Together for the first time in a single affordable volume these are authoritative editions of the Violin Concerto in A Minor which broke the centuries-old mould of the concerto form and the Romance for Violin and Orchestra a mesmerizing reverie that builds to a finale of fiery technical feats.
SKU: BA.BA10420
ISBN 9790260108387. 31 x 24.3 cm inches. Key: G minor. Preface: David R. Beveridge.
Composed in 1876, Dvorákâ??s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form.The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel Å olc.
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: GI.G-1050
UPC: 785147005025.
Conversational Solfege is a curriculum for developing music literacy skills. It is organized around increasingly complex rhythmic and melodic content. Each new rhythmic or melodic element is discovered first in patterns and then reinforced with folk songs, rhymes, and classical examples. This CD provides 29 classical selections referenced in Conversational Solfege Level 3. These examples provide reinforcement for emerging literacy skills, and they also enable students to listen to wonderful classical examples with greater attention. Listening to classical music can be challenging for elementary students. With nothing to hang onto, the many notes can be too much to comprehend and attention soon wanes. But with minimal literacy skills, students will have enough musical information to discover that classical music can be accessible and appealing. In the booklet, timings are given for each selection. The portions of the music that are readable by the students are reproduced. Whether using this CD with Conversational Solfege instructional materials or simply as a resource of classical music with simple-to-read rhythmic and melodic material, both teachers and students will delight in discovering this wonderful music through literacy.  CONTENTS Conversational Solfege Unit 14: 1. March of the Toreadors • Georges Bizet, 2. Slavonic Dance • AntonÃn Dvorák, 3. Russian Dance • Igor Stravinsky, 4. Dance of the Reed Pipes • Peter Tchaikovsky Conversational Solfege Unit 15: 5. Morning • Edvard Grieg, 6. Minuet • George Frideric Handel, 7. Waltz • Johann Strauss II, 8. Minuet in G • J. S. Bach Conversational Solfege Unit 18: 9. Westminster Chimes, 10. Ode to Joy • Ludwig van Beethoven Conversational Solfege Unit 20: 11. The Moldau • Bedrich Smetana, 12. The Wild Horseman • Robert Schumann, 13. Anitra’s Dance • Edvard Grieg Conversational Solfege Unit 22: 14. Violin Concerto in D • Ludwig van Beethoven, 15. Symphony No. 6 • Ludwig van Beethoven, 16. Roses from the South • Johann Strauss II, 17. Symphony No. 1 • Johannes Brahms, 18. Polovtsian Dance • Alexander Borodin, 19. Eine Kleine Nachtmusik • Wolfgang Amadeus Mozart, 20. Etude for Piano • Frédéric Chopin Conversational Solfege Unit 23: 21. Natoma’s Dagger Dance • Victor Herbert Conversational Solfege Unit 24: 22. Ground in D Major • Henry Purcell Conversational Solfege Unit 25: 23. Violin Concerto in D • Ludwig van Beethoven, 24. Sumer Is Icumen In, 25. Symphony No. 9, “From the New World†• Antonin Dvorak Conversational Solfege Unit 26: 26. Pachelbel Canon • Johann Pachelbel, 27. Kaiser Waltz • Johann Strauss II, 28. Marmotte • Ludwig van Beethoven, 29. Autumn — Four Seasons • Antonio Vivaldi John M. Feierabend, PhD, has spent decades compiling songs and rhymes from the memories of the American people, in hopes that those treasures would be preserved for future generations. Those resources have served as the basis of his two music education curricula: First Steps in Music and Conversational Solfege. John Feierabend is Professor Emeritus and former Director of Music Education at The Hartt School of the University of Hartford.
SKU: CF.WF232
ISBN 9781491153772. UPC: 680160911271.
Known internationally for superior flute editions, Robert Stallman continues his considerable expansion of the flute repertoire with re-creations, or “new†works for flute by Bach, Mozart, Schubert, Beethoven, Chopin, Dvořák, and other great composers.Conceived originally as a work for solo piano, this arrangement of Dvořák’s Suite in A Major for flute and piano is based on both the piano and orchestra versions. It is one in a series of Stallman’s “new†works for flute. Dvořák composed the Suite in A Major in 1894, inspired by his happy and fruitful stay in the “New World†—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in E≤ Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.PrefaceConceived originally as a work for solo piano, the Suite in A Major was composed by Dvořák in 1894, during his famous two-year visit to the United States. He wrote the work in a mere ten days, and a year later made a full orchestration of it. The Suite was first performed in this second version in 1910 in Prague at the Rudolfinum. Dvořák, who died in 1904, never had a chance to hear a performance of this stirring orchestral realization.The Suite was inspired by the composer’s happy and fruitful stay in the “New Worldâ€, especially by his unforgettable summers spent in the quiet Czech-American village of Spillville, Iowa—a period that produced some of his greatest works, full of thematic freshness, raw energy and folk influences, both American and Old World Czech. The “New World†Symphony, Cello Concerto, “American†Quartet, String Quintet in Eb Major, the Violin Sonatina and this A Major Suite are all cut from the same musical cloth—textured with his personal impressions of the Wild West’s fascinating Indian and Afro-American music, its God-fearing and friendly people, its vast open spaces and its awe-inspiring natural beauty.Several of the Suite’s affecting melodies find echoes in these other, better known compositions of this American period. Wistful themes abound in all five movements, reflecting Dvořák’s transformative American experience as it found resonance in his own emotions. Contrasting with deeply felt, contemplative passages are Dvořák’s joyous and tempestuous expressions, which open the second, third and final movements.This arrangement for flute and piano is based on both the piano and orchestra versions. It is one in a series of my “new†works for flute by some of our greatest composers and I am delighted to add it to the collection. I predict that the A Major Suite will become a popular addition to our Romantic recital repertoire, much like the Dvořák Sonatina.—Robert StallmanMarblehead, Mass.June 1, 2018.
