SKU: HL.14004213
9.0x12.0x0.175 inches.
Five Pieces for Violin and Orchestra was commissioned by Frederick Grinke and completed on 20 December 1961. The BBC Symphony Orchestra with Frederick Grinke (violin) and conducted by the composer, gave the first performance on 31 July 1962 at the Royal Albert Hall, London during the BBC Proms season. This work is so constructed that each piece is complete in itself and can be played separately, while at the same time the whole set of five constitutes a structural unit. A basic motif consisting of a rising semitone followed by a falling tone, and its inversion plays an important part in every piece. Thus the first piece, which is of a slow and meditative character, begins with this theme in the bass. It is also heard in the first entry of the solo part, and thereafter every episode is in some way derived from it. The next piece, a vigorous and strongly marked 'allegro', uses the semitone of the original figure as its starting point. A second theme appears, first on the horns and is later taken up by the solo violin, while a third section has the initial idea as its accompaniment. Next comes an extended scherzo in free form very closely based on initial motif. The fourth is a purely melodic piece containing allusions in its middle section to the basic figure. Here the strings only are used for accompaniment. In the first section, violas and cellos are divided in the middle section, and all the strings are used in the last, which is otherwise an almost exact repetition of the opening. The Finale is a lighter movement than the others, concerned mainly with giving the soloist material for display, but not unconnected with what has gone before.
SKU: UT.CH-157
ISBN 9790215320369. 9 x 12 inches.
Vals d'la Masca; Il racconto della Montagna; Sequenze sotterraneeTh e Alpinia Suite was commissioned and composed for the festival <> and is dedicated to my friend and colleague Elio Galvagno. It was performed for the first time on August 30, 2011, in the Church of San Giovanni in Saluzzo, by an ensemble of professional and student guitarists from all over Europe. This piece was written to commemorate the first ascent of mount Monviso, by William Mathews, Frederick Jacomb, Jean Baptiste Croz and Michel Croz, exactly 150 years before, on August 30, 1861.The first movement is a small Waltz. I imagined a Masca (a sort of alpine pixie, a teasing sprite), dancing all around the house and playing tricks, mostly harmless and funny. The Masca is a legendary and very important character in the folklore of my valleys, and all rationally inexplicable events of everyday life are ascribed to her - such as objects that cannot be found anymore, holes in flour sacks, salt in sugar bowls...The next two movements are a homage to the Mountains. The Tale is a sort of journal, a bright and peaceful chronicle of a hike uphill, in which the beauty of the place is highlighted by an easy harmony and a sweet melody. After this, Underground sequences evokes that same world in a darker and nocturnal way; the faster pace and the choice of repeated and varying patterns are meant to show the transformation of the former environment into something more complex and tormented. Here mountains are a metaphor of human life, warts and all: their sundrenched slopes and their green pasture grasslands, but also their icy and dangerous northern sides, which demand calm, training and caution.(G. Signorile).
SKU: OT.21124
ISBN 9789655050981. 8.27 x 11.69 inches.
Perpetuum Mobile, meaning perpetual motioni, is a Latin term that describes an impossible situation in which a substance has infinite energy. This situation is impossible because it violates the first and second laws of Newton. But it is possible in music. Imagine a musical piece that is a continuous stream of notes. These are exactly the etudes in this album. They do not stop, they are always in motion and they can be played continuously. Etudes are solo pieces, purposed to help the musician practice his technique. In this album, each etude is designed to practice another technique. In addition, the etudes in this album are arranged according to the circle of fifths - each etude ends in a key which is dominant to the beginning of the next etude, even the last etude to the first one, and so on and so forth. This further emphasizes the infinite mobility of the music in this piece. Once you enter the loop, you can't get out of it. All the etudes start in a minor key, as a symbol of the sadness of the matter, and end in a major key, to represent the hope, a false hope, that perhaps the next etude will take you out of the loop. This album is a three-year-long project, in which I gathered ideas from the environment in which I live, from the people in it and from their thoughts, from life that continues all the time, and the music that will never stop. Maayan Tal, 17, is a young Israeli musician, pianist and composer.
SKU: HL.48180102
UPC: 888680794927. 9x12 inches.
Mé ;thode Complète de Cornet à Pistons for the Cornet, Trumpet or Saxhorn, composed by Guillaume Balay is a method for beginners in two volumes and one of the most complete for these instruments. This second volume follows the first, introducing major and minor scales in the first chapter. The next two chapters develop what has been learned on liaisons and rhythm. Finally, it brings up chromatic scales, other rhythms and style studies. With this Méthode Complète de Cornet à Pistons Volume 2, the method should be complete and the beginner should master the establishment of the notes and rhythms while obtaining a qualitative sonority. Guillaume Balay (1871-1943) is a French soloist and composer. As a member of the military, he was the Head of Music for the Republican Guard and composed many chamber music and solo music pieces, for cornets and other wind instruments. He was also a respected music teacher.
SKU: HL.48025035
ISBN 9783793142607. UPC: 196288020790. 9.0x12.0x0.171 inches.
With Berlin Music, Brett Dean wrote a threefold homage: to the classical duo consisting of violin and piano; to the violin virtuoso Midori, for whom the piece was written; and to the city of Berlin, where he lived between the mid-1980s and 2000 and whose rich cultural life he owes much to his development as a musician and composer. The first four, relatively short movements of the five-movement work form a suite of character pieces, which is followed by a longer final movement. In summary, this turns out to be the actual main movement from which all motifs and harmonies emerged in a compositional manner. This includes tuning down the G side by a whole tone - an apparently small difference, but one that has a major effect on the timbre and resonance of the instrumentand suddenly makes previously impossible interval sequences playable. In addition, the violin in the third movement (a moto perpetuo in which Dean bows to Ravel's violin sonata) has to play with a practice damper, while the pianist changes the instrument and plays on a standing piano that is dampened by a pedal and placed next to the concert grand Expressing nervous energy in tight college spaces.
