| Free Harmonizations...Vol
II: Organ: Instrumental
Album Orgue Hinshaw Music Inc.
The sucess of the first volume was so successful that it was natural that a seco...(+)
The sucess of the first volume was so successful that it was natural that a second volume should be forthcoming to assist church organists to offer fresh hamrmonizations (free accompaniments) to aid congregational singing - D. Dewitt Wasson.Also available: Free Harmonizations Of Hymn Tunes Volume 1 (HMO145.)Contents:1. Abbey2. Abends3. Aberystwyth4. Adelaide5. Adeste Fideles6. Ahnfelt7. Albano8. All Saints9. All The Way10. Alleluia11. Alles Ist An Gottes Segen12. Alta Trinita Beata13. Amazing Grace14. America15. Angels Story16. Arfon (Minor Mode)17. Arlington18. Arnsberg19. Aurelia20. Austrian Hymn21. Babylons Streams22. Bangor23. Bishopthorpe24. Blairgowrie25. Breslau26. Campian27. Canonbury28. Capetown (Cape Town)29. Christus Der Ist Mein Leben30. Coronation31. Cranham32. Culbach33. Darwall34. Diademata35. Diva Servatrix36. Dominus Regit Me37. Down Ampney38. Duke Street39. Dulce Carmen40. Dundee (Rythmic Version)41. Dundee (Isometric Version)42. Dunfermline (Isometric Version)43. Dunfermline (Rhythmic Version)44. Easter Hymn45. Elbing46. Ellacombe47. Erhalt Uns Herr48. Eventide49. Festal Song50. Fortunatus51. Foundation52. Franconia53. Freuen Wir Uns Alle In Ein54. Gaililee55. Gelobt Sei Gott56. Germany57. God Rest You (Ye) Merry58. Halle59. Hanover60. Heinlein61. Herzliebster Jesu62. Hesperus63. Hollingside64. Holy Faith65. Horsley66. Hyfrydol67. Hymn To Joy68. I Want To Be A Christian69. Ich Halte Treulich Still70. In Babilone71. In Dulci Jubilo72. Innocents73. Italian Hymn74. Jacobs Ladder75. Jesu Meine Freude76. Jubilate77. Kilmarnock78. Kings Weston79. Kirken Den80. Komm O Komm Du Geist Des Lebens81. Lancashire82. Langham83. Lasst Uns Erfreuen84. Lauda Anima85. Laudes Domini86. Le Ping87. Leoni88. Let Us Break Bread89. Liebster Jesu [Wir Sind Hier]90. Lob Sei Dem Allmaechtigen Gott91. Lobe Den Herren [Dem Maechtigen Koenig]92. Lombard Street93. London New94. Lytlington95. Mckee96. Marion97. Martyrdom98. Mendelssohn99. Mercy100. Merton101. Mit Freuden Zart [Zu Dieser Fahrt]102. More Love To Thee103. Morecambe104. Morning Star105. Mozart106. Neander107. Nicaea108. Nicht So Traurig109. Nun Danket [Alle Gott]110. Nun Freut Euch [Lieben Christen Gmein]111. Nun Komm Der Heiden Heiland112. O Filii Et Filiae113. O Store Gud114. Old 100th115. Old 104th116. Old 124th117. Olivet118. Omni Dei119. Open My Eyes120. Ora Labora121. Orientis Partibus122. Park Street123. Pax124. Peek125. Penitentia126. Pentecost127. Perry128. Picardy129. Potsdam130. Quem Pastores131. Rathbun132. Ratisbon133. Redhead No. 76134. Regent Square135. Retreat136. Rex Gloriae (Gloria)137. Rhosymedre138. Royal Oak139. St. Anne140. St. Bavon141. St. Bees142. St. Bride143. St. Christopher144. St. Columba145. St. Cross146. St. Denio147. St. Drostane148. St. Dunstans149. St. Flavian150. St. George151. St. Gertrude152. St. Hilda153. St. Joan154. St. Keverne155. S
69.99 GBP - vendu par Musicroom GB | |
| Free Harmonizations...Vol
I: Organ: Instrumental
Album Orgue Hinshaw Music Inc.
