SKU: HL.48186587
UPC: 888680884475. 9.0x12.0x0.066 inches.
Three Faces is a set of three pieces for Piano written by Odette Gartenlaub. These pieces are considered challenging and difficult and would fit advanced players. Very melodic, each of these three pieces covers 2 pages and they can be played separately. Winner of the Prix de Rome in 1948, Odette Gartenlaub (1922-2014) has written various works for orchestra, chamber ensemble and solo instruments such as 'For the Horn', 'Seven Little studies' or 'Five easy pieces for Flute and Piano' among others..
SKU: HL.50600530
UPC: 888680704391. 8.25x12.0x0.198 inches.
“I like the idea of exploring the dramatic, ritualistic side of music. In The Mirror With Three Faces, one can look at three different faces or roles of the same person or at three distinct personalities – each with its own face. Each character (i.e. instrument) may be isolated, in conflict, or in harmony with others and itself. This trio explores individuality and ensemble, harmony and conflict, one in three or three in one – that is the ambiguous nature of this work, structured in the form of a triptych.” (Lera Auerbach).
SKU: HL.49045014
ISBN 9790001202114. 9.0x12.0 inches.
The Belgian composer Nicholas Lens presents extremely varied etudes, exercises and simple phrases with wonderfully telling titles from poetry and everyday world for children and adults. For the most part the studies are tonal and simple and have no constructed line. They are not based on any educational concept but leave the musical dramatization to the pupils and teachers: 'Notes and rhythms are just notes and rhythms, they do not have that many rules, they do not have any pretension, they are just tools for you to use to express what you want to share'.
SKU: BA.BA10889
ISBN 9790006577415. 31 x 24.3 cm inches.
Schubert??s piano sonatas reflect the entire cosmos of his distinctive writing, spanning from an early experimentation with this form to the iconic last three sonatas, which the composer completed in 1828, the last year of his life.All three volumes are equipped with informative prefaces on the genesis and sources, as well as valuable notes on piano playing in Schubert's time (including articulation, pedal usage, ornamentation) by Mario Aschauer - with a focus on Schubert's characteristic notation of accents. A quick location of works and individual movements is facilitated by running titles at the top of the right-hand pages with indications of opus and movement numbers. The Critical Commentary lists in particular readings relevant to interpretation. Schubert's drafts and sonata fragments are accessible via the Bärenreiter website.The indispensable three-volume standard work at the cutting edge of Schubert research is available at a special set price!
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: HL.14028683
UPC: 884088812775. 17.0x11.0x0.023 inches.
Composer's Note YTA is Swedish for 'surface'; my series of three YTA's - YTA 1 (alto flute), YTA 2 (Piano), YTA 3 (Cello)- were written with particular performers/friends in mind, and in each piece I have tried to capture and explore aspects of their virtuosity and that of their instrument. Being a Finn, 'surfaces' are often snowy and icy, and the music reflects a sparkling, crystalline and sometimes blinding quality, just as a vibrating, shimmering surface reflects a shing light. Although the surface of the music is extremely busy and dispenses with traditional medlody altogether, the formal process is considerably slower and partly hidden behind the frenetic stream and gleam of fast gestures. Esa-Pekka Salonen.
SKU: PR.111403210
UPC: 680160687947.
With an original text by the composer, Nkeiru Okoye’s WE MET AT THE SYMPHONY is a monodrama in three songs for soprano and string quartet or piano. The songs tell the story of a Black woman surprised to find a Black man in the sea of white faces at an orchestra concert, their subsequent romance, and her struggle to trust another Black man after betrayal and heartbreak. Okoye’s poignant, insightful, and sharp-witted poetry is set to dramatic and striking music that blends sensibilities from jazz, Broadway, and contemporary classical styles, with an unforgettable solo role for the soprano.
SKU: HL.50511990
ISBN 9790080145043. 23 x 30 cm inches. Hungarian, English, German. Ferenc Liszt; Adrienne Kaczmarczyk; Eszter Mikusi.
Volume 9 in the series of Supplements is mainly devoted to hitherto unpublished or inaccessible works. Apart from the piano score of the Berlioz symphony it contains smaller-scale late masterpieces (Excelsior!, Resignazione), the Album leaves written in Woronince in 1847, the large-scale but unfinished and not fully worked out Figaro and Don Juan fantasia, incorporating several Mozart themes, the piano piece No.1 in A flat major, two unpublished works incorrectly identified up till now by the special literature, the Maometto fantasia and the Siege de Corinthe (both transcriptions of Rossini works), and the volume also includes three other unpublished works (the Piano piece in F major, the Cavatina from Robert le Diable by Meyerbeer, and Freudvoll und leidvoll, written down for Pauline von Iwanowska. The Prefaces preceding the scores, which give very accurate, detailed information about the genesis of the works, make interesting reading in themselves, but their true significance consists in the new scholarly discoveries made by the editors. Similarly to the other NLE volumes, both the cloth-bound (Z. 14504a) version and the one bound in hard-paper (Z. 14504) contain in three languages the series preface, the preface to this volume, and the captions below the facsimiles, but the critical notes in English are to be found only in the linen-bound edition.Territorial restrictions may apply. Please ask before ordering.
SKU: BT.EMBZ14504
English-German-Hungarian.
