/ Musique De Chambre
SKU: HL.14043723
ISBN 9781783059522.
This is an updated edition of Francis Poulenc 's 1962 work Sonata For Oboe And Piano , edited by Millan Sachania . Featuring the full score and a separate Oboe part, this exclusive edition also includes a download card, giving you instant online access to demonstration and accompaniment tracks. Originally completed in 1962, Poulenc 's Sonata For Oboe And Piano had been brewing in his mind for at least five years. The last of Poulenc 's trio of sonatas for woodwind instruments, he tragically passed away before it could be definitively engraved, leaving behind a work with a number of ambiguous notational marks that resulted in an incomplete first edition, publishedposthumously. A number of revisions have taken place, but this, expertly edited by Millan Sachania , aims to provide a playable, legible, precise and authoritative score that reflect closest Poulenc 's intentions. This new edition revises many minor details, including Piano chords, tied notes, the correction of various bars throughout as well as his crescendos during the third movement. At all points, Sachania has aimed to reproduce an authoritative and accurate score that is at once playable and a reflection of what Poulenc himself may have intended. This is a most exciting prospect considering the reputation that this work has garnered as a piece of profound poignancy. Dedicated to Sergey Prokofiev, it has been said that the mournful final movement, Deploration , is something of an obituary. What makes this edition of Sonata For Clarinet And Piano really special is the unique download card that provides exclusive online access to demonstration and accompaniment audio tracks. Professionally-recorded by renowned oboist Christopher Cowie and pianist Huw Watkins, the demonstration track allows you to hear exactly how the piece as a whole should sound, before the independent Piano-only track lets you take the place of the Oboe in your very own performance. This is a unique opportunity for oboists to learn from an authoritative.
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: PA.H07988
ISBN 9790260104471. 31 x 23.5 cm inches.
Piano Sonata No. 4 from the years 1962-1964 is dedicated to the memory of Fiser's friend, the pianist Antonin Jemelik, who died tragically. As a tribute to their friendship the composer incorporated into the introduction a quotation from their favourite work, Piano Sonata No. 10, Op. 70, by Alexander Scriabin. The tragedy of the death of the composer's friend pervades the emotionally intense passage of unison octaves which follows the three-bar quotation. From a compositional point of view this work is a masterpiece of the mid-Sixties. Written as one movement, the piece is divided into numerous mutually contrasting segments which themselves are clearly grouped into two sections, exposition and development. The individual themes are introduced in the first section and thematically expanded in the second section. The motif treatment lies almost exclusively in the fragmenting or curtailing of the theme, or in the use of a combination of several themes, for the most part brief and eloquent. This compositional method, together with a clear-cut manner of execution, mainly semitonal melody and sharply contrastive dynamics, lends force and transparency to the piece. Piano Sonata No. 4 was completed in 1964 together with Symphonic Fresco, Concerto da camera for piano and orchestra and Fifteen Prints after Durer's Apocalypse and has earned its rightful place alongside them as masterpieces of Fiser's oeuvre.The work was first performed by Pavel Stepan in Prague's Rudolfinum in 1965. The new setting for this piece is based on the single edition to date (Panton, 1969); 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: FG.55011-512-5
ISBN 9790550115125.
Ilmari Hannikainen (1892-1955) was the most important Finnish pianist during the first decades of the 1900s. In his lifetime he also was one of the country's most famous composers. Hannikainen studied composition with Erkki Melartin, Franz Schreker and Maximilian Steinberg. His piano techers include Elli Rangman-Bjorlin and Alexander Siloti. Piano Sonata C minor Op. 1 was completed in 1912, and is one of the largest-scale romantic piano compositions in the Finnish piano repertoire. The work is a joyride of flowing national romanticsm filled with youthful energy. Some technical influence from Chopin and Liszt is evident, as is from master Sibelius, the major figure in Finnish music at the time. The Piano Sonata is published now for the first time - and directly as an Urtext edition. Pianist Dmus Risto-Matti Marin and music engraver Jani Kyllonen have studied all surviving manuscript sources, resulting in a worthy edition of this great work for piano.
SKU: CF.WF228
ISBN 9781491153529. 9 x 12 inches.
