Discover the Waltzes

SKU: BT.DHP-1155625-070

ISBN 9789043142397. English-German-French-Dut ch.

Discover the Waltzes is the third edition in the De Haske Flexible String Trios series which offers many possibilities to string ensembles of various instrumentations. The set contains a three-part score and nine individual parts for violin, viola and cello. This means that the pieces can be played in any combination of string instruments, depending on the musicians available. Discover the Waltzes contains six motivating arrangements of famous waltzes from the 19th to the early 20th Century.

Voor strijkers-ensembles die in wisselende bezettingen spelen biedt de Flexible String Trios serie een uitgekiend concept. In de partituur worden 3 stemmen aangegeven, waarbij iedere stem door zowel viool, altviool of cello kan wordeningevuld. Op deze manier kunnen de stukken in allerlei combinaties van strijkinstrumenten worden gespeeld. Zowel combinaties met dezelfde als met verschillende strijkinstrumenten zijn mogelijk. In het laatste geval is het wel aan te raden het hoogstgestemde instrument de hoogst genummerde stem te laten spelen. Dit levert een juiste klankbalans en daardoor het mooiste resultaat.

Discover the Waltzes is een verzameling arrangementen van beroemde walsen uit de 19e en vroege 20e eeuw. De partijen zijn antrekkelijk geschreven en blijven dicht bij het origineel.Discover the Waltzes bevat zes uitdagende arrangementen - heerlijk om te spelen en uitermate geschikt voor uitvoeringen!

Discover the Waltzes ist die dritte Ausgabe der Reihe De Haske Flexible String Trios, die Streichensembles, die in wechselnden Besetzungen spielen, zahlreiche Besetzungsmöglichkeiten bietet: Das Set enthält eine Partitur für drei Stimmen sowieneun Einzelstimmen für Violine, Viola und Violoncello. Auf diese Weise können allerlei Kombinationen von Streichinstrumenten gebildet werden, je nach verfügbaren Spielern.
Discover the Waltzes enthält sechs motivierende Bearbeitungen berühmter Walzer aus dem 19. und frühen 20. Jahrhundert.

SKU: ST.C463

ISBN 9790570814633.

This volume contains contrasting works by Federico Ruiz spanning quite a large and rich period of his compositional output that goes from his early Micro-Suite (1971), to lilting, sweet and rhythmic Venezuelan waltzes passing by the mysterious, intimate, and intense Nocturno (1994) plus pieces originally composed for film, and theatre. Real eclecticism in styles, moods and atmospheres that show Ruiz�??s talents and scope.

The Nocturno is a deep, intriguing, substantial piece presenting a satisfying length which moves from different paths of the mind and the heart written in an abstract, chromatic idiom, that does not dissociate itself from the Venezuelan waltz and the joropo. One could perhaps say that there is a deconstruction of the latter. For the interpretation, the composer has suggested to me that it is allowed to have some flexibility in the tempo. Ruiz kindly dedicated it to me, and I have had the pleasure of performing it in many concerts.

Although all highly expressive, the Three Venezuelan Waltzes present in this collection as well as the piece titled Aliseo, are works that are close to the colourful Venezuelan folk tradition. Federico Ruiz had given me two of them when we first met: �??Tu Presencia�?? (1981) and �??Eloísa�?? (1989) and then I attended a performance of the play �??Office Number One�?? by Miguel Otero Silva with a fantastic actor, Elba Escobar in the role of Carmen Rosa and, I just fell in love and was very moved by the incidental music that I later discovered, by reading the programme, had been written by Federico Ruiz. Later that evening, I called him and asked to please make a piano score of the composition, so I could have the desired piece in my hands. That is how �??Carmen Rosa�?� waltz (1987) came to exist in a piano version.

�??Eloisa �?? is another Venezuelan waltz with more jazzy harmonies where precision in the rhythm and elegant playing is also essential, as it is in most of his pieces.

�??Tu Presencia�?? was dedicated to his mother, Margarita. It is written with the structure of the Venezuelan waltz, which consists of a nostalgic subject that leads to a faster, happier middle section where the typical graceful rhythm is given by the left-hand accompaniment figure of a dotted crotchet followed by a quaver and a crotchet.

The craft and magic found in the five movements of the Micro-Suite is based on a dodecaphonic row by Ernst Krenek. They remind us of the idiom of the Second Viennese School. These real miniatures seem to tell short stories. The �??Preludio�?? is full of humour. I imagine dancing figures given by the jumps all over the keyboard and extreme dynamics; the phrases give the impression of a conversation with many questions and answers. The �??Invención�?? is a kaleidoscopic piece where the hands mirror each other. The �??Passacaglia�?? is the longest movement, at just over a minute where the prime motif is repeated three times on the bass line. For its construction Federico Ruiz uses as well the retrograde and the retrograde inversion of the twelve-tone series. It must be played expressively with dynamic contrasts between pianissimo and louder events. The �??Scherzo�?? has repetitive motifs of a minor third in both hands and the �??Final�?? displays virtuosic passages for the pianist.

Aliseo was originally written for the film �??Aire libre�?� (1995), by Luis Armando Roche. It contains elements of diverse types of Venezuelan joropo. In the film, the character of Aliseo Carvallo is played by the composer himself who performs this piece on a harpsichord to welcome scientists Alexander von Humboldt and Aimé Bonpland one day at the turn of the 1800�??s, as a sample of the new music from the South American land. It presents the refinement of the late European classical era in fusion with Venezuelan folk music.