Free harmonizations of hymn tunes by fifty American composers'The purpose of thi...(+)
Free harmonizations of hymn tunes by fifty American composers'The purpose of this collection is to offer fresh harmonizations (free accompaniments) to hymn tunes that are in at least two current hymnals and for which there is a dearth of alternate accompaniments'. - D. Dewitt Wasson.Also available: Free Harmonizations Of Hymn Tunes Volume II (HMO152)Contents:1. Abbey2. Abbots Leigh3. Ach Gott Und Herr4. Albany5. All Saints6. All The Way7. Amazing Grace8. Amsterdam9. Angelus10. Ar Hyd Y Nos11. Arnsberg12. Ballerma13. Bangor14. Batty15. Beatus Vir16. Bethany17. Bethlehem18. Bourbon19. Boylston20. Bradbury21. Bread Of Life22. Bremen23. Bryn Calfaria24. Caithness25. Christe Sanctorum26. Christmas27. Cloisters28. Consolation29. Converse30. Creation31. Crimond32. Crucifer33. Cwm Rhondda34. Das Neugeborne Kindelein35. Deo Gracias36. Diva Servatrix37. Donne Secours38. Dunfermline39. Durrow40. Engelberg41. Eudoxia42. Evan43. Ewing44. Far Off Lands45. Federal Street46. Festal Song47. Flemming48. Forest Green49. Foundation50. Galilee51. Geneva52. Germany53. God Be With You54. Gott Des Himmels55. Gott Sei Dank56. Graefenberg57. Grand Isle58. Gwalchmai59. Halifax60. Hankey61. He Leadeth Me62. Helmsley63. Hermas64. Hesperus65. Hyfrydol66. Irby67. Kedron68. Kings Lynn69. Kings Of Orient70. Kings Weston71. Kingsfold72. Kirken Den73. Land Of Rest74. Langham75. Let Us Break Bread76. Llangloffan77. Lux Benigna78. Lynne79. Mckee80. Marion81. Miles Lane82. Monkland83. More Love To Thee84. Morecambe85. Morning Hymn86. Morning Song87. Morning Star88. Mornington89. Need90. Nunc Dimittis91. Nyland92. O Jesu93. O Perfect Love94. O Store Gud95. Old 107th96. Olives Brow97. Omni Dei98. Pilot99. Pleading Savior100. Quam Dilecta101. Rhosymedre102. Rock Of Ages103. Royal Oak104. St. Bride105. St. Cecilia106. St. Drostane107. St. Dunstans108. St. Hilda109. St. Kevin110. St. Margaret111. Sandon112. Schumann113. Serenity114. Slane115. Song 5116. Song 13117. Welwyn118. Woodworth119. Yattendon 46120. York121. Yorkshire
39.99 GBP - vendu par Musicroom GB | |
| Organ Hymns of Faith -
Volume 2: Organ:
Instrumental Album Orgue Fred Bock Music Company
Mark Thallander's second collection of harmonization of hymns for congregational...(+)
Mark Thallander's second collection of harmonization of hymns for congregational singing has proven to be as popular as his first! Titles include: Joyful Joyful We Adore Thee • A Mighty Fortress Is Our God • and fourothers. As a bonus Mark has also included his famous Toccata on Hymn to Joy. A must have for church organists!
11.50 GBP - vendu par Musicroom GB | |
| Organ Hymns of Faith -
Volume 1: Organ:
Instrumental Album Orgue Fred Bock Music Company
Well known for his majestic work at California's Crystal Cathedral Mark Thallan...(+)
Well known for his majestic work at California's Crystal Cathedral Mark Thallander has compiled a collection of harmonization of hymns for congregational singing. Each arrangement includes an introduction and a modulatoryinterlude – an extremely functional collection for any church organist. Titles include: O for a Thousand Tongues to Sing • Immortal Invisible • Holy Holy Holy Lord God Almighty • and nine others.
11.50 GBP - vendu par Musicroom GB | |
| Bela Bartok: Mikrokosmos
for piano Volume 3-4 BB
105: Piano Solo:
Instrumental Piano seul EMB (Editio Musica Budapest)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in peda...(+)
Urtext (1932-1939). Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a "classical" piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from "Imitation and Inversion," "Ostinato," and "Free Variations," concerning compositional technique, to mood pieces and pieces with programmatic ideas such as "Notturno," "Boating," "From the Diary of a Fly," or the famous "Six Dances in Bulgarian Rhythm." Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók Complete Edition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.
23.99 GBP - vendu par Musicroom GB | |
| Johann Sebastian Bach:
Prelude and Fugue No. 20
In A Minor: Piano:
Instrumental Piano seul [Partition] Edwin Ashdown
Book 2 Bwv 889-J. S. Bach (1685-1750) was a German Baroque composer who is rever...(+)
Book 2 Bwv 889-J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. Although he spent most of his life working as an organist and choirmaster he was familiar with many different keyboard instruments. He utilised this knowledge when composing his two volumes of The Well-Tempered Clavier (1722 and 1742) each a collection of 24 Preludes and Fugues in which heexplored the different harmonies of every key. Prelude And Fugue In A Major BMV 889 is No. 20 from Book Two of the Clavier. It is written in a typical Baroque form. This popular edition from thehighly-regarded musicologist Orlando Morgan is designed with the performer in mind and is still seen as the best edition available for students today.
