SKU: HL.50512037
ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.
The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.
SKU: HL.49044628
ISBN 9790001198493. UPC: 841886022027. 9.25x12.0x0.212 inches. German.
Aribert Reimann's idea to arrange the lieder of Franz Liszt for baritone and string quartet goes back to his collaboration with Dietrich Fischer-Dieskau, recording some of these lieder for the German broadcasting company formerly known as Sender Freies Berlin (SFB). Since then, Reimann has continued to be fascinated by Liszt's thrilling harmony and unconventional treatment of the voice. Here, he has compiled a cycle containing seven lieder from Liszt's middle and late periods, arranged so that each song is the logical continuation of its predecessor. Liszt's fundamental harmony has been retained, but the registers have been altered to such an extent that they appear in a completely new light.
SKU: BT.EMBZ14768
Not many people know that Franz Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and that these versions of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt the cello version, transposed into G major, of the E Major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage ) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century. The Valse oubliée No. 1 was transcribed by Liszt s virtuoso piano pupil Ferruccio Busoni Notturno, which became famous as the third piece in the Liebesträume series, is a transposed version of the original song ( O lieb, so lang du lieben kannst ) made by the editor of this volume. Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these forthis volume compiled to mark Liszt's jubilee: Elegy I and Elegy II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour(pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt; the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellistin the Weimar orchestra of those days; that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20thcentury.Nur Wenigen ist bekannt, dass Liszt einige seiner Klavierstücke auch für Violoncello mit Klavierbegleitung bearbeitet hatte, und dass diese Version der Werke noch zu Lebzeiten des Komponisten in Druck erschien. In diesem Band nahm Ãrpád Pejtsik zwei dieser Stücke, die I. und II. Elegie auf. Die anderen Liszt-Kompositionen in der Sammlung sind auch ursprünglich Klavierwerke: der Bearbeiter ist beim Ave Maria und Cantique d'amour (Stücke aus dem Zyklus Harmonies poétiques et religieuses) der Liszt-Schüler Robert Pflughaupt. Von Jules de Swert, der damals Solocellist des Weimarer Orchesters war, wurde die in G-Dur transponierte Violoncelloversion der E-Dur Consolation, und vonLothar Windsperger, dem an der Wende zum 20. Jahrhundert lebenden deutschen Komponisten, das Angelus (das Eröffnungsstück des III. Bandes des Zyklus Pilgerjahre) bearbeitet.
SKU: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
SKU: BT.EMBZ14886
9x12 inches.
The latest volume of Chamber Music for Violoncellos contains four sacral works, two of which were arranged for cello quartet by the editor of the series, Ãrpád Pejtsik. Both Angelus!, Liszt's piano piece of ethereal beauty, and the Kyrie of Mozart's Requiem, an irresistibly surging four-part fugue, are magnificent when played with the immensely rich sound of the four cellos. The second part of the volume contains a pair of inspired works by two prominent cellists and composers of the 19th century: Karl Friedrich Wilhelm Fitzenhagen's Consecration Hymn and Friedrich Grützmacher's Ave Maria. While an instrumental skill of at least intermediate level is required for playing the upperparts due to the use of higher positions, the lower parts can be performed by beginner cellists. The editor has assisted the appropriate interpretation of the works by providing the fingering and bowing. Band 15 der Reihe für Violoncelli enthält vier Kirchenmusikwerke. Die ersten beiden wurden vom Herausgeber der Reihe, Ãrpád Pejtsik, für Celloquartett arrangiert. Es folgen zwei Werke von zwei berühmten Cellisten und Komponisten des 19. Jahrhunderts:Karl Friedrich Wilhelm Fitzenhagens CONSECRATION HYMN und Friedrich Grützmachers AVE MARIA. Für die höheren Lagen sollten die Schüler mindestens fortgeschritten sein, die tieferen Lagen können von Anfängern gespielt werden. Der Herausgeber hat für eine werkgetreue Wiedergabe Fingersätze und Striche hinzugefügt.
Inhalt:1. Liszt: Angelus! Priere aux anges gardiens2. Mozart, Wolfgang Amadeus: Kyrie from the Requiem (K 626)3. Grützmacher, Friedrich: Consecration Hymn (Op. 65)4. Fitzenhagen: Ave Maria
Contents:1. Liszt: Angelus! Priere aux anges gardiens2. Mozart, Wolfgang Amadeus: Kyrie from the Requiem (K 626)3. Grützmacher, Friedrich: Consecration Hymn (Op. 65)4. Fitzenhagen: Ave Maria
SKU: FL.FX074410
Instruments:String Quartet: 2 Violins 1 Alto 1 Cello; Difficuly Level: Grade 2; Duration: 0 mn 35 s; Musical Style: Classical; Category: Arrangement; Composer: Franz LISZT; Arranger: Eric VIRETON.
SKU: FL.FX074408
Instruments:Cello Quartet: 4 Cellos; Difficuly Level: Grade 2; Duration: 0 mn 35 s; Musical Style: Classical; Category: Arrangement; Composer: Franz LISZT; Arranger: Eric VIRETON.
