Fur Anna Maria

SKU: HH.HH523-FSC

ISBN 9790708185345.

The so-called 'Anna Maria Partbook' consists of an elegantly bound volume in red leather containing the violin part of 31 highly virtuoso violin concertos, 26 of which are by Vivaldi. The collection represents the personal repertoire of the Venetian composer's most gifted pupil, the famous 'Anna Maria della Pieta', who also played the viola d'amore, mandolin, theorbo and harpsichord. Twenty of the Vivaldi concertos are known from other manuscript sources and are therefore familiar to us in their complete versions. The remaining six -- three for violin and three for violin and organ -- are unique to the Anna-Maria Partbook, and, because they are incomplete, have not hitherto been part of the Vivaldi performing canon. Now, as a result of Federico Maria Sardelli's rigorous musicological research and painstaking work of reconstruction based on many concordant sources, we are at last able to enjoy these six concertos in startlingly persuasive realizations.

SKU: HH.HH523-IPT

ISBN 9790708185406.

The so-called 'Anna Maria Partbook' consists of an elegantly bound volume in red leather containing the violin part of 31 highly virtuoso violin concertos, 26 of which are by Vivaldi. The collection represents the personal repertoire of the Venetian composer's most gifted pupil, the famous 'Anna Maria della Pieta', who also played the viola d'amore, mandolin, theorbo and harpsichord. Twenty of the Vivaldi concertos are known from other manuscript sources and are therefore familiar to us in their complete versions. The remaining six -- three for violin and three for violin and organ -- are unique to the Anna-Maria Partbook, and, because they are incomplete, have not hitherto been part of the Vivaldi performing canon. Now, as a result of Federico Maria Sardelli's rigorous musicological research and painstaking work of reconstruction based on many concordant sources, we are at last able to enjoy these six concertos in startlingly persuasive realizations.

SKU: OU.9780193868564

ISBN 9780193868564. 12 x 8 inches.

For flute, cello, and piano. This trio is inspired by the last of the Medicis, the remarkable Anna Maria Luisa (1667-1743), who left Italy for Germany for twenty-six years while married to Johann Wilhelm of Saxony. Just one facet of her colourful life influences the composition: each of the three movements reveals her love of nature under cultivation.

SKU: VD.ED25257

ISBN 9790202012574. 11.69 x 8.26 inches.

SKU: GH.GE-10887

ISBN 9790070108874. Text: Maria Cederberg-Ryden.

For 2-stammig diskantkor och piano.

SKU: BT.DHP-1104961-140

9x12 inches.

Die Annen-Polka schrieb Johann Strauss (Sohn) zu Ehren der Kaiserin Anna Maria von Österreich. Uraufgeführt wurde das heute noch beliebte Stück im Juli 1852 im Wiener Vergnügungspark Prater. Die Annen-Polka ist eines der frühesten Werke von Johann Strauss (Sohn) und das Manuskript soll gar das älteste überlieferte des Komponisten sein.

L’Annen-Polka, op. 117, de Johann Strauss fils, fut présentée, en 1852, soit dix ans après la première publique de la Beliebte Annen-Polka, op. 137, composée par son père. Le fait que tous deux aient écrit une polka portant le même nom n’est pas un hasard. En effet, l’Annenfest (la fête de sainte Anne) était alors la fête d’été la plus populaire de Vienne. Chaque compositeur viennois, célèbre ou inconnu, a composé une œuvre pour cette occasion. Johann Strauss fils avait 26 ans quand il écrivit cette polka. Il n’était pas en très bons termes avec son père ; une rivalité notoire bouillonnait entre eux. Cependant, la création de sa nouvelle œuvre connutun vif succès. Elle fut bissée plusieurs reprises et louée pour ses motifs très dansants. Dès lors, elle triompha sur les scènes du monde entier.

SKU: HL.50494007

PER PIANOFORTE.

SKU: HL.50576429

Italian.

Neuauflage uberarbeitet und aktualisiert, Methode.

SKU: HL.50601319

I met Fausto Romitelli in the early Eighties, while he was still studying composition with Umberto Rotondi at the Conservatory in Milano. Though he was very young, he already showed the signs of a strong and unconventional personality. In a more specific way, besides a very strong bias towards instrumental experimentation, I was impressed by his irresistible urge to explore routes that areunrelated or even contradictory with reference to the rules resulting from the styles and aesthetics of structuralism. So, it seemedto me very natural that he should write music for me: Dia nykta was composed in the wake of a verse written by an ancient Greek poet. The world premiere occurred in Milano on the 18th of December 1983, as part of the concert season of Musica rara at the theatre La Commenda. Anna Maria Morini.

SKU: CA.5075211

ISBN 9790007248345. Key: B flat major. Latin.

Hasse’s much smaller-scale Requiem in B flat, which we are publishing for the first time, was presumably composed as early as the second half of the 1750s. Nothing is known about the occasion for which this beautiful work was composed, or even whether it was performed during the composer’s lifetime. Perhaps the Seven Years War, in which the electorate of Saxony was involved, prevented any performance. Several borrowings from it in his Requiem in C major and in the later Requiem in E flat major show that Hasse held the work in high regard.