4.50 GBP - vendu par Musicroom GB | |
| K. Leogrande: May I?:
Double Bass: Instrumental
Album Contrebasse, Piano (duo) [Partition] - Intermédiaire/avancé Spartan Press
This new publication replaces the old Latham edition (now out of print) - popula...(+)
This new publication replaces the old Latham edition (now out of print) - popular title on both ABRSM and TG double bass syllabuses (grade 7).Dennis Leogrande writes:I began writing the melody first although every piece begins differently. I wanted to begin with a sound that for me is very characteristic of the bass that being the ½ step slide from G# to A. Looking throughout the piece you will notice other slides ie. bars 1 3 5 7 12 14 16 18 38 58 114 116 18 120 123 125 and 127. Please don't forget to notice the grace note slide in measure 100. These are the melodic motifs that give the piece its character and act as hooks(memorable ideas) for the listener to latch on to. Once I began writing the melody it just grew organically from the original idea. I hope you feel the same organic growth. The shifting harmonic tonalities (between D major and D minor) seem to ask the question 'May I?' and keep the listener involved in trying to answer the question. The jazz style keeps the 'question' light hearted a little 'tongue in cheek.' However playing this piece requires attention to these details and a great deal of musicianship. It's the fine musician who understands both the music and the instrument who can make a difficult and complicated piece sound easy light and fun. Oh and yes please enjoy!
4.99 GBP - vendu par Musicroom GB | |
| Johann Pachelbel: Canon
D: Violin: Instrumental
Work Violon et Piano Peters
While Pachelbel has been most admired as a composer of organ works and Lutheran ...(+)
While Pachelbel has been most admired as a composer of organ works and Lutheran church music his Canon in D has long been one of his most celebrated compositions. It combines two time-honored compositional devices. The first of these is of course the canon a procedure whereby a melody in one part is strictly imitated by one or more other parts; a round (such as for example Frère Jacques) is a type of canon. The second device involves a short bass line (refeered to as a ground bass) that is repeated constandly over which the composer writes continuous variations. In its original form the work consists of an initial statement of an eight note ground bass followed by27 variations in strict canonic style for three violins above that bass. In addition to these four essential parts an appropriate harmonic background would have been improvised on harpsichord lute or organ. In the present arrangement Pachelbel's note values have been doubled for greater ease of reading and the work's canonic structure has been somewhat modified in order to make it more readily playable by violinists and pianists at an intermediate level. Since dynamics bowing indications articulations and slurs were not customarily provided by composer of the Baroque era the arranger and the editor have added them here as well as a metronome indication and a few cadential trills. Obviously these editorial additions should be regarded only as suggestions.
5.95 GBP - vendu par Musicroom GB Délais: En Stock | |
| Wes Montgomery:
Montgomery Wes - Best Of
Boss Guitar: Guitar TAB:
Instrumental Guitare notes et tablatures [Partition] Mel Bay
In his brief career Wes Montgomery completely revolutionized jazz Guitar. On th...(+)
In his brief career Wes Montgomery completely revolutionized jazz Guitar. On the Riverside recording Boss Guitar Wes demonstrates why he is still considered Wes' incredible solos his melodic rhythmic and harmonic approaches will prove beneficial to any guitarist with interest in jazz. It is no wonder that he has influenced so many of today's great artists and continues to inspire the future jazzguitarists.This note-for-note guitar transcription of Wes Montgomery's legendary recording Boss Guitar contains not only the melody lines and solos but also Wes' chord choices during Organsolos. This gives you authentic transcriptions of six of the finest tunes on this record. Every single note played by Wes Montgomery is transcribed in both standard and tablature notation.
