Traumerei, Op. 15, No. 7

SKU: DB.01-00240

ISBN 9790012160434.

Op. 15/7. Traumerei (aus Kinderszenen) - Op. 124/6. Wiegenliedchen (aus Album-Blatter).

SKU: HL.49008314

ISBN 9790001126267. 9.0x12.0x0.124 inches.

Until his appointment as composition teacher at the Musikhochschule ofCologne in 1957, Bernd Alois Zimmermann earned his living chiefly byarranging works of other composers for the radio. Vier Bearbeitungen (FourArrangements) for the Ellegiers Sextet was written at the WDR in Cologne at that time. Zimmermann held the concertmaster Ellegiers in high esteem because of his profound musicality and arranged about twenty pieces for his ensemble between 1949 and 1952. The three Schubert arrangements'Sehnsuchtswalzer', 'Landler' and 'Moments musicaux', as well as 'Traumerei' from Kinderszenen Op. 15 by Robert Schumann show very clearly how popular these works were in the radio programme of the broad-casting station.

SKU: DB.MM-00008

ISBN 9790012171454.

Inhalt: Handel, Largo - Giordani, Caro mio ben - Schumann, Traumerei - Chopin, Nocturne - Boccherini, Menuett - Bach-Gounod, Ave Maria - Liszt, Liebestraum Nr. 3 - u.a.

SKU: CF.H84

ISBN 9781491165539. UPC: 680160924530.

Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. Over his long career, he added a significant catalogue of very beautiful works to the harp repertoire. Many of his solo works, almost one hundred, have been consistently in print since they were first published. But in recent years harpist Carl Swanson has discovered a treasure trove of pieces by Tournier heretofore unknown and unpublished. These include the Déchiffrages in this edition, as well as songs set for voice, harp, and string quartet, and ensemble arrangements of some of his most beloved works.All of the works that Carl Swanson found were in manuscript only. With the help of the great harpist Catherine Michel, he has put these pieces into playable form, and they are being published for the very first time. He and Catherine often had to re-notate passages to show clearly how they could be played, adding fingerings and musical nuances, tempos, pedals, and pedal diagrams.Tournier wrote these pieces when he was in his 20s, and before he became the impressionistic composer those familiar with his work know so well. They are written in the late nineteenth-century romantic style that was being taught at that time at the Paris Conservatory. They are beautiful short, intermediate level pieces by a first rate composer, and add much needed repertoire to that level of playing.
Marcel Tournier (1879–1951) was one of the most important harpist/composers in the history of the harp. He graduated from the Paris Conservatory with a first prize in harp in 1899. He also studied composition there and won a second prize in the prestigious Prix de Rome competition, as well as a first prize in the Rossini competition, another major composition competition of the day. From 1912 to 1948 he taught the harp class at the Paris Conservatory. But composition, and almost entirely, composition for the harp, was the main focus of his life. His published works, including many works for solo harp, a few for harp and other instruments, and several songs, number around one hundred pieces.In 2019, while researching Tournier for my edition MARCEL TOURNIER: 10 Pieces for Solo Harp, I discovered that there was a significant list of pieces by this composer that had never been published and were not included on any inventory of his music. Principal on this list were his déchiffrages (pronounced day-she-frahge, like the second syllable in the word garage).The word déchiffrage means sight-reading exercise, and that was their original purpose. Tournier numbered and dated these pieces, with dates ranging from 1900 to 1910, indicating that they were in all likelihood written for Alphonse Hasselmans’ class at the Paris Conservatory. Tournier was probably told how long to make each one, and how difficult. They range in length from two to four pages, with only one in the whole series extending to five, and from thirty to fifty-five measures, with only one extending to eight-five. The level of difficulty for the whole series is intermediate, with some at the easier end, and others at the middle or upper end.We don’t know if they were intended to test students trying to enter the harp class, or if they were used to test students in the class as they played their exams. The fact that they were never published means that students had to not only sight read them, but sight read them in manuscript form!I worked from digital images of the original manuscripts, which are in the private music library of a harpist in France. She had twenty-seven of these pieces, and this edition is the second in a series of three that will publish, for the first time, all of the ones that I have found thus far. The manuscripts themselves consist of little more than notes on the page: no pedals written in, no fingerings, few if any musical nuances and tempo markings, and no clear indication as to which hand plays which notes. These would have been difficult to sight read indeed! My collaborator Catherine Michel and I added musical nuances, fingerings, pedals and pedal diagrams, and tempo indications to put them into their current condition.At the time these were written, Tournier would have been in his twenties, having just graduated from the harp class himself (1899), and might still have been in the composition class. These are the earliest known pieces that he wrote, and they were written at the very beginning of a cultural revolution and upheaval in Paris that was to completely and profoundly alter musical composition. Tournier himself would eventually be caught up in this new way of composing. But not yet.All of the déchiffrages are written in the late romantic style that was being taught at that time at the Paris Conservatory. Each one is built on a clear musical idea, and the variety over the whole series makes them wonderful to listen to as well as to learn. They are also great technical lessons for intermediate level players.The obvious question is: Why didn’t Tournier publish these pieces, and why didn’t he list them on his own inventory of his music? Actually, four of them were published, with small changes, as his collection Four Preludes, Op. 16. These came from the ones that will be in volume three of this series from Carl Fischer. His first large piece, Theme and Variations, was published in 1908, and his two best known and frequently played pieces, Féerie and Au Matin, followed in 1912 and 1913 respectively. We can only speculate because there is so much still unknown about Tournier and about these unpublished pieces. He may have looked at them, fresh out of school as he was, as simply a way to make some quick money. The first several pieces that he did publish are much longer than any of the déchiffrages. So it could be that, because of their shorter length, as well as the earlier musical style that he was moving away from, he chose not to publish any more of them. We may never know the full story. But all these years later, more than a century after they were composed, we can listen to them for their own merits, and not measured against whatever else was going on at the time. The numbers on these pieces are the ones that Tournier assigned to them, and the gaps between some of the numbers suggest that there are perhaps thirty or more of these pieces still to be found, if they still exist. They will, in all likelihood, be found, as these were, in private collections of harp music, not in institutional libraries. We can only hope that more of them will be located in years to come.—Carl SwansonGlossary of French Musical TermsTournier was very precise about how he wanted his pieces played, and carefully communicated this with many musical indications. He used standard Italian words, but also used French words and phrases, and occasionally mixed both together. It is extremely important to observe and understand everything that he put on the page.Here is a list of the French words and phrases found in the pieces in this edition, with their translation.bien chanté well sung, melodiousdécidé firm, resolutediminu peu à peu becoming softer little by littleen diminuant becoming softeren riten. slowing downen se perdant dying awayGaiement gayly, lightlygracieusement gracefully, elegantlyLéger light, quickLent slowmarquez le chant emphasize the melodyModéré at a moderate tempopeu à peu animé more lively, little by littleplus lent slowerRetenu held backsans lenteur without slownesssans retinir without slowing downsec drily, abruptlysoutenu sustained, heldtrès arpegé very arpeggiatedTrès Modéré Very moderate tempoTrès peu retenu slightly held backTrès soutenu very sustainedun peu retenu slightly held back.