SKU: CF.YAS171
ISBN 9781491146514. UPC: 680160904013. 9 x 12 inches. Key: G major.
Dream Engine has all of the compositional thumb prints that have made the music of Larry Clark so popular for string orchestras. It is a concert overture in classic ABA form. The opening section has a tuneful melody over spiccato accompaniments that weaves throughout the ensemble. The middle B section is slow, lyrical, lush, and beautiful as a contrast to the lighter A section. Another piece from Larry Clark to showcase your ensemble at contest/festival.One of the types of pieces I like to write for orchestra are pieces that use a contrast between staccato playing and more marcato melodic material. Dream Engine is the result. The piece is set in a concert overture form with two fast sections based on the same theme and a slow lyrical second section in the middle.The piece begins right off with a short introduction of the spiccato accompaniment figures before it leads to the first statement of the main theme. Quarter notes in the main theme should be played full bow in contrast to the lilting staccato eighth notes. The bass line should be long as well. After a full ensemble statement of the theme, the piece moves to a bridge theme that is sort of an inversion of the main theme and is taken up by the cello; then the viola is added on a harmony part to the melody. Transition material is presented next that is used throughout the piece to connect all of the sections of the piece together. The main theme returns once more before the piece transitions into the slow and lyrical B-section. The B-section should be lush and as legato as possible to be in complete contrast to the A-section. This will be an excellent chance to work on the players’ expressive playing. Make sure to have a lot of rubato and generous rises and falls to the lines to make it as musical aspossible.At the completion of the B-section, the A-material returns with different orchestration for variety. This is followed by the transition material that leads to an aggressive coda that includes a brief quote from the B-section material. If you so chose, a slight increase in the tempo at the coda is acceptable to add to excitement of the ending.It has been my pleasure to have the opportunity to write this piece. I hope you and your students enjoy it and find it useful for your program.—Larry ClarkLakeland, FL 2017.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: HL.50606512
ISBN 9781705190753. UPC: 196288126881.
Piano teacher Aniko Ari-Bencses has launched a new series in the spirit of experiential music education. Its easy to get children'sattention with the world of imagination, and thats how they like to work together, create, and create something new. It is good to provide the first piece of the Piano Tales series to experience together the joy of performing a wonderful musical tale. With my new release, The Musician Prince, I have launched a series of musical tales for ages 6-12. With the creation of the work, my primary goal was to offer children characterpieces that are close to their age-appropriate endowments. Therefore, I drew from theworld of the fairy tale, the characters and the scenes inspired me to write the melody. With the help of the QR code placed next to the sheet music, the students can listen to the tale melodies and at the same time admire the color illustrations, they only get to know a new tale..
SKU: HL.132361
UPC: 884088971953.
Chopi n's Waltzes aroused controversy. They gained their peak in popularity through being treated by many as masterpieces, and held by others to be dangerous for salons. They are included (next to the nocturnes and the impromptus) in his feminine vein of creativity. Volume XI contains 8 of Chpoins Waltzes. There are variations to be found in the written text. The variations marked ossia were marked in this way by Chopin himself or written in his hand into his students copies; variations without this definition are derived from the context of the text in original versions or from inability to gain a singular interpretation of the text. The original titles of the Waltzes given in the music are given according to autographs. In first editions, where describing words, such as grande, brillante, nouvelle are probably freely added by publishers, in the opinions of the editors of WN.
SKU: BT.EMBZ14802
Johann Nepomuk Hummel is a key figure of the transition period between Viennese classicism and Romanticism: a pupil of Mozart, a contemporary of Beethoven, and a model for the composers of the next generation, especially Chopin. He was not only a composer but also one of the greatest virtuoso pianists of that time, who gave enormously successful concerts all over Europe, and wrote one of the most important piano tutors of the first half of the 19th century (Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel). The majority of the pieces that feature in this collection are from that piano tutor.Johann Nepomuk Hummel ist eine Schlüsselfigur der Übergangsepoche zwischen der Wiener Klassik und der Romantik: Er war Schüler von Mozart, Zeitgenosse von Beethoven und das Vorbild der nachfolgenden Generation,vor allem von Chopin. Er war nicht nur Komponist, sondern einer der größten Klaviervirtuosen seiner Zeit, dessen Kunst europaweit gefeiert wurde. Er schrieb eine der wichtigsten Klavierschulen in der ersten Hälfte des 19. Jahrhunderts: Ausführlich theoretisch-practische Anweisung zum Pianoforte Spiel. Der Großteil der Stücke in dieser Sammlung stammt aus dieser Klavierschule.Joh ann Nepomuk Hummel est une figure clé de la période de transition entre classicisme viennois et romantisme : il fut l'élève de Mozart, le contemporain de Beethoven, et un modèle pour les compositeurs de la génération suivante, notamment Chopin. Il était non seulement compositeur, mais aussi l'un des plus grands pianistes virtuoses de l'époque, ayant donné des concerts succès dans toute l'Europe. Éminent professeur de piano, sa méthode Anweisung zum Pianofortespiel remporta un vif succès tout au long de la première moitié du 19e siècle.