Volume 9 in the series of Supplements is mainly devoted to hitherto unpublished or inaccessible works. Apart from the piano score of the Berlioz symphony it contains smaller-scale late masterpieces (Excelsior!, Resignazione), the Album leaves written in Woronince in 1847, the large-scale but unfinished and not fully worked out Figaro and Don Juan fantasia, incorporating several Mozart themes, the piano piece No.1 in A flat major, two unpublished works incorrectly identified up till now by the special literature, the Maometto fantasia and the Siege de Corinthe (both transcriptions of Rossini works), and the volume also includes three other unpublished works (the Piano piece in Fmajor, the Cavatina from Robert le Diable by Meyerbeer, and Freudvoll und leidvoll, written down for Pauline von Iwanowska. The Prefaces preceding the scores, which give very accurate, detailed information about the genesis of the works, make interesting reading in themselves, but their true significance consists in the new scholarly discoveries made by the editors. Similarly to the other NLE volumes, both the cloth-bound (Z. 14504a) version and the one bound in hard-paper (Z. 14504) contain in three languages the series preface, the preface to this volume, and the captions below the facsimiles, but the critical notes in English are to be found only in the linen-bound edition. Der Band enthält neben der Klavierpartitur der Symphonie von Berlioz, kleinere, spätere Meisterwerke (Excelsior!, Resignazione), die 1874 in Woronince entstandenen Albumblätter, die umfangreichen, mehrere Mozart-Themen aufgreifenden, aber unbeendeten und unausgearbeiteten Figaro- und Don Giovanni-Phantasien, das schon seit langem unzugängliche Klavierstück No. 1 in As-Dur, zwei von der Fachliteratur verkannte, unveröffentlichte Werke, die Maometto-Phantasie und die ‚Siege de Corinthe' (beide sind Transkriptionen von Rossini-Werken) und drei, ebenfalls bisher nicht erschienene Stücke, das Klavierstück in F-Dur, die Cavatina aus Meyerbeers ‚Robert der Teufel' und dasfür Pauline von Iwanowska komponierte ‚Freudvoll und leidvoll'. Das Vorwort, welches die Entstehungsgeschichte der Werke sehr genau und auf jedes Detail eingehend vorstellt, ist auch selbst eine interessante Lektüre. Seine wahre Bedeutung machen aber die neuen wissenschaftlichen Entdeckungen aus.
SKU: BT.EMBZ3868
English-German.
The earliest surviving version of the popular Valse-Impromptu was written by Liszt into the diary of Tsaritsa Aleksandra Feodorovna on his visit to St Petersburg in 1842. This version appeared in print the following year as Petit valse favorite. On his next visit to Russia, in 1843, Liszt wrote a musically and technically more demanding version for Countess Marie Kalergis, a pupil of Chopin, but this was never published in the composer's lifetime. A final version, similar in shaping to the second, appeared in 1853 with the title Valse-Impromptu. The present edition contains the score of all three versions as published in the New Liszt Edition, with the critical notes to them andprefaces in English and German covering all the main issues of the work's origin and interpretation.
SKU: FZ.1279
ISBN 9790230612791. 24.00 x 33.00 cm inches.
This facsimile of an original by Etienne-Nicolas Mehul is part of our Dominantes collection. Three sonatas for harpsichord or fortepiano, Opus I - Edition : Paris, Jouve, s. d. (=1783). Three sonatas for harpsichord or fortepiano with violin accompaniment, Opus 2 - Editions : Paris, Le Duc, s. d. (=1788). Two volumes: piano part of opus I and II - preface and violin part of opus II. Preface by Joel Pontet: The keyboard sonatas of E. N. Mehul - a precocious talent - remarks on performance (choice of instrument and indications of nuances - articulations - ornaments). The preface sets out the essential points for performance of these youthful works. Editions originales of 1783 and 1788, preserved at the library national of Paris. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: FZ.5937
ISBN 9790230659376. 24.00 x 33.00 cm inches.
This facsimile of an original by Francois Devienne is part of our French classical music collection. Edition : Paris, Le Duc, 1785. Preface by the students of the CeFEdeM-Ile-de-France: the ornamentation of the three sonatas. Two separate instrumental parts: fortepiano, flute. The preface examines the ornamentation of the three sonatas, typical of the turning point between the eighteenth and nineteenth centuries. Like the flute part, the piano part contains almost no phrase marks: some research into the subject is therefore necessary it should be based on Devienne's own flute tutor. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
SKU: FZ.5887
ISBN 9790230658874. 24.00 x 33.00 cm inches.
This facsimile of an original by Ignace Pleyel is part of our French classical music collection. Edition : Paris, Sieber, 1788. Preface by students of the CeFEdeM-Ile-de-France: Pleyel's biography the works of Ignace Pleyel - Pleyel the music publisher - Pleyel the piano builder - the Salle Pleyel in rue Rochechouart - hints about the score. Three separate instrumental parts: piano - flute or violin - cello. The composer, publisher, and piano maker, Ignace Pleyel, holds an important place at the cusp of the 18th and 19th centuries. The quality of the compositions produced by this student of Haydn makes their republishing worthwhile. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimile of a copy in the National Library of Paris (France). Anne Fuzeau Classique propose period copies of classical music scores.