18.99 GBP - vendu par Musicroom GB | |
| Laverne A. - Chords In
Motion - Piano Piano seul Jamey Aebersold Jazz
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has dra...(+)
Noted jazz pianist, composer, recording artist and educator Andy LaVerne has drawn from his decades of experience playing with master musicians from Getz to Lovano to create this comprehensive compendium of contemporary moving voicings. Quartal, quintal, drop 2, dominant 7b9/diminished, triadic, whole tone and chromatic performance proven voicings pioneered by McCoy Tyner, Chick Corea, Herbie Hancock, and Andy himself are presented and fleshed out in all twelve keys. This book picks up where others leave off, enabling you to replace static chords with voicings that move melodically, dramatically, and gracefully over the entire range of the keyboard. Firmly rooted in contemporary jazz theory, the emphasis is on practical performance applications. Andy ties it all together with illustrations of comping choruses for five standard jazz tunes. Chords in Motion satisfies a long awaited need in actual comping situations, and shows you how to move chords through varying harmonic rhythms. FINALLY ' a book that gives you moving voicings, and sets them in motion in all twelve keys. Chords in Motion is a valuable resource for all keyboardists, arrangers, and instrumentalists. Activate, animate, and energize your comping with this encyclopedic volume. 156 pages, spiral bound for easy opening. Andy carries the flame of jazz piano tradition and just great music. He always inspires me. Chick Corea This is a great book! I am going to sit down and play through this!! I am always telling my non-piano playing students how important it is to work with (and internalize) the sounds that we live with all our lives as Jazz musicians. Coltrane spent years sitting at the piano and so should all of us!!! John Patitucci Berklee College of Music One thing about Andy'he is complete as can be and has been consistently so for years in both his teaching materials and playing. He is completely knowledgeable in such a way that when I play with him, I know he KNOWS!! Plus he is one of the smoothest and polished of players around. Great book'encyclopedic in content. Dave Liebman Founder, Artistic Director, International Association of Schools of Jazz (IASJ) I've played and recorded with Andy LaVerne many times over the years and in many different settings and he's always come up with the hippest, most interesting chords in the most musical way! His way of playing and looking at chords inspires me as a drummer and his rhythm section partner to play things that are in turn inspiring to the rest of the band. This book, helps musicians, understand, in a clear thoughtful presentation, how to go about getting this together. Billy Drummond Jazz Drummer, Educator, Juilliard, NYU Chords in Motion is an outstanding and comprehensive guide by Andy LaVerne, whose encyclopedic knowledge, decades of experience and brilliance as a performer and educator make this an invaluable handbook of modern jazz piano harmony. Its user-friendly, intelligent design enables musicians to expand their harmonic palette and potentially transform their playing, writing and arranging. Chords in Motion is an invaluable contribution to jazz musicians! Lynne Arriale Jazz Pianist, Composer, Educator, Associate Professor of Jazz Piano, Director of Small Ensembles, University of North Florida Chords in Motion is exactly the book I'd expect from Andy LaVerne. It's clear, openhearted and inspiring, as has been every conversation I've had with Andy over the years. Long a fan of his playing, I have enjoyed this look behind the curtain at how Andy LaVerne formulated his signature style. One other thing -- any pianist, no matter his/her approach, will gain insight into what will surely be new and exciting musical directions. Pete Malinverni Jazz Pianist, Educator, Director of Jazz Studies, SUNY Purchase College Conservatory of Music What a great resource for expanding the harmonic palette! Chords in Motion is a must have for the aspiring young jazz pianist as well as the seasoned veteran. Another winner from Andy! Paul Schmeling Jazz Pianist, Educator, Chair Emeritus, Piano Department, Berklee College of Music In Chords in Motion, I recognize chords and sounds that have inspired me to compose and play: harmony from the music of Chick Corea, Herbie Hancock and McCoy Tyner. This book is well organized, and from the beginning gets you playing. Each chord structure is explained and developed. There is plenty to practice. I especially like the exercises using contrary motion, arpeggiation and pivot, and the application to tunes. The reader will be tempted to stop on every page and compose. I found the Lost Chord, but won't tell you the page number. Bert Ligon Jazz Pianist/Guitarist, Composer, Arranger, Educator, Director of Jazz Studies, University of South Carolina Ever wonder how to move harmony around instead of repeating the same chord voicing over and over' Then Chords in Motion is a must have book for you! Andy has included a ton of information that will open up your comping and should keep you busy with new ideas for a long time! I highly recommend it! Dan Haerle Jazz Pianist, Composer, Author, Educator, Professor Emeritus, University of North Texas Chords in Motion is an essential guide to expanding one's conception of modern Jazz Piano Harmony. Andy LaVerne has managed to outline in a very practical and concise way, modern principles of piano chord voicings, as they pertain to the Jazz Pianist's primary group function of comping. David Hazeltine Jazz Pianist, Composer, Educator, SUNY Purchase College Conservatory of Music Chords in Motion should be fun to take