in the middle and low winds should be emphasized at m. 70. The molto ritardando that begins at m. 70 should be allowed to build as long as possible in m. 71 before reaching the musical apex of the middle section at m. 72. At mm. 92–94, depending on the size of the ensemble, you may want to limit the number of players (or put one per part) to achieve the most delicate sound possible.Measures 95-End: In mm. 99–107, be sure that the eighth-note running mallet parts are heard as a background texture, but do not overpower the winds. In mm. 114–115, the accents on beats 2 and 4 in the lower winds should be exaggerated to contrast the feel of the previous four measures. In m. 118, all winds should cut off and breathe on beat two for maximum impact on the next three measures.
SKU: CF.CPS251
ISBN 9781491159873. UPC: 680160918461.
SKU: HL.49046442
ISBN 9781540094780. UPC: 842819113003.
The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.
SKU: BT.EMBZ6912
English-German-Hungarian.
Bach's Two-Part Inventions, first printed in 1801, have played a key role in modern-day music education for decades. Bach dedicated the predecessor of these works to his son, Wilhelm Friedemann they were originally-titled Preambulum and compiled within the collection of piano music known today as Klavierbüchlein für Wilhelm Friedemann Bach (1720). The principle aim of these pedagogical works was to promote the acquisition of clean two-part playing as well as stylistically-sound cantabile playing. As a musical form, the invention left its mark on the music composition tendencies and conventions of the 17th century as well as its musical performance practices. Bach'sinventions as a whole also provide students with insight into the fundamentals of counterpoint.
SKU: HL.4008655
UPC: 196288189848.
The title of this work clearly alludes to the classical musical form which was often composed for wind instruments. The so-called 'Harmonie' was very important to the composers of the Classical Viennese School. This was especially true for Mozart whose heritage showed proof of immortal beauty and absolute artistic value within his compositions. In the individual sections of Divertimento Op. 4, the composer makes use of three popular songs, the first two from Finland and the third from Bulgaria. The composition has a fundamentally uncomplicated feel composed to delight the listener, whilst retaining a deeply introspective feel especially in the second section. This early work by Franco Cesarini illustrates the composer's love for popular songs, which often formed a fundamental part of many of his future pieces. At the heart of his unique style of musical writing are his skillful instrumentation and meticulous attention to balance and form.
SKU: HL.4008654
ISBN 9798350115062. UPC: 196288189831.
SKU: BR.SON-512
The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are re. Early modern; Music post-1945. Complete Works. 224 pages. Breitkopf and Haertel #SON 512. Published by Breitkopf and Haertel (BR.SON-512).
ISBN 9790004803455. 9 x 12 inches.
Editorial BoardThomas Phleps (Music), Georg Witte (Writings)Editorial MembersMusic: Oliver Dahin / Johannes C. Gall, Writings: Maren KosterEditorial CommitteeMusic: Hartmut Fladt, Werner Grunzweig, Elmar Juchem, Roland Kluttig, Giselher SchubertWritings: Albrecht Betz, Albrecht Riethmuller, Jurgen Schebera, Friederike WissmannThe editorial works are supported by the Deutsche Forschungsgemeinschaft.Special volumes are made possible with the support of the following foundations:Klockner-Stiftung, Lotto-Stiftung, Hanns und Steffy Eisler StiftungThe goal of the Hanns Eisler Complete Edition (HEGA) is to present to the public all available compositions, writings and letters in an appropriately scholarly form. It takes a historico-critical approach and seeks to document the history of the works and writings by shedding light on their transformations, thus identifying the various versions as witnesses of evolving aesthetic and historical positions. Eislers complete oeuvre (only a limited number of his works had penetrated the publics awareness up until the 1990s) first became the object of an editorial undertaking when the Eisler - Gesammelte Werke (EGW) was founded by Nathan Notowicz. It was later placed under the direction of Manfred Grabs and Eberhardt Klemm, and began issuing its publications in 1968 through the intermediary of the Deutscher Verlag fur Musik in Leipzig. However, only four volumes of music and five volumes of writings were published. The Hanns Eisler Complete Edition pursues the work begun at that time, although it has had to fundamentally revise its editorial principles. In this respect, the Hanns Eisler Complete Edition can be considered as a completely new editorial undertaking. It became necessary to reconceive the organization of the volumes and series as well as the editorial guidelines in order to adapt the standards of historico-critical editing generally applicable today to the specific and sometimes singular circumstances of Eislers works.The Critical Commentaries pertaining to the main volumes follow the music section or, whenever they are too extensive, appear in a special volume.Series I: Choral MusicSeries II: Music for Voice and Instrumental Ensemble or OrchestraSeries III: Music for Voice and PianoSeries IV: Instrumental MusicSeries V: Incidental MusicSeries VI: Film MusicSeries VII: Sketches and FragmentsSeries VIII: Arrangements of works by other composersSeries IX: Writings, Letters and InterviewsSON 501 has been awarded the German Music Edition Prize 2003.SON 502 has been awarded the German Music Edition Prize 2007.The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are reason enough to make his works accessible to musical scholarship and practice in a comprehensive fashion. Price reduction for a subscription.
SKU: BR.SON-505
The major upheavals that transformed society and musical aesthetics during the first half of the 20th century also profoundly affected the life of Hanns Eisler, as well as his compositions and writings. The importance and scope of Eislers oeuvre are re. Early modern; Music post-1945. Complete Works. 156 pages. Breitkopf and Haertel #SON 505. Published by Breitkopf and Haertel (BR.SON-505).
ISBN 9790004802441. 6.5 x 9.5 inches. German.
SKU: CL.RWS-2218-01
Scaling a mountain requires courage, strength and fortitude. Scaling our musical mountains as our young bands develop their skills requires the same commitment to strength, perseverance and excellence. This masterful composition reinforces fundamental technique through musical scales in an exciting statement for the beginning concert band. Powerful percussion interacting with soaring melodic lines create an engaging and pedagogically rich opportunity for all. The band also has the opportunity to experience and perform mixed meters as they journey to the musical summit. A powerful choice for educationally rich programming!
SKU: AP.98-RWS221800
SKU: HL.51489817
UPC: 840126932782. 6.75x9.5x0.341 inches.
The premiere of this work in December 1813 ranks among the greatest successes Beethoven ever celebrated in public as a composer. One reviewer wrote at the time that in its themes the new symphony was “so favourable and easily comprehensible that every music lover falls for the powerful allure of its beauty.” The incisiveness of the themes is fundamentally related to the basic ostinato rhythms, which help shape each movements distinctive character. Richard Wagner even called the composition, with its ecstatic finale, an “apotheosis of the dance.” Based on the musical text of the Beethoven Complete Edition and furnished with a new preface, this recently prepared edition reflects the latest in Beethoven scholarship. Now, in this study edition, it is available to everyone at a reasonable price and in a handy format.
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SKU: PA.H07957
ISBN 9790260104464. 31 x 23.5 cm inches.
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Durer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bilek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).
SKU: BR.SON-501
Awarded the German Music Edition Prize 2003
ISBN 9790004802236. 10 x 12.5 inches.
SKU: BR.SON-513
ISBN 9790004803721. 9 x 12 inches. German / English.
SKU: BR.SON-504
ISBN 9790004802526. 10 x 12.5 inches.
SKU: BR.SON-511
ISBN 9790004803448. 10 x 12.5 inches.
SKU: BR.SON-510
ISBN 9790004803356. 9 x 12 inches.
SKU: BR.SON-507
ISBN 9790004802908. 9 x 12 inches.