Matériel : Partition
SKU: CA.5023100
ISBN 9790007090319.
Volu me 31 contains, among other works, the Piano Quartet, which was enthusiastically received by the critics in Rheinberger's time: The themes are noble, with significant content, the motivic development is rich and interesting, above all free from anything resembling a mould ... and such a healthy musical wind blows through the entire work that I believe I am not mistaken if I forsee for this work a great success. This is how a contemporary critic reviewed the work. Indeed, op. 38 proceeded to become the most successful of Rheinberger's chamber music works during his lifetime. The Sextet op. 191b is an effective arrangement of his Piano Trio No. 4 op. 191, for flute, oboe, clarinet, bassoon, horn and piano. All works are also available in separate editions.
SKU: M7.GHE-915
ISBN 9783890449159. English.
Miguel Llobet's famous Catalan plucked string orchestra called the 'Lira Orfeo' was active in Barcelona from 1899-1906. Here we present a new engraving of all the surviving original scores, set in the same performing score format in which they were originally used 120 years ago. The Lira Orfeo quickly became an important part of Barcelona's cultural scene; with Tárrega as its honorary president the Lira Orfeo society was founded in 1898 and an official inaugural concert, shared between Manuel Burgés (pno) and Miguel Llobet (gtr) took place in Barcelona in 1898. The aim of the society was to offer a full musical education, both theoretical and instrumental, for guitarists and players of other plucked instrument family, with eventually with a place in its Catalan plucked instrument orchestra of the same name. The teachers for guitar were Miguel Llobet, Pedro Lloret and Domingo Prat. Prominent musicians such as Manuel Burgés and Baldomera Cateura were also on the teaching staff. Classes were given three times a week, and as the players were mainly amateurs with day jobs, these took place in the evening and often went on until 2 o'clock in the morning. The debut of the orchestra took place in 1903 and it gave regular concerts at top venues right up to the society's dissolution in 1907, mainly due to lack of funding. For the instruments used see the list of works below. The repertoire is varied, selected, arranged by Miguel Llobet it was mainly drawn from traditional and impressionist Iberian music, as well as the German classics, it includes a specially commissioned work Triomphe d'Orphée' by the famous Catalán pianist Manuel Burgés. We at Guitar Heritage are proud to present the first publication of this huge cultural contribution to music in its original form and prepared from the source manuscripts which were the work of Miguel Llobet. The edition has many illustrations, rare documents and photographs as well as a comprehensive critical commentary by Stefano Grondona - whose knowledge of Miguel Llobet, as well as of Catalonian culture, has made an edition of this scope possible. These arrangements are superb and presented as they originally were in the same score form. The now relatively rare instruments called for can be replaced by suitable alternatives - this is ideal and interesting material for adapting to guitar orchestra/ensemble or mandolin orchestra, or similar.
SKU: BR.SON-431
ISBN 9790004803103. 10 x 12.5 inches.
A mystifying question of versions surrounds the Italian: right after the world premiere in London, Mendelssohn is unsatisfied with his symphony. Since he no longer has the score with him, he writes it down afresh (except for the opening movement), but stops at three quarters of the way. In the meantime, trusted experts weigh in with their views. Fanny Hensel writes to her brother: I dont like the change in the first melody at all; why did you make it? Nevertheless, Felix continues to busy himself with the first movement, but ultimately finds no more time for it and leaves it primarily in the form of the complete early version of 1833, which is published posthumously and remains, to this day, a standard repertoire piece in all concert halls. The revised torso, in turn, was long ignored. It was published in this volume, yet it is clear that the three movements of the incomplete final version of 1834 were from the composers viewpoint not at all ready for publication, seeing that Mendelssohn had never critically reviewed them after having penned them.
SKU: BR.SON-619
Lemminkainens Happy Ending
ISBN 9790004803219. 10 x 12.5 inches.
The four orchestral scores which are brought together in Lemminkainen op. 22 can be understood with a bit of imagination as a kind of program symphony. All the more surprising is the Revision History that occurred after the first performances and versions in 1896 and 1897: Sibelius soon revised two pieces, the Swan of Tuonela (which was soon to become very popular) and Lemminkainen returns home (op. 22 no. 4). He had both scores printed, but stowed the two other pieces away in a drawer for nearly 40 years before he gave them their last polish. The entire cycle in its last authorized version was published in 1954, just as the composer wished. This happy ending is comprehensively documented in Volume I/12b of the Sibelius Complete Edition.