Compiled and edited by Amy Porter, Treasures for Flute and Piano is acollection of Philippe Gaubert’s shorter works for flute and piano. Gaubertwas a multi-talented musician, a marvelous flutist as well as a composer,teacher, and master conductor. Over his lifetime, he became one of the mostimportant musical figures in France between the World Wars in the first halfof the 20th century. Trained in theory and harmony at the Paris Conservatory,Gaubert was also deeply influenced by other composers at the time, includingDebussy, Fauré, and Dukas. Editor Amy Porter is a distinguished Professorat The University of Michigan School of Music, Theatre & Dance, and hasbeen praised by critics for her exceptional musical talent and her passion forscholarship. This edition represents eleven of the sixteen works from AmyPorter and Dr. Penelope Fischer’s video study guide, “The Gaubert Cycle: TheComplete Works for Flute and Piano by Philippe Gaubertâ€.Philippe Gaubert (1879–1941) was a very important teacher and flutist in our classical flute playing lineage. In this edition we have gathered his beautiful, shorter compositions for flute and piano all in one place, to be cherished as “Gaubert’s Treasures.â€Philippe Gaubert personified the modern French school of flute playing as introduced by his teacher Paul Taffanel (1844–1908) at the Paris Conservatory. Gaubert was a multitalented musician, a marvelous flutist as well as a gifted composer, teacher and master conductor. Over his lifetime he became one of the most important musical figures in France between the World Wars in the first half of the twentieth century. Gaubert’s musical andpedagogical gifts to us are passed along through generations of students and continue to touch the hearts of many who listen to his fine, and refined, music.Philippe Gaubert studied composition at the Paris Conservatory with Raoul Pugno, Xavier Leroux, and then for a brief time with Charles Lenepvu. It was after this study that he won the famous Prix de Rome second prize in composition. Even with his schooling of theory and harmony in Paris, he was deeply influenced by other composers of the time, namely Debussy, Fauré and Dukas. Between the years of 1905–1914 Gaubert’s early workswere arrangements and short pieces written for the year-end final exam pieces at the Conservatory.Between 1914–1918 Gaubert served in the French Army during World War I, most notably in the battle of Verdun in 1916. This was considered one of the largest battles against the Germans in WWI. He was wounded but his creativity level was not dampened. He was rewarded for his service and awarded medals for his bravery. It was during this time that he found the energy to compose his Deux Esquisses or 2 Scenes, and sketched out his first flute sonata.Gaubert composed his remaining five flute and piano works after 1922 in Paris, and clearly his poetic soul was transformed from the earlier years. He took in new forms and styles of compositions such as a Suite, a Ballade and a Sonatine. He also completed his Second and Third Sonatas for Flute and Piano, all of them dramatic works in terms of compositional techniques and grandeur of tone.Gaubert composed music easily throughout his lifetime, especially during summer breaks when the orchestra and Paris Opera seasons were on hiatus and he was not conducting. He loved literature and poetry which inspired over thirty vocal works from 1903 through 1938.He also wrote twenty-six instrumental chamber works for other instruments: oboe, cornet, clarinet, trombone, violin, viola, cello, harp and combinations of these instruments with piano. Some of these were commissioned jury pieces, but many were for his musician friends.Six full-length stage works, both ballets and operas for the stage, several tone poems and symphonies were written throughout his lifetime.This edition represents eleven out of the sixteen works from our video study guide “The Gaubert Cycle: The Complete Works for Flute and Piano by Philippe Gaubert†with guest pianist Tim Carey. Omitted in this edition are Sonatas Nos. 1–3, Ballade, and Sonatine.
SKU: BR.SON-454
ISBN 9790004803646. 9 x 12 inches.
The Violin Concerto in E minor, op. 64, and the Sonata in F minor, op. 4, are the only works for solo violin that Mendelssohn had had printed during his lifetime. However, his complete oeuvre includes other completed or fragmentary compositions, including two further concertos and several unfinished sonatas and other individual pieces. He himself had an extraordinary command of the violin and entrusted the instrument in several other works, such as the Octet op. 20 or the concert aria Infelice! - Ah, ritorno, eta dell'oro, with special tasks. Nevertheless, with regard to details of playing technique, he usually sought advice from solo violinist friends, first from Eduard Ritz, then, after Ritz's early death, from Ferdinand David. The present volume contains all of the completed and fragmentary compositions for violin and piano that have survived - from the early Prelude and Fugue in D and G minor from Zelter's practice book (1820), which can be assigned without doubt, through to the Sonata in F major (1838) in their various versions.
SKU: BA.BA10303-01
ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann.
The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: PR.11641737S
ISBN 9781491136133. UPC: 680160688432.
Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.Son et lumière (“sound and light,†a kind of show staged for tourists at historic sites or famous buildings) is an orchestral entertainment whose subject is the play of colors, bright surfaces, and shimmery textures. I have tried in this music to recapture the élan and immediacy that regular meters and repetitive rhythms make possible—something forbidden during the modernist regime but recently restored in the post-modern work of composers like John Adams, Steve Reich, and others. Throughout its brief nine-minute span, then, the piece is built almost exclusively of short, busy ostinato figures—my attempt, I suppose, to achieve the rhythmic vitality of minimalism, but without giving in to the over-simple harmonic language that usually comes with it.Surprisingly, the musical materials seemed determined to shape themselves into an approximation of nineteenth-century sonata form. We hear an introduction, a first theme (based on triadic broken chords), a second theme (beginning with the flute solo), and a closing theme (led by two piccolos). In a sort of development section, these materials are recombined in new ways; in a recapitulation, both the first and second themes are recalled more or less intact (part of the second is actually repeated quite literally).Then, in the coda, a second surprise: as if another, different music has been lurking all the while behind the shiny surface, the strings now unexpectedly split off from the rest of the orchestra to assert a new, more passionate, more “serious†voice, transcending the external show of sound and light.Son et lumière, commissioned by the Baltimore Symphony Orchestra, was composed between June and December 1988 in Ithaca (N.Y.), in Los Angeles, and at the artists’ colony Yaddo, in Saratoga Springs (N.Y.). David Zinman conducted the first performance in Baltimore on 18 May 1989; André Previn gave the West Coast premiere with the Los Angeles Philharmonic on 18 January, 1990.
