SKU: PR.11641963S
UPC: 680160684472.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: PR.11641963SP
UPC: 680160684496.
SKU: PR.11641963L
UPC: 680160684489.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: BR.OB-15128-30
In Cooperation with G. Henle Verlag
ISBN 9790004341643. 10 x 12.5 inches.
With the publication of the score and parts of the D-major Horn Concerto K. 412/514, the Mozart expert Henrik Wiese adds another milestone to his edition of this important work group which was begun in 2013. In the course of time, the piece that was first edited in the Old Mozart Edition of 1881 as Mozarts 1st Horn Concerto turned out to be a pasticcio: while the opening movement is indisputably by Mozart, the elaboration of the Rondo must now be attributed to Sussmayr. This movement is transmitted solely as a sketch in Mozarts hand. The present edition contains both the Sussmayr Rondo (K. 514 = smWV 502) and the Mozartian Rondo fragment (K. 412) which was carefully completed by Wiese. The performer will thus have the choice between the traditional version (with Sussmayr) and the version presumably intended by Mozart, all in one practical edition.
SKU: BR.OB-15128-15
ISBN 9790004341605. 10 x 12.5 inches.
SKU: BR.PB-4436
ISBN 9790004203477. 9 x 12 inches.
SKU: BR.OB-15128-16
ISBN 9790004341612. 10 x 12.5 inches.
SKU: BR.PB-15128
ISBN 9790004214299. 10 x 12.5 inches.
With the publication of the score and parts of the D-major Horn Concerto K. 412/514, the Mozart expert Henrik Wiese adds another milestone to his edition of this important work group which was begun in 2013. In the course of time, the piece that was first edited in the Old Mozart Edition of 1881 as Mozarts 1st Horn Concerto turned out to be a pasticcio: while the opening movement is indisputably by Mozart, the elaboration of the Rondo must now be attributed to Sussmayr. This movement is transmitted solely as a sketch in Mozarts hand. The present edition contains both the Sussmayr Rondo (K. 514 = smWV 502) and the Mozartian Rondo fragment (K. 412) which was carefully completed by Wiese. The performer will thus have the choice between the traditional version (with Sussmayr) and the version presumably intended by Mozart, all in one practical edition.EB 10701 contains the parts for horn in F and Eb.
SKU: BR.OB-15128-26
ISBN 9790004341636. 10 x 12.5 inches.
SKU: BR.OB-15128-19
ISBN 9790004341629. 10 x 12.5 inches.
SKU: AP.36-A134748
ISBN 9798888529850. UPC: 659359935244. English.
Johannes Brahms (1833-1897) wrote his Violin Concerto in D major, Op. 77, in 1878. He composed the work for his longtime friend, famed violinist Joseph Joachim, who premiered it in Leipzig with the Gewandhaussaal on January 1, 1879, Brahms himself conducting. The program also included, at Joachim's insistence, Beethoven's Violin Concerto in D major, Op. 61, on which Brahms modeled his own concerto. While the critical reception of the time was mixed, the audiences at the various early performances received the work well. Most complaints directed at the concerto addressed the role of the solo violin, noting that the soloist does not offer much of the melodic material or include much in the way virtuosic passages, a consequence of looking more towards Beethoven's serious aesthetic rather than Paganini's flashy one. Joachim himself, before a falling out with the composer over personal reasons, included Brahms' concerto among the best German offered, saying: The Germans have four violin concertos. The greatest, most uncompromising is Beethoven's. The one by Brahms vies with it in seriousness. The richest, the most seductive, was written by Max Bruch. But the most inward, the heart's jewel, is Mendelssohn's. Instrumentation: 2.2.2.2: 4.2.0.0: Timp: Str (9-8-7-6-5 in set): Solo Violin in set.
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: AP.36-A134702
UPC: 659359985690. English.
SKU: AP.36-A134701
ISBN 9798888529843. UPC: 659359537080. English.
SKU: BR.OB-4067-15
The aim of this combined scholarly and practical edition of the Brandenburg Concerto is to offer a state of the art performance material of this standard work of Baroque music literature, which satisfies the practical needs of performing artists...
ISBN 9790004303672. 10 x 12.5 inches.
...These new editions were based on surviving autographic source material - some of which, for the Fifth Concerto for example, has been taken into account for the first time - and the 'Neue Bach-Ausgabe' (NBA). Moreover, they also make use of relevant 18th-century theoretical writings for editorial additions and observations on performance practice.(from the joint preface to the Six Brandenburg Concertos by the Bach scholars Werner Felix, Winfried Hoffmann and Armin Schneiderheinze)The aim of this combined scholarly and practical edition of the Brandenburg Concerto is to offer a state of the art performance material of this standard work of Baroque music literature, which satisfies the practical needs of performing artists...
SKU: BR.OB-5136-30
ISBN 9790004329245. 9 x 12 inches.
SKU: BR.OB-5136-16
ISBN 9790004329207. 9 x 12 inches.
SKU: BR.OB-5136-27
ISBN 9790004329238. 9 x 12 inches.
SKU: BR.OB-5136-19
ISBN 9790004329214. 9 x 12 inches.
SKU: BR.OB-5136-23
ISBN 9790004329221. 9 x 12 inches.
SKU: HL.225504
9.0x12.0x0.091 inches.
SKU: BR.OB-5370-15
ISBN 9790004336892. 10 x 12.5 inches.
For the Urtext edition of the three great Mozart Violin Concertos K. 216, 218 and 219, three high-caliber experts came together: Mozart scholar Cliff Eisen as editor, internationally renowned concertmaster and conductor Andrew Manze as the author of stylistically authentic and brilliantly virtuoso cadenzas, and Werner Breig as the creator of the transparent piano reduction that wonderfully suite every accompanists fingers. The new editions are based on Eisens competent, well-grounded source evaluation. His decisions always do justice to the requirements of historical performance practice and occsionally yield some rather extraordinary results.
SKU: BR.OB-15114-30
ISBN 9790004339824. 10 x 12.5 inches.
Thanks to its imaginative richness and sterling writing, Hoffmeister's Double Bass Concerto No. 1 has advanced to the rank of a popular audition concerto. But when compared with the transmitted sources, the previously available first edition of 1966 proved to be filled with errors. Tobias Glockler, double-bass player of the Dresdner Philharmonie, now presents a reliable Urtext in this edition. Through his competence as an instrumentalist, he even goes considerably further and offers various performance possibilities: the solo part can be played not only in solo and orchestral tuning, but also in the historical Viennese tuning. The C-major version, which is offered on hire, allows performances in orchestral tuning. The orchestral material in D major (sales material) is suited to the other two tunings. A beautiful and easy to read score, elegantly laid-out and with illuminating and informative preface notes. This concerto is among our most beautiful classical concerti, lyrical and inventive. It is a great pleasure to see our classical repertoire appear in such critical editions. (Rob Nairn in Bass World).
SKU: BR.OB-15114-15
ISBN 9790004339787. 10 x 12.5 inches.
SKU: BR.OB-4436-30
ISBN 9790004309230. 10 x 12.5 inches.
SKU: BR.PB-15156-07
ISBN 9790004215616. 6.5 x 9 inches.
SKU: BR.OB-15114-16
ISBN 9790004339794. 10 x 12.5 inches.