SKU: HL.49042434
ISBN 9783795794491. 10.25x13.5x1.141 inches. German.
Carl Maria von Weber's fame rests mainly on 'Der Freischutz'. The unprecedented success of this opera overshadowed all his other works and contributed to their increasing fall into oblivion. Certain works such as 'Preciosa', 'Oberon', and 'Euryanthe', the overtures, solo concertos and piano sonatas, the lieder and chamber works enjoyed great popularity and were widely known in Germany and abroad as late as the second half of the 19th century. However, any chance of a revival of Weber's influential and substantial oeuvre was wasted in the 1920s, when a complete edition - begun by Hans Joachim Moser and with potential contributors including Wilhelm Kempff, Hans Pfitzner, Max von Schillings, Fritz Stein and Richard Strauss - failed after the third volume.Ever since there have been numerous attempts to restart a complete edition of Weber's works, but as this kind of project would have required the co-operation of scholars from both sides of the inter-German border, the political situation after 1945 was not conducive to any such enterprise. Careful negotiations led to the first tangible steps in the 1980s. The intention, right from the beginning, was to place Weber's work in context, and not to separate his musical output from his influential work as a writer, critic and organiser in the musical field, but to publish his compositions together with his letters, diaries and other literary output as the best way to document the cross-fertilisation between his musical, literary and practical activities.Since the German re-unification both working-parties concerned - at the Staatsbibliothek zu Berlin, and at the Musikwissenschaftliches Seminar, Detmold/Paderborn - have co-operated on the complete edition of the musical works (c. 45 volumes in 10 series: sacred music; cantatas, odes and other occasional works; stage works; lieder and vocal works; orchestral works; chamber music; music for piano; piano reductions; miscellanea, arrangements and orchestrations; works of doubtful attribution). The diaries (6-8 vols.) are edited in Berlin and the letters (8-10 vols.) and other writings (2 vols.) in Detmold. This complete edition aims to be a reliable basis of scholarly debate as well as for the authentic performance practice of Carl Maria von Weber's music. Conforming to the standards of recent historico-critical editions, the textual material will be based on all available authentic sources, accompanied by a detailed documentation of the genesis and a list of variants for each work. The musicological importance of the works will be evaluated by placing them in their historical context, the presentation of their genesis, history and Critical Commentaries. The letters, writings and diaries will be treated as inter-related and relevant to each other in the commentaries, therefore readers should benefit from a wealth of concise information and cross-references.
SKU: HL.368695
ISBN 9781705141779. UPC: 840126969085. 9.0x12.0x0.289 inches.
This collection of 27 pieces, transcribed and edited by the Howells scholar Jonathan Clinch and published for the first time to coincide with Matthew Schellhorn's recording of the complete piano music by Howells for Naxos, reveals a previously neglected aspect of this celebrated English composer. The pieces chart the musical development of Howells, from his earliest known work “The Arab's Song,†written when he as 16, to the “Petrus Suite,†completed in his 80s, as well as demonstrating his fascination with French music (“Phantasy,†“Harlequin Dreamingâ€) and the Tudor period (“Pavane†and “Galliard.â€) The volume also includes the moving tribute to his friend and fellow composer Finzi. Comprising a wide array of pieces from characterful miniatures to more substantial suites, the collection will appeal to Howells devotees and lovers of 20th century English music, as well as to anyone seeking fresh and distinctive piano repertoire. Includes: The Arab's Song • To a Wild Flower • Romance • Melody • Legend • Summer Idyls: I. Meadow-Rest • II. Summer-Song • III. June-Haze • IV. Down the Hills • V. Quiet Woods • VI. Near Midnight • VII. In the Morning • Phantasy • Harlequin Dreaming • Minuet for Ursula • My Lord Harewood's Galliard • Finzi: His Rest • Siciliana • “Comme le cerf soupire...†• Pavane and Galliard • Petrus Suite: Finnicle's Scherzo • Gavotte • Vagrant Flute • Minuet • 'Sine Nomine' • Bassoonic's Dance • Odd's Minuet • Toccatina.