into the practice room to explore new ways of sustaining harmonies over the entire register of the piano. It is encyclopedic and thorough in its content. No stone is left unturned! Stephany Tiernan Pianist, Composer, Educator, Chair, Piano Department, Berklee College Of Music Chords In Motion is an excellent practicing resource that provides a garden of harmonic sonorities for a musician to choose and explore at the piano. I like the way that Andy has made the information accessible to any level of student. I look forward to discovering some different sounds with this book. Phil DeGreg Jazz Pianist, Author, Educator, University of Cincinnati College Conservatory of Music I am delighted to recommend Andy LaVerne's Chords In Motion to aspiring jazz pianists! Andy is a superb pianist, very capable of addressing this topic. Prior to pianists like McCoy Tyner, Herbie Hancock, Bill Evans, and others, most pianists were content to have acquired a small handful of chord voicings, generally with the chord roots on the bottom of the voicings. Though 'rootless voicings' were adopted in later years, they were primarily for the left hand and generally only used the 3rd or 7th on the bottom. But now the serious jazz pianist needs to be able to move his or her voicings in a more diatonic manner, as shown in Andy's book. Jerry Coker Jazz Saxophonist, Author, Educator Andy LaVerne's Chords in Motion is a study of encyclopedic scope on the use of harmonies based on fourth intervals in the context of jazz harmony. There is a wealth of information in terms of voicings, voice leading and chord/scale relationships and their application to common harmonic formulae (ii-V, etc.) and the chord progressions used in blues and common standard tunes. Jazz musicians interested in this vocabulary should find this book to be a useful launching pad for exploring this important corner of the world of jazz harmony. Bill Dobbins Jazz Pianist, Composer, Arranger, Author, Educator, Professor of Jazz Studies, Conductor, Coordinator Jazz Composition and Arranging, Eastman School of Music Chords in Motion is a highly detailed, informative and filling-in-the-gap text. It's an important and welcome addition to the jazz piano literature, which can be applied to any level of proficiency. Stefan Karlsson Jazz Pianist, Educator, Professor/Jazz Studies Division, University of North Texas Fantastic pianist Andy LaVerne has put together an amazing, detailed, and incredibly comprehensive guide for effectively implementing quartal and related voicings. He has honed in on the 'secret' to using these structures musically and creatively: moving the voicings through changes in logical and interesting ways. Clearly presented, extremely thorough, and loaded with information, Chords in Motion is a must-have for any pianist! Martin Bejerano Jazz Pianist, Composer, Educator, Assistant Professor, Jazz Piano, Frost School of Music University of Miami Chords in Motion is an in-depth look at fourth and related voicings that give an atmosphere that you want to improvise on. We play over the voicing, not the chord symbol. Chords in Motion targets that modal atmosphere that horn players love playing over. Love this book - can't wait to start practicing it! Jerry Bergonzi Jazz Saxophonist, Composer, Author, Educator, New England Conservatory I was thrilled when Jazz Piano Great Mulgrew Miller agreed to write a quote for this book. I was deeply saddened to hear of Mulgrew's passing just days before publication. All who loved Mulgrew and his music will sorely miss him, and are grateful for the rich musical legacy he left us. Rest easy, Mulgrew. Andy LaVerne
24.60 EUR - vendu par Woodbrass Délais: Sur commande | |
| Johann Sebastian Bach:
Prelude and Fugue No. 7
In E Flat Major: Piano Piano seul [Partition] Edwin Ashdown
Book 2 Bwv 876-J. S. Bach (1685-1750) was a German Baroque composer who is rever...(+)
Book 2 Bwv 876-J. S. Bach (1685-1750) was a German Baroque composer who is revered for the originality and skill of his contrapuntal and harmonic techniques. Although he spent most of his life working as an organist and choirmaster he was familiar with many different keyboard instruments. He utilised this knowledge when composing his two volumes of The Well-Tempered Clavier (1722 and 1742) each a collection of 24 Preludes and Fugues in which heexplored the different harmonies of every key. Prelude And Fugue In E Flat Major BMV 876 is No. 7 from Book Two of the Clavier. It is written in a typical Baroque form. This popular edition fromthe highly-regarded musicologist Orlando Morgan is designed with the performer in mind and is still seen as the best edition available for students today.
4.50 GBP - vendu par Musicroom GB | |
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| Twenty-Five Organ Harmonizations, Vol. 2 Orgue GIA Publications
By Harold Owen. Arranged by Harold Owen. For Organ. Instrumental. Sacred. Easy/M...(+)
By Harold Owen. Arranged
by Harold Owen. For
Organ. Instrumental.
Sacred. Easy/Medium. 28
pages. Published by GIA
Publications
$18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Volume 123 - Now's the Time - Standards with the Joey DeFrancesco Trio Instruments Sib, Mib, Do et Bass clef [Partition + CD] Jamey Aebersold Jazz
Edited by Jamey Aebersold. For any C, Eb, Bb, bass instrument or voice. Play-Alo...(+)
Edited by Jamey
Aebersold. For any C, Eb,
Bb, bass instrument or
voice. Play-Along series
with accompaniment CD.
Jazz Play-A-Long For All
Musicians. Book with CD.
Published by Jamey
Aebersold Jazz.
$17.90 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
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Composed by Dan Welcher.
Sws. Full score. 48
pages. Duration 10
minutes, 41 seconds.
