SKU: HL.49008105
ISBN 9790001115964. UPC: 196288077473. 9.0x12.0x0.355 inches.
The fourth volume in this series of female composers is dedicated to works of the 19th and 20th century. The pieces by Violetta Dinescu, Caroline Ansink, Myriam Marbe and Lucie Robert-Diessel have been composed specially for this anthology. M. Wieck: Fantasy on Skandinavian Folksongs • L.A. le Beau: Romanc, Op. 24/1 • C. Faisst: Melody after an old Ballad • J. Senffter: Three pieces Op. 25 • L. Vellére: Nocturne • V. Shlonsky: Dialogue • M. Marbe: Prphet and Bird • B. Heller: Lalai • L. Robert-Diessel: Lamento • E. Firsova: Album leaf • V. Dinescu: Flesh across • C. Ansink: Water under the bridge.
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.”Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Œ = 60), Moderate (Œ = 84) and Fast (Œ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: HL.49019743
ISBN 9790001169219. English - German.
We owe it to Paul Hindemith's interest in education, which, in turn, was owed not only to the professional musicians and composers, that he composed for children and amateur musicians as well. Dame Music stands for this dialogue to make contemporary music for amateurs accessible not only in theory but also in practice. Dame Music was composed during his stay in the USA after he had been asked for an American edition of his composition Frau Musica. Musik zum Singen und Spielen auf Instrumenten nach einem Text von Luther, Op. 45 No. 1 from 1928. In 1942 he wrote the successful American version Dame Music for which Hindemith also revised some instrumental parts. The vocal setting was adopted without any changes and its text translated into English. With great success: Within just a few years, Dame Music had been included in the repertoire of amateur musicians in the United States.
SKU: BR.CHB-5327-00
Choral music for all occasions in the original notational image, sorted by genres and themes
ISBN 9790004412572. 7.5 x 10.5 inches.
The enormous range of publications for mixed choir is published in the Choir Library in separate volumes for secular and sacred repertoire. The secular repertoire is divided into two volumes of unaccompanied choral music and one volume of works with instrumental accompaniment, mostly piano. The focus of the publishing house's program is on the Romantic era here. The majority of works was therefore composed by the great choral composers of this period: Johannes Brahms, Felix Mendelssohn Bartholdy and Robert Schumann. Later composers include Max Reger, Johann Nepomuk David and Kurt Thomas, but also Einojuhani Rautavaara and Siegfried Thiele. As female composers, Fanny Hensel and Clara Schumann are represented.We wish you lots of joy at discovering and singing!Volume 1 A cappellaI. Love SongsII. Seasonal SongsIII. Nature SongsIV. Songs of Jest and DancingV. Serious and Patriotic SongsVolume 2 A cappellaI. Morning SongsII. Evening SongsIII. Songs with a Sacred ContextIV. Tales and BalladsVolume 3 With accompanimentI. Love and Dancing SongsII. Nature SongsIII. Tales and Festive MusicIV. Evening SongsChoral music for all occasions in the original notational image, sorted by genres and themes. Let yourself be inspired by more of our Choir Libraries as well.
SKU: BR.CHB-5328-00
ISBN 9790004412589. 7.5 x 10.5 inches.
SKU: BR.CHB-5326-00
ISBN 9790004412565. 7.5 x 10.5 inches.
SKU: HL.50606951
ISBN 9798350126815. UPC: 196288211761. 7.5x11.0x0.892 inches.
ZOLTÁN KODÁLY (1882-1967) created a significant oeuvre equally as a composer, pedagogue, and ethnomusicologist; he was one of the most influential figures in 20th-century Hungarian music. With his over 130 works for unaccompanied choir he laid the foundation of modern Hungarian choral literature. A complete collection of Kodály's choral works is available in three volumes: Choral Works for Children's and Female Voices (Z. 6724) Choral Works for Mixed Voices (Z. 6725) Choral Works for Male Voices (Z. 6726 This volume of works for children's and female voices is an extended and revised edition. Containing a total of 59 compositions, three of which were not included in earlier editions, it is the most complete and most authentic edition of Kodály's choral works for children's and female voices to be published thus far. It has been edited based on uniform principles, contains easy-to-read, first-rate musical scores, and includes an informative Epilogue. The volume is available both in paperback and clothbound.
SKU: CA.8346800
The Carus Classics series features outstanding CD productions from Carus' past library of recordings. The series has been designed exclusively by the well-known graphic artists Friedrich Forssman und Cornelia Feyll. The Philharmonia Chor Stuttgart under the direction of Helmut Wolf presents sacred vocal music from two highly gifted female composers: Formally, Fanny Hensel's Oratorio to words from the Bible is reminiscent of Bach and Handel, whereas it displays the clear tonal language of the early Romantic era. The two imposing psalms by Lili Boulanger are characterized by an impressive array of sound and by a moving intensity.
SKU: HL.49041735
ISBN 9783254084026. German.
One of the most important German reference works with more than 7000 entries on male and female composers, performers, music history, genres, instruments, bibliography and list of editions, now also available on CD-ROM.
SKU: HL.49017070
ISBN 9790001149433. UPC: 841886009639. 9.0x12.0x0.105 inches.
The overall oeuvre of Johanna Senfter only includes three free organ works: 'Fantasie und Fuge' Op. 30a (in: Female Composers, ED 9741), the present variations 'Morgenglanz der Ewigkeit' Op. 66 and an organ piece in D minor without opus number. Together with the three cycles of chorale preludes Op. 30b, Op. 70 (Schott ED 9603) and Op. 73, the instrument of the organ occupies a rather small part in her oeuvre. That puts the obvious point of view, namely to see the composer of such a 'choral fantasia' mainly as a student of Reger, into perspective. It is, on the contrary, worth to get to know this major work as a facet of the long life of an artist whose major works still wait to be rediscovered.
SKU: GH.CG-1906
Text: Poul Bjerre.
Among the Swedish female composers, here is an interesting republished song collection for voice and piano.
SKU: HL.49047330
UPC: 196288201649.
Dorot hy and Phyllis Nash are mentioned in the “London Concerts” section of the June 1914 edition of Musical Times following a performance at Steinway Hall on 30 April earlier that same year. Dorothy was credited as pianist and composer, Phyllis as violinist. In 1915, Schott London published the duos Deux Pièces pour violon avec piano and both Dorothy and Phyllis signed the original contract, dated 8 March 1915, transferring copyright of the work to Schott. Using a pseudonym was not uncommon at the time when this work was first published, especially for female composers, and Deux Pièces was published under the name “D. P. Nash”, keeping Dorothy and Phyllis' initials.
SKU: FG.55011-688-7
Siri Brander (1866-1934) was one of the first female composers to be played by the Helsinki Philharmonic Orchestra. Elegie (originally for piano) was arranger for string orchestra by A. E. Westerlind and first performed in 1894. More than 120 years later it was recovered in the archives. The small treasure of pure salon romanticism has the duration of 4 minutes. The package includes a full score and a set of string parts (2+2.3.2.2.1).
SKU: DM.DMP-110095
ISBN 9790365313402.
Comp osed by one of the finest Belgium female composers. A slow introduction followed by a virtuose tarantella, but the tarantella has seven beats (hepta), then followed by a free cadenza, finishing with the tarantella. A challenge to play.