SKU: FL.FX074388
Instruments:Cello Trio: 3 Cellos; Difficuly Level: Grade 2; Duration: 0 mn 35 s; Musical Style: Classical; Category: Arrangement; Composer: Franz LISZT; Arranger: Eric VIRETON.
SKU: BR.EB-32083
With supplementary violoncello part marked by Maria Kliegel
ISBN 9790004186299. 9 x 12 inches.
There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.With supplementary violoncello part marked by Maria Kliegel.
SKU: BR.PB-5622-07
With his first String Quartet in D minor, op. 77, composed in 1855, the native Swiss composer Joachim Raff (1822-1882) bid a brilliant farewell to Weimar.
ISBN 9790004215197. 6.5 x 9 inches.
With his first String Quartet in D minor, op. 77, composed in 1855, the native Swiss composer Joachim Raff bid a brilliant farewell to Weimar. He had been there as Franz Liszt's assistant since 1850 and had made a name for himself in the city's art scene - now he embarked on new paths. He composed his second Quartet in A major, op. 90, already in 1857 in Wiesbaden, the spa town that was to become his home for 21 years. The two quartets are unequivocal works: orchestrally-conceived, full of energetic vigor, and at times uncompromisingly modern. They confidently continue the Beethoven tradition and attest at the same time to Raff's intensive confrontation with Richard Wagner's music during the Weimar years. In his chamber music, the composer wanted to achieve progress in an inherently historical way and to ground the individual substance in existing forms, as he told the Viennese violinist Josef Hellmesberger, who launched opus 77. The quartets, first published in 1860/62, found illustrious interpreters, among them, the Muller brothers' renowned ensemble, to which opus 90 was also dedicated, and Joseph Joachim.In collaboration with the Joachim-Raff-Archiv Lachen (CH)Some eighteen years elapsed between Raff's first counted String Quartet op. 77 and his Quartets Nos. 6-8 op. 192, combined as one work. As such, Raff parted with the weighty single opus in quartet composition - without, however, sacrificing musical quality.
SKU: BT.EMBZ13274
German.
SKU: AP.36-52703136
ISBN 9781621568360. UPC: 679360600894. English.
This album for string quartet includes: Trumpet Tune (Purcell); Trumpet Voluntary (Clarke); Wedding March (Wagner); Wedding March (Mendelssohn); Entrance of the Queen of Sheba (Handel); Rondeau (Mouret); Jesu, Joy of Man's Desiring (Bach); Ave Maria (Schubert); Aria from Xerxes (Handel); Largo from Winter (Vivaldi) and Liebestraum (Liszt).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.50560341
UPC: 073999603415. 9.5x12.5x0.067 inches.
SKU: AP.36-52703137
ISBN 9781621568377. UPC: 660355025853. English.
SKU: VD.ED98595
ISBN 9790202005958. 12 x 9 inches.
SKU: BR.EB-8939
ISBN 9790004186084.
SKU: BA.BA07896-82
ISBN 9790006563388. 32.5 x 25.5 cm inches. Key: C minor.
In this work I gave everything I had to give. [...] What I did here I will never do again.Camille Saint-Saens was justifiably proud of his Symphony No. 3 in C minor op. 78, dedicated to the memory of Franz Liszt. Like Beethoven's Ninth, this so-called Organ Symphony was commissioned by the Philharmonic Society in London, where it received its premiere on 19 May 1886.In this first scholarly-critical edition of the symphony, a great many inconsistencies and mistakes inherent in the previously used edition have been unveiled and corrected.The edition of Symphony No. 3 marks the launch of a large-scale project: the publication of Camille Saint-Saens - Complete Edition of the Instrumental Works. This performing Urtext edition is based on volume BA 10303 from that series.* First scholarly-critical edition of this famous symphony based on Camille Saint-Saens aEUR Complete Edition of the Instrumental Works* Now with separate parts for all winds* Orchestral parts in a large format (25.5 cm x 32.5 cm).
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composer’s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BA.BA10576-01
ISBN 9790260108363. 33.3 x 26 cm inches. Language: CS, Text Language: CZ. Preface: Brezina, Aleš.
ThePetite Messe solennelleis the finest work of Rossini's late years. He composed it between 1863 and 1864 at the age of 71 as a commission for Countess Louise Pillet -Will for the consecration of her private chapel, where the work received its first performance in March 1864. Together with theStabat mater, the mass is one of the composer's mostimportant sacred works.The unusual instrumentation with two pianos and harmonium is entirely in keeping with the Neapolitan keyboard tradition of the 18th century which was cultivated in France in Rossini's day. It forms a distinct contrast to the style of large-scale sacred compositions as written by, for example, Liszt and Bruckner. Rossini explained that he wrote the later orchestral version of the work dating from 1867 out of concern that if he did not do this, other composers might orchestrate the mass too heavily in later arrangements.- Choral score based on the Urtext of the seriesWorks of Gioachino Rossini- Supplements the already existing material available to this work
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: BR.PB-5622
SKU: IM.3766
This is a work of serene, otherworldly beauty, taken from the third suite of Annees de pelerinage for piano. Includes score and parts.