Theodore Presser Company
#165-00100F. Published by
Theodore Presser Company
(PR.16500100F). ISBN
9781491114421. UPC:
680160669783. 9 x 12
inches. Commissione
d for a consortium of
high school and college
bands in the north Dallas
region, FOR THEMYSTIC
HARMONY is a 10-minute
inspirational work in
homage to Norwood and
Elizabeth Dixon,patrons
of the Fort Worth
Symphony and the Van
Cliburn Competition.
Welcher draws melodic
flavorfrom five American
hymns, spirituals, and
folk tunes of the 19th
century. The last of
these sources toappear is
the hymn tune For the
Beauty of the Earth,
whose third stanza is the
quatrain: “For the joy
of earand eye, For the
heart and mind’s
delight, For the mystic
harmony, Linking sense to
sound and sight,”giving
rise to the work’s
title. This work,
commissioned for a
consortium of high school
bands in the north Dallas
area, is my fifteenth
maturework for wind
ensemble (not counting
transcriptions). When I
asked Todd Dixon, the
band director
whospearheaded this
project, what kind of a
work he most wanted, he
first said “something
that’s basically
slow,” butwanted to
leave the details to me.
During a long subsequent
conversation, he
mentioned that his
grandparents,Norwood and
Elizabeth Dixon, were
prime supporters of the
Fort Worth Symphony,
going so far as to
purchase anumber of high
quality instruments for
that orchestra. This
intrigued me, so I asked
more about his
grandparentsand was
provided an 80-page
biographical sketch.
Reading that article,
including a long section
about theirdevotion to
supporting a young man
through the rigors of the
Van Cliburn International
Piano Competition fora
number of years, moved me
very much. Norwood and
Elizabeth Dixon weren’t
just supporters of the
arts; theywere passionate
lovers of music and
musicians. I determined
to make this work a
testament to that love,
and tothe religious faith
that sustained them both.
The idea of using extant
hymns was also suggested
by Todd Dixon,and this
10-minute work is the
result.I have employed
existing melodies in
several works, delving
into certain kinds of
religious music more than
a fewtimes. In seeking
new sounds, new ways of
harmonizing old tunes,
and the contrapuntal
overlaying of one
tunewith another, I was
able to make works like
ZION (using 19th-century
Revivalist hymns) and
LABORING SONGS(using
Shaker melodies) reflect
the spirit of the
composers who created
these melodies, without
sounding likepastiches or
medleys. I determined to
do the same with this new
work, with the added
problem of
employingmelodies that
were more familiar. I
chose five tunes from the
19th century: hymns,
spirituals, and
folk-tunes.Some of these
are known by differing
titles, but they all
appear in hymnals of
various Christian
denominations(with
various titles and
texts). My idea was to
employ the tunes without
altering their notes,
instead using aconstantly
modulating sense of
harmony — sometimes
leading to polytonal
harmonizations of what
are normallysimple
four-chord hymns.The work
begins and ends with a
repeated chime on the
note C: a reminder of
steeples, white clapboard
churchesin the country,
and small church organs.
Beginning with a
Mixolydian folk tune of
Caribbean origin
presentedtwice with
layered entrances, the
work starts with a
feeling of mystery and
gentle sorrow. It
proceeds, after along
transition, into a second
hymn that is sometimes
connected to the sea
(hence the sensation of
water andwaves throughout
it). This tune, by John
B. Dykes (1823-1876), is
a bit more chromatic and
“shifty” than
mosthymn-tunes, so I
chose to play with the
constant sensation of
modulation even more than
the original does. Atthe
climax, the familiar
spiritual “Were you
there?” takes over,
with a double-time
polytonal feeling
propelling itforward at
“Sometimes it causes me
to tremble.”Trumpets in
counterpoint raise the
temperature, and the
tempo as well, leading
the music into a third
tune (ofunknown
provenance, though it
appears with different
texts in various hymnals)
that is presented in a
sprightlymanner. Bassoons
introduce the melody, but
it is quickly taken up by
other instruments over
three
“verses,”constantly
growing in orchestration
and volume. A mysterious
second tune, unrelated to
this one, interrupts it
inall three verses,
sending the melody into
unknown regions.The final
melody is “For the
Beauty of the Earth.”