Audio example:
Live recording from Dresden, Kreuzkirche, 20.11.2022

Carine Tinney, SopranoAnna-Maria Tietze, Mezzosoprano
Marie Bieber, Alto
Vocal Concert Dresden
Dresdner Instrumental-Concert
Conductor: Peter Kopp.

SKU: BO.B.3260

ISBN 9788480207584.

English comments:
Empuries is the result of the interest Ruera showed throughout his life for the culture and music of ancient Greece. As he himself writes in the introduction to the composition: The motives behind this work were inspired by contemplating and analysing the melos of ancient Greece. The few melodies that have been discovered from those far-off times inspired the composer of Empuries to create this work, conceived with the Greek modal system in mind, and adapted to modern instruments and tastes. The tetrachord and pentachords of these forms are the very bases of this work. The descending drift of the cadence, the harmonic priority of the upper and lower notes of the tetrachords and the displacement of these chords to different acoustic levels, make it impossible to specify the classic concept of a set tonality which, within the improvised musical working of the piece, leads to a naturally intertonal or atonal piece of music. Empuries came to light in 1971, when it won group A of the Ciutat de Barcelona prize. But one must, in fact, go back to the 1930s to find its true origins. Ruera made his first foray into the theme of ancient Greece with the sardana, Empuries, la grega, with which he won first prize in the Jocs Florals in Girona, in 1931. Shortly afterwards, he wrote a piece of organ music entitled Bucolics, in the Greek modal style, which was destroyed during the Spanish civil war. Ruera continued to work on the theme and in 1936 he presented his work Tres moviments simfonics, for a big band, inspired by the ancient Greek modes, at the XIV International Festival of the ISCM held in Barcelona. The work was chosen to debut in the festival's opening concert on 19 April 1936 at Palacio de Bellas Artes in Barcelona. In 1959, Ruera won the Pau Casals Prize at the Jocs Florals de la Llengua Catalana, held at the Sorbonne in Paris, for his work, Empuries: poema per a cobla i orquestra, which would later become the fourth movement of Empuries. Nine years later, in 1968, Barcelona City Orchestra, conducted by Antoni Ros Marba, gave the first ever performance of the symphonic poem Pastoral, written to be the first movement of Empuries, in Granollers. The final step was when he finally completed the work, won the Ciutat de Barcelona prize, opened in Granollers on 2 May 1976 and recorded it for the Columbia de Barcelona label in 1977. Anna Maria Piera

Comentarios del Espanol:
La obra Empuries es fruto del interes que el maestro Ruera demostro a lo largo de su vida por la cultura y la musica de la antigua Grecia. Como el mismo escribe en la cabecera de la composicion: Los motivos generadores de esta obra estan inspirados en la contemplacion y en el analisis del melos de la antigua Grecia. Las pocas melodias que hasta el momento se han podido descubrir de aquellos tiempos remotos sugieren al autor de Empuries la realizacion de esta obra, concebida pensando en el sistema modal griego, adaptado a los instrumentos y gustos modernos. Los tetracordes y pentacordes de dichas modalidades son las celulas en las que se basa la obra. El sentido descendiente de la cadencia, la prioridad armonica de la notas extremas de los tetracordes y el desplazamiento de estos acordes a varias alturas acusticas, hacen que no sea posible precisar el clasico concepto de una tonalidad determinada y que lleven, dentro del funcionamiento contrapuntistico, a una musica naturalmente intertonal o atonal. Empuries vio la luz en el ano 1971, ganando el Premio Ciutat de Barcelona, grupo A, pero en realidad tenemos que retroceder hasta los anos 30 para encontrar sus verdaderos origenes. La primera incursion en el tema de la antigua Gracia la hizo con la sardana Empuries, la grega, con la que gano el primer premio en los Jocs Florals de Gerona del ano 1931. Poco despues escribio una pieza para organo titulada Bucolics, en el estilo modal griego, que fue destruida durante la Guerra Civil espanola. Ruera continuo trabajando en el tema y en el ano 1936 presento su obra Tres moviments simfonics, en version para gran banda, inspirada en las antiguas modalidades griegas, en el XIV Festival Internacional de la SIMC que se celebro en Barcelona. La obra fue escogida para ser estrenada en el concierto inaugural de dicho festival, el 19 de abril de 1936, en el Palacio de Bellas Artes de Barcelona. En el 1959, Ruera gano el Premio Pau Casals en los Jocs Florals de la Llengua Catalana celebrados en la Sorbona de Paris con la obra Empuries: poema per a cobla i orquestra, que sera con el paso del tiempo el cuarto movimiento de Empuries. Nueve anos mas tarde, en 1968, la Orquestra Ciutat de Barcelona, bajo la direccion de Antoni Ros Marba, interpreto en Granollers la primera audicion del poema sinfonico Pastoral, pensado como primer movimiento de Empuries. El ultimo eslabon fue terminar definitivamente la obra, ganar el Premio Ciutat de Barcelona, estrenarla en Granollers el 2 de mayo de 1976 y grabarla para la casa discografica Columbia de Barcelona, en 1977.

SKU: M7.DOHR-25260

ISBN 9790202012604.