SKU: HL.49046045
ISBN 9790001165242. UPC: 841886031623. 9x12 inches.
In the summer of 1852, Vier Stücke ['Four Pieces'] for viola and piano by Robert Schumann were published under the title Märchenbilder ['Fairy-Tale Pictures'] by the Kassel publishing house Luckhardt, with a particularly expressive vignette on the titlepage. Unusual were both this title Märchenbilder, on the one hand, and the scoring with a solo viola, on the other. With the viola in a soloistic role in chamber music, Schumann's Märchenbilder, Op. 113, offers a rather unfamiliar, but all the more delightful sound.
SKU: HL.48187485
UPC: 888680844837. 9.0x12.0x0.132 inches.
“1st Sonata was written by Darius Milhaud and is based on anonymous tunes of the XVIII century and was dedicated to Germain Prevost. Initially composed for Viola and Orchestra, this score features the Viola and Piano scores. It is composed of four distinct parts: 1. Entrée 2. Française 3. Air 4. Final Fairly difficult, this Sonata can be used for recitals and contests by upper-intermediate players. Born in 1892, Darius Milhaud became a professor at the Paris Conservatoire after the WWII, and composed a wide musical repertoire. One of the characteristic of the music he composed was its polytonality and its numerous influences (mainly French Provence, Jazz, South American and Jewish).â€.
SKU: HL.49012235
ISBN 9790001102117. UPC: 884088086923. 9.0x12.0x0.157 inches.
SKU: BT.ALHE31120
English.
First of the series of _x001A_Quatre Visages_x001A_ by Darius Milhaud, I. La californienne is a short piece for Viola and Piano. With some difficulties, it requires some intermediate technique of the instrument and some theory knowledge toread in different keys. The book includes the score for Viola and Piano and the part for Viola only. The music has moderate tempo and is quite expressive. It is supposed to represent an American girl from California. She is partof the four faces with: II. The Wisconsonian, III. La Bruxelloise and IV. La Parisienne. Darius Milhaud (1892-1974) was a French modernist composer and a teacher. He was also part of Les Six and was strongly influenced by Jazz.His opus list ended at 443.
SKU: HL.49012276
ISBN 9790001102476. 9.0x12.0x0.131 inches.
SKU: HL.49016277
ISBN 9790001102445. 9.0x12.0x0.081 inches.
SKU: HL.49012242
ISBN 9790001102179.
SKU: BT.SLB-02032701
230 X 305 inches. French-English-Italian.
Henri Casadesus was passionate about early instruments, as we know from a number of photographs showing him with viola d’amore, the subject of a manual he wrote entitled Tecnique de la viole d’amour. The Concerto en Ut mineur was first published in 1947 by Mica Salabert. The first edition gives the so-called “original†part for solo violocello together with the score which, according to the preface, has been adapted for viola or cello or violin by Casadesus. However, stylistic analysis of the piece, together with some musicological research carried out after the appearance of the first edition reveals that the “original†version for violoncello, on which the adaptation was supposed to be based, cannot be attributed to Johann Christian Bach, but is rather a work imitating his style written two centuries later. In spite of this, Concerto en Ut mineur encountered considerable success and continues to be studied and performed by both violinists and violoncellists today.Henri Gustave Casadesus nourrissait une profonde passion pour les instruments anciens, qu’illustrent notamment plusieurs photographies qui le représentent avec la viole d’amour, un instrument pour lequel il écrivit le traité Technique de la viole d’amour. Le Concerto en ut mineur fut publié pour la première fois en 1947 par Mica Salabert. Dans la première édition imprimée du Concerto en ut mineur, la partie du violoncelle soliste était qualifiée d’« originale » tandis que la partition, d’après la préface citée, est la version d’Henri Casadesus, réadaptée pour alto, violon ou violoncelle. Toutefois, d’après l’analyse du style de la pièce et des recherches musicologiques successives jamais contestées du reste par la famille Casadesus il apparaît que la version « originale » pour violoncelle, de laquelle découlerait l’adaptation, n’est pas attribuable non plus Johann Christian Bach, mais aurait été composée selon sa manière deux siècles après. En dépit de cela, ce concerto a connu une bonne fortune et est encore étudié et interprété aujourd’hui par les altistes et les violoncellistes.
SKU: HL.49019370
ISBN 9790001189804. UPC: 884088992378. 9.0x12.0x0.052 inches.
'Songs Without Words' - that's what Felix Mendelssohn Bartholdy (1809-1847) called his lyrical piano pieces, romantic miniatures in which the composer wanted to 'sing' on the keyboard instrument. With them, he invented an entirely new form of chamber music playing in the 19th century. These 'Songs' are also perfectly suitable for duet playing: for a melodic instrument with piano accompaniment. The 'Song Without Words' Op 30/3 is a rewarding lyrical solo piece.
SKU: HL.49018407
ISBN 9790001175678. UPC: 841886016385. 9.0x12.0x0.067 inches.
A 'Last Night of the Proms' without this march - unthinkable! 'Pomp and Circumstance Military March No. 1' with its middle section, the hymn-like 'Land of Hope and Glory' by Edward Elgar (1857-1934), belongs to the finale of the London music event like the Radetzky March usually played as last piece to the New Year's Concert of the Vienna Philharmonic Orchestra. The fame and popularity of the other four military marches composed by Elgar between 1901 and 1907 fade in comparison to this secret national anthem of Great Britain (although strongly rivalled by 'Rule, Britannia!'). It is, indeed, an equally rousing and catchy piece of music, and the catchy tune in the middle has just become a classical 'hit'. Thanks to the present edition, all those who do not have a large symphony orchestra at home can now play this rousing march by themselves.
SKU: HL.49019312
ISBN 9790001180238.
Overcoming the boundaries between 'serious' and entertaining music was what mattered to the musician Eduard Putz (1911-2000). His compositions therefore include stylistic features of jazz and pop music. Many of his works were written for children and young instrumentalists to offer them a break from the monotony of classical sonatinas and studies. 'Blue Waltz' is such a treat - very easy to play, it carefully helps the player to open a listening ear for jazz sounds. The arrangement for accompanied melodic instrument is also suitable for beginner's lessons and the first ensemble playing.