This tune by Conrad
Kocher (1786-1872) is
commonly sung
atThanksgiving — the
perfect choice to end
this work celebrating two
people known for their
generosity.Keeping the
sense of constant
modulation that has been
present throughout, I
chose to present this
hymn in threegrowing
verses, but with a twist:
every four bars, the
“key” of the hymn
seems to shift — until
the “Lord of all,
toThee we praise”
melody bursts out in a
surprising compound
meter. This, as it turns
out, was the “mystery
tune”heard earlier in
the piece. After an
Ivesian, almost polytonal
climax, the Coda begins
over a long B( pedal. At
first,it seems to be a
restatement of the first
two phrases of “For the
Beauty” with long
spaces between them, but
it soonchanges to a
series of “Amen”
cadences, widely
separated by range and
color. These, too, do not
conform to anykey, but
instead overlay each
other in ways that are
unpredictable but
strangely comforting.The
third verse of “For the
Beauty of the Earth”
contains this
quatrain:“For the joy
of ear and eye, –For
the heart and mind’s
delightFor the mystic
harmonyLinking sense to
sound and sight”and it
was from this poetry that
I drew the title for the
present work. It is my
hope that audiences and
performerswill find
within it a sense of
grace: more than a little
familiar, but also quite
new and unexpected. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet Op. 37 Quatuor à cordes: 2 violons, alto, violoncelle PWM (Polskie Wydawnictwo Muzyczne)
String Quartet (Score) SKU: HL.370494 Critical Edition Hardcover. ...(+)
String Quartet (Score)
SKU: HL.370494
Critical Edition
Hardcover. Composed
by Karol Szymanowski.
PWM. Classical.
Hardcover. 60 pages.
Polskie Wydawnictwo
Muzyczne #9267030.
Published by Polskie
Wydawnictwo Muzyczne
(HL.370494). ISBN
9781705147009. UPC:
840126994025. The
First String Quartet in C
major, Op. 37, was
written in the autumn of
1917 and earned
Szymanowski the first
prize in a competition
organized by the Ministry
of Religious and in a
competition organized by
the Ministry of Religious
and Educational Affairs
in January 1922. The
First String Quartet is
notable for its clar and
simple construction. The
first movement is in the
formof a sonata allegro;
the Andantino semplice
(in modo iuna canzone) in
the middle is a cross
between ternary and
variation form. The final
Scherzando alla burlesca
also keeps to the form of
a sonata allegro. The
combinations and
proportions of formal
factors and the treatment
of thematic material
betray a fairly
conventional adoption of
classical models.
Similarly, the expressive
and structural use of
melodic material shows a
respect for traditional
norms. Szymanowski
created, in other works
from the same period, his
own individual type of
melodic line, which was
strongly expressive and
achieved its effect
chiefly by its tonal
qualieties; nevertheless
in this Quartet he
returns to a fluid,
cantilena-like,
symmetrically shaped
melodic line, which runs
along in broad phrases of
a concentrated,
reflective character.
Melody becomes the chief
factor in the development
of the form, both in
thematic usage and in the
application of a more
polyphonic texture.
Harmonic and tonal means
are considerably
simplified in the Quartet
[]. Most of the writing
is linear, or horizontal,
with individual treatment
of each part, the
parallel continuation of
the four sound planes,
almost a matter of
principle. The functions
of the particular
instruments in realizing
these planes are
constantly changing,which
accounts for the even
greater variedy of
tone-colour. The decision
to forego experiment with
forms and sonorities is
reflectedin the overall
approach to musical
expression. The
predominant atmosphere of
restrained emotion, quiet
lyricism and serenity is
strongly suggestive of
classical aestetic
models. (Based on Zofia
Helman Commentary on
Szymanowski Complete
Edition, Vol. B6) (II)
The ''Second String
Quartet'' represents an
interesting attempt to
revert to classical form
coupled with the new
harmonic and tonal
vocabulary worked out
previously in the
''Slopiewnie'', ''Stabat
Mater'' and ''Mazurkas''.
It was also the first
time the composer had
used folk elements in the
framework of a major
classical form. The
''Second String Quartet''
is in a special category
among Szymanowski's
works. Though it dates
from the composer was
still occupied with folk
music, it nevertheless
shows him returning to
classical models, but at
the same time using an
aesthetic of subjective
expression, which gives
the work its own
individual stamp. The
''Second String Quartet''
synthesis of the various
directions in which
Szymanowski was
attempting to develop.
The sonority and texture
used in the first. $40.00 - Voir plus => Acheter | | |
| Taiga Keyboard™ iConnectivity
SKU: HL.1416717 Modern Analog Keyboard with Expansion Bay. Cre8Aud...(+)
SKU: HL.1416717
Modern Analog Keyboard
with Expansion Bay.
Cre8Audio. Electric
Keyboards. Duration 140
seconds. IConnectivity
#TAIGAKEYS. Published by
iConnectivity
(HL.1416717).
18.0x30.0x8.5
inches. Taiga
Keyboard is an evolution
of the award-winning
Taiga synthesizer. Taiga
gave users a
boundary-smashing suite
of unique modern
Pittsburgh Modular analog
synthesizer innovations.
