SKU: AP.36-M304191
ISBN 9781621563266. UPC: 660355022432. English.
The transcription of melodies contained in this collection has been praised as the most complete expression of Mr. Coleridge-Taylor's native bent and power. Using native songs of Africa and the West Indies with those that came into being in America during slavery, he has preserved their distinctive characteristics and individuality, while giving them an art form fully infused with their musical essence.
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: PA.H07957
ISBN 9790260104464. 31 x 23.5 cm inches.
Piano Sonata No. 3 was written in 1960 during the composer's studies at HAMU (Music Faculty of the Academy of Performing Arts in Prague) under Emil Hlobil. The first half of the 1960s was the period during which Fiser's musical language underwent fundamental change as he rapidly cultivated his own, distinctive style, established in Fifteen Prints after Durer's Apocalypse. This sonata thus also includes several essential traits which shift his compositional development further. The work has two movements, however, its internal structure abandons traditional form. The piece is divided into several short, mutually contrasting sections, whereby the distinctions between the adjacent parts are emphasised by the thematic and chordal treatment. These contrasts are also supported by the chosen dynamics, tempo and other expressional means. The harmony is largely based on traditional chords or their condensed form while, in certain passages, we will nevertheless come across semitone clusters or fourth chords. The melody is still chiefly diatonic; at times Fiser uses chromatic sequences. These new elements in Sonata No. 3 indicate an attempt to simplify his writing and ensure greatest transparency and impact. This endeavour became a basic characteristic of Fiser's compositions from the mid-1960s onwards. The sonata originally bore the postscript Fantasia, which was subsequently taken out by the composer. It was first performed by Ales Bilek in 1961. The new setting for this piece is based on the single edition to date (Panton, 1967); only with regard to a few inconsistencies in the score was it necessary to consult the composer's manuscript (kept at the National Museum - Czech Museum of Music).
SKU: M7.AHW-3028
English.
This theoretical book is meant to improve contemporary jazz styles and techniques for all players of modern jazz. This study investigates jazz pianist and composer Herbie Hancock's seven albums recorded as a bandleader for Blue Note Records between 1962 and 1969. Recorded during Hancock's tenures with Donal Byrd and Miles Davis, his early works are highly mature musical conceptions, with all the major elements of Hancock's personal musical style already present. A mixed-methods approach combining sever forms of qualitative data analysis is used to identify the formal construction, the musical meanings, and the cultural significance of this body of music. The study surveys the thirty-six compositions that comprise these seven albums, and selects for in-depth analysis seven pieces that are proportionally representative of the formal characteristics of this larger repertoire: The Maze, The Pleasure Is Mine, Jack Rabbit, One Finger Snap, Little One, Toys, and I Have A Dream. Hancock's improvisations on these repretative compositions are transcribed, and each improvisation and composition is analyzed for its historical context and significance of each recording is examined through interviews with persons involved in the original recording process, as well as other jazz musicians and scholars with deep knowledge of Hancock's life, music and oeuvre. Aesthetic analyses, informed by the theories of of Kivy and Elliot, investigate the expressive or representational qualities of each composition, and examine how formal musical elements contribute to these expressive or representational qualities. Formal analyses examine elements of Hancock's compositional and improvisational style. The study concludes the Hancock's compositions and improvisations of the period exhibit a number of consistent style elements, such as sophisticated harmonic and rhythmic superimposition, that were very important influences on jazz pianists of the following generation.
SKU: HL.286427
''Witold Lutoslawski treated the surrealistic poem of Jean Francois Chabrun as a symbolist story about love and death. In his musical interpretation, according to its default course he distinguished the subsequent stages of the opus which are characterised by different kinds of expression. The first stage is of an epic and lyrical character, the second refers to a lullaby, the third is of a dramatic nature and constitutes the culmination of the work, finally, the fourth stage is a kind of a lament ending with a reflective message. Lutoslawski's musical language is characterised by contemporary means of composing technique. One should take note of the unique twelve-note system elaborated by the composer, a characteristic time organisation based on contrasting the conducted sections against the ad libitum ones, and finally the vast repertoire of sound articulation allowing for unusual differentiation of the timbre. [Regina Chlopicka: Paroles tissees Witolda Lutoslawskiego, in: Muzyka polska 1945-1995'', Akademia Muzyczna w Krakowie, 1996].
SKU: BO.B.3106
ISBN 9788480201940.