SKU: DB.01-00418

ISBN 9790012196419.

Im Zeitalter der Technik, der Maschinen und dem Wunsch, alles messbar und damit erfassbar zu machen, liegt fur mich die assoziative Verknupfung einer ,,Traumerei mit einem EEG (=Elektroenzephalogramm) sehr nahe. Die Ruckfuhrung der Hirnstromaktivitaten auf Traume ist meine kunstlerische Freiheit, keine medizinische Interpretation. Ich habe mich dabei aber nicht auf eine ,,inhaltliche Nacherzahlung eines moglichen Traumes eingelassen, sondern habe graphische Auffalligkeiten der EEG-Diagramme als Anregungen fur meine Kompositionen genommen. Im Stuck ,,Herzspur wird der Umstand kompositorisch verarbeitet, dass die sich am unteren Ende des Diagramms befindliche ,,Herzspur unverandert bleibt, unabhangig davon, was sich die bei den ,,Hirnspuren mehr oder weniger aufregendes tut. Im 3. Stuck werden die nicht zur Ruhe kommenden Hirnaktivitaten in die Mittelstimmen des Klaviers gelegt, wahrend die Aussenstimmen eine ubergeordnete Kontur entstehen lassen.

SKU: BT.EMBZ14561

The new volume in the Musica da camera series has been compiled for a relatively rare type of ensemble, three guitars. This collection spanning the 16th?19th centuries contains not only madrigals by Luca Marenzio, two Bach chorales and Schumann?s Träumerei, but also transcriptions of popular pieces by many other composers (including Händel, Haydn, Schubert and Grieg), enabling music-school guitar students to play familiar, enjoyable works that they have heard performed by other instrumentalists.

Für eine relativ seltene Besetzung, für drei Gitarren, wurde der neueste Band des Zyklus Musica da camera erarbeitet. Die Zusammenstellung überspannt die Zeit zwischen dem 16. bis zum 19. Jahrhundert und beinhaltet neben Madrigalen von Luca Marezino, zwei Bach-Choräle oder der Träumerei Schumanns, Transkriptionen von mehreren anderen Komponisten (u.a. Händel, Haydn, Schubert und Grieg). Damit ist es auch den Gitarrenschülern möglich, die ursprünglich für andere Instrumente komponierten, bekannten und beliebten Werke, die von den anderen Schülern gespielt werden, auch selbst zuspielen.

SKU: BT.EMBZ14659

Hungarian-English-German-French.

This volume of works by the Viennese classical and romantic composers contains only transcriptions, and only from pieces for the piano. In most cases the right hand part is played on the violin, often alternating with or responding to the cello, thus the piano part is considerably easier than the original, and therefore accessible to children not yet capable of playing the original work. The selection includes the most popular pieces by the greatest composers (Haydn, Beethoven, Mendelssohn, Schumann, Chopin and Grieg), such as, for instance, the second movement of the Mondschein-Sonate, and Träumerei.

Dieser Band beinhaltet ausschließlich von Klavierwerken transkribierte Werke aus der Wiener Klassik und Romantik. Die Melodie der rechten Hand wird meistens von der Geige, oft mit dem Cello abwechselnd, einander antwortend gespielt. Dadurch ist die Klavierstimme im Vergleich zum Original wesentlich leichter, also sie ist auch für Kinder zu meistern, die das Originalstück sonst noch nicht spielen könnten. In der Auswahl kommen die beliebtesten Werke der größten Komponisten (Haydn, Beethoven, Mendelssohn, Schumann, Chopin und Grieg) wie z. B. der zweite Satz der ‚Mondschein-Sonate oder das ‚Träumerei' vor.