SKU: FP.FCS01

ISBN 9790570504183.

A student of Charles Villiers Stanford at the Royal College of Music, Samuel Coleridge-Taylor (1875-1912) is famous for his epic orchestral works, as well as being the late Victorian era's most famous Black composer and conductor. With an eye to the huge market for music for domestic composition, he also composed these melodious waltzes for solo piano, which were recently rediscovered in the Forsyth Publishing catalogue.

SKU: HL.14027980

ISBN 9788759856819. 12x16.5 inches. Danish.

Corpus Cum Figuris is a uniform composition in three major parts. The first part is a slow marche funébre, a kind of prologue with dark and sombre sounds and a massive wall of chords which leads us to the other part of the works where the static and solemn atmosphere is suddenly stopped and replaced by a rhythmic/melodic ritual which accelerates the music. In the third part the block structure is softened gradually, different figurations and stylistic elements arise to live their own lives: distant waltzes and pictures from the Middle Ages appear in this gigantic sonorous body. After a wild percussion orgy a short flash-back and a scream from the edge end Corpus cum Figuris. The piece has no literal content at all, even though the title leads the thought to Adrian Leverkühn's Apocalipsis cum Figuris from Thomas Mann's Doctor Faustus. More likely, my piece will arouse associations as with all my music. It has to be heard in it's own conditions, in this case as a big body of music or perhaps as a great screen where the details, of course, are part of the whole body but at the same time are foreign and odd. It is as if one climbs a mountain and from the top of that mountain discovers a world which is completely different from expected. Corpus cum Figuris for 20 musicians was composed in 1984, commissioned by Ensemble InterContemporain and the Danish Radio. Ensemble InterContemporain world premiered the work in April 1985 conducted by Peter Eötvös. The piece was also played at the ISCM-festival in Amsterdam by Netherland Radio Chamber Orchestra conducted by Ernest Bour.

SKU: MB.610405

ISBN 9783899221237. 9 X 12 inches.

In his first book, “Hot Tea Swing”, the Ukrainian composer Olexandr Moyerer published 20 compositions which he composed over the course of 10 years. The titles reflect the wide range of his compositional creations, with each piece being dedicated to a specific dance and style. In “Alcodance“ you will find a Cha-Cha-Cha, in “Wooden Puppet“ a tango and in “Swinguin“ a classic swing dance. But even European styles like the waltz and the polka have not been left out. The playing instructions indicate the mood of the pieces and indicate opportunities for interpretation: the waltzes should be played thoughtfully or tenderly; the swing pieces should be interpreted slowly. In contrast, the Latin American pieces offer a challenge in terms of the rhythm. Each piece must be discovered and worked on by the pianist in their own particular way. This collection is suited to advanced pianists who are looking for new material for concerts or competitions. On the CD (AMA-No. 626671) you will find all pieces recorded by the composer to give an idea of how they could sound. Der aus der Ukraine stammende Komponist Olexandr Moyerer hat in seinem ersten Buch „Hot Tea Swing“ 20 Kompositionen veröffentlicht, die er innerhalb von 10 Jahren komponiert hat. Die Titel geben eine Bandbreite seines kompositorischen Schaffens wieder und jedes Stück ist einem bestimmten Tanz und einer besonderen Stilrichtung gewidmet. So findet sich im „Alcodance“ ein Cha-Cha-Cha, die „Holzpuppe“ tanzt Tango und im „Swinguin“ hat er einen klassischen Swing vertont. Aber auch die europäischen Stile wie Walzer und Polka kommen nicht zu kurz. Die Spielanweisungen geben Rückschlüsse auf die Stimmung der Stücke und die Interpretationsmöglichke iten: so sollen die Walzer nachdenklich oder mit Zärtlichkeit gespielt werden, die Swing-Stücke sollen sehr langsam interpretiert werden. Dafür stellen die Lateinamerikanischen Stücke ihre Herausforderung auf der rhythmischen Ebene dar. Jedes Stück muss vom Pianisten auf seine spezielle Art und Weise entdeckt und erarbeitet werden. Die Sammlung empfiehlt sich für fortgeschrittene Klavierspieler, die nach neuem Spielmaterial für Vorspiele und Wettbewerbe suchen. Auf einer separaten Audio-CD (AMA-Nr. 626671) sind die Stücke alle vom Komponisten eingespielt und geben einen Höreindruck wieder.

SKU: CA.5600300

ISBN 9790007188047.

The organ is the instrument on which the young Giacomo Puccini began his career as a musician. Through the rediscovery of a considerable number of hand-written pieces, which he composed after 1870 as part of his duties as organist in the churches of Lucca, several primary sources are now available. These give an insight into the beginnings of his musical activities which have only been known about from anecdotes from his first biographers until now. Puccini's organ repertoire includes works which were typical for liturgical organ music at that time: sonatas for the main sections of the mass, versets which were substituted for Gregorian chant, marches, which were played after the mass (exceptionally even waltzes), and even a pastorale for Christmas time. This music was written with the sound of instruments made in Tuscany in mind. These have just one manual, a 8 foot Principale register and a small pedalboard always coupled to the manual. In addition there were several solo stops divided into bass and soprano.Puccini contributed with originality to the renewal of Italian organ practice, which began in his day to discard its operatic style in favor of a style more suited to the liturgy.