English comments: With reference to the melody used to write the Fanstasia-Concerto, the composer Jordi Cervello says: A few years ago, a friend of mine, Jorge Wagensberg sang me a beautiful old Jewish melody inspired by the hymn Leja Dodi (Come, my beloved) by the Sefardie cabbalist Solomon Alkabez (1505-1576), who is buried in Israel. I was immediately entranced by its two extensive thematic ideas which complement each other perfectly. Its melodic and folk qualities seemed to me to make it an ideal theme for a work for guitar and orchestra. The orchestration is a fine thread of metallic timbres, which are present both in the very delicate subtleties of the pianissimi passages and the brilliant tutti. Moreover, the cler tonal definition of the melody contrasts with audacious harmonic contrapunctual textures, characteristic of the most advanced musical styles of our times. The solo guitar part is a model piece of compositon for the guitar, both for its melody and harmony. It puts forward extremely original formulas which are very effective from an instrumental point of view. Its abundant use of arpeggios, chords, harmonic pedals and other instrumental resources ensure that the dialogue with the orchestra is based completely on guitar-playing techniques, putting the guitarist's expressive skill and mastery to the test. This work was first performed on December 3 1997 in Sabadell's La Farandula Theatre performed by the Valles Symphonic Orchestra conducted by its permanent conductor Salvador Brotons. The guitar solo part was played by Jaume Torrent, to whom the work is dedicated.Comentarios del Espanol:En relacion al origen de la melodia utilizada en este Concierto-Fantasia, el compositor Jordi Cervello comenta: Hace ya algunos anos, mi amigo Jorge Wagensberg me canto una antigua y deliciosa melodia judia compuesta sobre el himno Leja Dodi (Ven mi bien amada) del cabalista sefardi Solomon Alkabez (1505-1576), cuya tumba se encuentra en Israel. En seguida me cautivo por las dos amplias ideas tematicas que contiene, las cuales se complementan muy armoniosamente. Por sus caracteristicas melodicas y por su caracter popular me parecio un tema ideal para una obra de guitarra y orquesta. La orquestacion de este concierto es una filigrana de sugerencias timbricas, presentes tanto en las mas delicadas sutilezas de los pianissimi como en los efusivos tutti. Asimismo, la clara definicion tonal de la melodia contrasta con audaces texturas armonicas y contrapuntisticas propias de la estetica musical de nuestros dias. La parte del instrumento solista en un modelo de escritura guitarristica, tanto desde el punto de vista melodico como del armonico y propone formulas que resultan de una gran originalidad y eficacia instrumental. La prodigalidad de arpegios, acordes, pedales armonicos y otros recursos instrumentales, garantizan un dialogo con la orquesta desde un lenguaje plenamente guitarristico, a traves del cual, el interprete pone a prueba tanto su capacidad expresiva como la vituosistica. El estreno de esta obra tuvo lugar el dia 3 de octubre de 1997 en el Teatro La Farandula de Sabadell, interpretada por la Orquesta Sinfonica del Valles bajo la direccion de su director titular Salvador Brotons, y actuando como solista el guitarrista Jaume Torrent a quien esta dedicada la obra.
SKU: BT.EMBZ14655
Hungarian-English-German-French.
This volume contains the first experimental flights of Miklós Kocsár (*1933). It may seem surprising that the pieces do not reveal the stylistic features that typified Hungarian composition in the mid-nineteen-fifties. These finely-proportioned miniatures reflect the composer s diverse, many-faceted interests: definite tonal relations and free use of the twelve-tone scale, or even dodecaphony are all equally characteristic of them, yet their musical language is fundamentally Hungarian. The character pieces of varying length offer material for piano students to play from the upper music school level to intermediate level.Der Band beinhaltet die ersten Gehversuche von Miklós Kocsár (*1933). Es mag uns überraschend vorkommen, dass die Stücke überhaupt nicht die Stilmerkmale aufweisen, von denen die Tonkunst in Ungarn Mitte der 1950er Jahre geprägt war. Diese proportional geformten Miniaturen spiegeln die vielfältigen Interessen des Komponisten wider: Die schlüssigen tonalen Verhältnisse, die freie Zwölftönigkeit oder sogar die Anwendung der Dodekaphonie ist ebenso charakteristisch für sie, dennoch ist ihre musikalische Sprache grundsätzlich ungarisch. Die mehr oder weniger kurzen Charakterstücke bieten den Klavierschüler von der höheren Klassen der Musikschulen bis zur Mittelstufe hingeeignetes Spielmaterial.
SKU: HL.49018135
ISBN 9790001172110. UPC: 884088576578. 9.0x12.0x0.075 inches.
Heller develops the beginnings of a freely tonal musical language in Sonatina, which would later become established as her characteristic style. Easy to Intermediate Level.