Now in Taiga Keyboard,
that same powerful suite
of tools acts as a
foundation in this
expression keyboard
instrument. Exploring the
larger keyboard format,
spreading controls out,
and adding larger knobs
make sound sculpting
while performing easier
than ever. We've also
added additional
modulation sources,
additional controls, a
full-size 37 key premium
aftertouch-enabled
keybed, and a
first-of-its-kind,
modular expansion bay.
Taiga Keyboard
oscillators Waveforms
generated by the three
Taiga Keyboard
oscillators stretch
beyond the basic
geometric shapes and
sounds associated with
analog snythesis. Taiga
Keyboard waveforms pass
through up to three
proprietary, cascading
waveshapers designed to
precisely manipulate
their symmetry and
harmonic content. In
addition, each oscillator
includes a robust
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add even more complexity
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sonic palate of Taiga
Keyboard. Dedicated
coarse and fine controls
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The Pittsburgh filter has
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the moment it was
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gummy and relaxed sound
with no dead spots that
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This generation of the
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Keyboard. When used in
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sounds shed harmonic
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Because of this
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natural or complex
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| Sulamith (Ballet Suite) Orchestre Subito Music
Orchestra SKU: SU.28120090 For Orchestra. Composed by Alla Pavolva...(+)
Orchestra SKU:
SU.28120090 For
Orchestra. Composed
by Alla Pavolva.
Orchestra. Study Score.
Subito Music Corporation
#28120090. Published by
Subito Music Corporation
(SU.28120090).
Orchestra
Duration: 46' Composed:
2004 Published by: Alla
Pavlova Music Alla
Pavlova has written music
for the ballet Sulamith,
based on the 1923 story
by Russian writer
Alexandre Kuprin about
the love of King Solomon
for Sulamith, a servant
from his vineyard.
Instrumentation is for
full symphony (winds:
3.2.3.2.; brass: 4.;
4.3.1.; Timp.; Perc.
(Bells; Bass-dr.;
Snare-dr; Susp.cymb.;
Triangle; Tambour.;
Tom-tom; Tam-tam;
Vibroph.; Glock.); Hp;
Pn; Organ (or Harmon.);
Strings). The Sulamith
Suite (which has been
recorded by the Moscow
Philharmonic for Naxos)
can be heard at
http://www.allapavlova.co
m/listen.html.
Performance materials
available on rental
only:. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 3 The Song of the Night Op. 27 PWM (Polskie Wydawnictwo Muzyczne)
Solo Vocal, Mixed Choir and Orchestra SKU: BT.PWM5363020 For Tenor Sol...(+)
Solo Vocal, Mixed Choir
and Orchestra SKU:
BT.PWM5363020 For
Tenor Solo, Mixed Choir,
Organ and Orchestra.
Composed by Karol
Szymanowski. Classical.
Score Only. Composed
1985. 92 pages. Polskie
Wydawnictwo Muzyczne
#PWM5363020. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM5363020).
The Third
Symphony occupies an
special place in the
evolutionary process of
Szymanowskis style. The
Symphony The Song of the
Night, Op. 27, is a
setting of the poem of
the same title, from the
second divan of Mawlana
Jalal-ad-din Rumi, for
tenor solo, mixed choir
and orchestra. It was
completed in the summer
1916. Szymanowskis
interest in oriental
music at this period is
not so much , as far as
the Third Symphony is
concerned, an attempt at
some formal stylisation
of eastern music, but
rather an indication of
his search for some mode
of expression which would
best reflect the
conflicts of his
aesthetic and artistic
ideas. It was the direct
contact made with the art
of the Grecian and Arabic
worlds during his travel
to Sicily and North
Africa in 1911 and 1914
that provided the
external stimulus for
this interest. The Third
Symphony can be classed
with those symphonies for
chorus and solo voices so
often favoured by the
neo-romantic and
expressionist composers.
It is written in a free
ternary form, the
thematic material being
the basic unifying
structural element, which
imparts a conciseness to
the form, and retaining
the function despite the
significant changes that
occur in the melodic
character of the music.
The texture is
polymelodic, and a score
reveals a masterly
interweaving of the
multiplicity of parts,
melodic lines and
patterns of sound. This
symphony is consummation
of all Szymanowskis
mastery in
instrumentation and
colour, and a superb
study of orchestral
polyphony. Here,
Szymanowski liberates
himself from the rigid
relations of the
functional harmonic
system. In the place of
tonal progressions, he
shifts chromatically from
one sound lane to
another, of which the
smallest units are chords
made up of tritones and
seconds, using only a
free intervallic
structure, far more
remote in Szymanowski
from the dominant
centralistic harmony then
Debussy. In style, the
Third Symphony belongs to
the neo-romantic period,
if this can be broadly
defined as including
modernistic and
expressionistic trends,
and to musical
impressionism. (based on
the Preface to the
''Works'' by Teresa Chyli
ska, PWM 1985). $47.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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