Brought together in the early part of the 19th century, some of the pieces in this collection are transcriptions of instrumental works. However, these masterfully constructed miniatures are well suited to keyboard performance and are characteristic of Haydn's humor, tenderness, charm and passion. The selections provide intermediate pianists with a wealth of musical ideas and harmonic invention, and are similar in difficulty to Haydn's Sonatinas.
SKU: HL.645139
ISBN 9781936098859. UPC: 008148017362. 9.0x12.0x0.072 inches. Margit Varro.
8 themes by 8 classic composers: Rondo (Wo04) (Beethoven) * Slavonic Dance (Dvorak) * Pomp and Circumstance (Elgar) * String Quartet Theme (Op. 72, No. 2) (Haydn) * Marriage of Figaro (Mozart) * Musetta's Waltz (Puccini) * William Tell March (Rossini) March from The Nutcracker (Tchaikowsky).
SKU: PR.362034230
ISBN 9781598069556. UPC: 680160624225. Letter inches. English.
When the Texas Choral Consort asked Welcher to write a short prologue to Haydn's The Creation, his first reaction was that Haydn already presents Chaos in his introductory movement. As he thought about it, Welcher began envisioning a truer void to precede Haydn's depiction of Chaos within the scope of 18th-century classical style - quoting some of Haydn's themes and showing human voices and inhuman sounds in a kind of pre-creation melange of color, mood, and atmosphere. Welcher accepted this challenge with the proviso that his prologue would lead directly into Haydn's masterpiece without stopping, and certainly without applause in between. Scored for mixed chorus and Haydn's instrumentation, Without Form and Void is a dramatically fresh yet pragmatic enhancement to deepen any performance of Haydn's The Creation. Orchestral score and parts are available on rental.When Brent Baldwin asked me to consider writing a short prologue to THE CREATION, my first response was “Why?” THE CREATION already contains a prologue; it’s called “Representation of Chaos”, and it’s Haydn’s way of showing the formless universe. How could a new piece do anything but get in the way? But the more I thought about it, the more it made sense. The Age of Enlightenment’s idea of “Chaos” was just extended chromaticism, no more than Bach used (in fact, Bach went further).Perhaps there might be a way to use the full resources of the modern orchestra (or at least, a Haydn-sized orchestra) and the modern chorus to really present a cosmic soup of unborn musical atoms, just waiting for Haydn’s sure touch to animate them. Perhaps it could even quote some of Haydn’s themes before he knew them himself, and also show human voices and inhuman sounds in a kind of pre-creation mélange of color, mood, and atmosphere. So I accepted the challenge, with the proviso that my new piece not be treated as some kind of “overture”, but would instead be allowed to lead directly into Haydn’s masterpiece without stopping, and certainly without applause. I crafted this five minute piece to begin with a kind of “music of the spheres” universe-hum, created by tuned wine glasses and violin harmonics. The chorus enters very soon after, with the opening words of Genesis whispered simultaneously in as many languages as can be found in a chorus. The first two minutes of my work are all about unborn human voices and unfocused planetary sounds, gradually becoming more and more “coherent” until we finally hear actual pitches, melodies, and words. Three of Haydn’s melodies will be heard, to be specific, but not in the way he will present them an hour from now. It’s almost as if we are listening inside the womb of the universe, looking for a faint heartbeat of worlds, animals, and people to come. At the end of the piece, the chorus finally finds its voice with a single word: “God!”, and the orchestra finally finds its own pulse as well. The unstoppable desire for birth must now be answered, and it is----by Haydn’s marvelous oratorio. I am not a religious man in any traditional sense. Neither was Haydn, nor Mozart, nor Beethoven. But all of them, as well as I, share in what is now called a humanistic view of how things came to be, how life in its many forms developed on this planet, and how Man became the recorder of history. The gospel according to John begins with a parody of Genesis: “In the beginning was the Word, and the Word was with God, and the Word was God.” I love that phrase, and it’s in that spirit that I offer my humble “opener” to the finest work of one of the greatest composers Western music has ever known. My piece is not supposed to sound like Haydn. It’s supposed to sound like a giant palette, on which a composer in 1798 might find more outrageous colors than his era would permit…but which, I hope, he would have been delighted to hear.
SKU: CA.4060219
ISBN 9790007138042. Key: G major. Language: Latin.
The Mass Rorate coeli desuper may be one of Joseph Haydn's earliest works, but its attribution to Haydn is disputed. This short mass setting is based on the complete ordinary of the mass. Because of this it is suitable both for the so-called Rorate masses (which lack the Credo) as well as for Sunday masses during Advent (which lack the Gloria). The full score contains at the same time the organ part. Score and parts available separately - see item CA.4060200.
SKU: HL.51489071
UPC: 840126989397. 6.75x9.5x0.268 inches.
The twelve “London Symphonies” comprise the sublime final statement of Haydn's symphonic oeuvre. They were written for the London impresario Johann Peter Salomon, and Haydn himself conducted their premieres during his lengthy stays in the English metropolis in 1791/92 and 1794/95. The E-flat-major Symphony no. 103 was composed in 1795 as the penultimate of the London Symphonies. It owes its epithet to its unique beginning; a solo drumroll in the timpani ushers in the slow introduction. This opening bar, marked with Haydn's heading “Intrada” and a pause, even inspires many a performer to venture a short timpani improvisation. This study edition adopts the musical text of the Haydn Complete Edition, thereby guaranteeing the highest scholarly quality. An informative preface and a brief Critical Report make the handy score an ideal companion for all current and soon-to-be Haydn fans.
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SKU: BT.EMBZ6311
English-German-Hungarian.
The volumes of the series 'Music for Beginners' cover the entire music literature from the earliest centurties to our days. The material of the individual volumes containing short, easy pieces to be played in the first three-four years of studying the instrument has been compiled by accomplished music teachers. The majority of the contemporary works included in the voluumes have been published in this series for the first time.
SKU: HL.4007977
The concertos of Joseph Haydn and J.B.G. Neruda belong to the standard literature for trumpet. This book presents these classics as duets for two trumpets. The orchestral part in each case is taken over by the second trumpet in a part whose playability has been given special attention in the arrangement. The long interludes have been shortened which makes the pieces easier to work on in lessons without the usually unavailable orchestral or piano accompaniment.