Matériel : Conducteur d'étude / Miniature
SKU: BA.BA04052
ISBN 9790006495702. 33.1 x 26 cm inches. Nicola Francesco Haym.
Handel began the composition of Tamerlano, one of the supreme masterpieces of Baroque opera seria, on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano, Tragedia per musica, which had been set to music by Francesco Gasparini, and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October, so many alterations and revisions were made that a fresh performing-score had to be writtern very late in the proceedings, to replace an earlier one which is now 1ost.There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once, in 1731, for three performances. For this revival he marked in the performing score a number of cuts in the recitatives, which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: PR.143400140
UPC: 680160024438.
SKU: PR.140400670
UPC: 680160023271.
Secre t Geometry can be heard as a short piano sonata, with the movements forming a typical fast--slow--fast pattern. The electronic sounds on tape are tightly interworven with the piano, often serving to extend and transform the piano's sound. The goal is to create a hybrid sound world. The phrase secret geometry is used to describe the play of forms in certain paintings, referring to structural patterns that are used to organize the pictorial elements. Since the electronic medium permits a composer to focus on the micro-structure of individual sounds, as well as more customary concerns with patterns of pitch and rhythm, it seemed appropriate to choose a title that emphasizes the careful shaping of every compositional element. But this is not to neglect the spiritual impulse of the work. After all, the obscure motion of the Holy Spirit herself describes a secret geometry, what Thomas Merton called a hidden wholeness. Written for the distinguished pianist Aleck Karis, Secret Geometry was composed with the assistance of a grant from the Pennsylvania Council on the Arts. The tape was realized in the Presser Electronic Music Studio of the University of Pennsylvania.
SKU: HL.14003154
ISBN 9780711983380. 10.25x14.5x0.43 inches.
Score. Commissioned by the Cheltenham International Music Festival. The First performance was given on 7 July 1996. Four Primo Levi Settings are scored for mezzo-soprano, clarinet, viola and piano, an intimate ensemble of melancholic darkness and autumnal light, appropriate for Primo Levi's text.
SKU: PR.110418370
ISBN 9781491135075. UPC: 680160686247.
Compo sed as an organ solo by the 17-year-old Ives for his own performance purposes, the beloved Variations on America is a treat for any occasion, whether a holiday concert, a serious recital, or other special event. Danny Holt’s transcription for Piano, Four Hands adds a dazzling new option to play at home or on stage, taking best advantage of Ives’ tremendous contrasts in color, dynamics, and texture.Composed when Charles Ives was a teenager, Variations on “America†is both a convenient introduction to Ives’ body of work, and an early example of his iconoclastic musical voice and creative genius. Just a few years after composing this piece, Ives would leave home to study music at Yale. But until then he had been taught by his father, George (who had been a bandmaster in the Civil War). George subjected the young Ives to experiments such as singing a song in one key while being accompanied in another, or arranging for two marching bands to converge on a town center, with the resulting cacophony that ensued.The Variations exemplifies an early period of experimentation in Ives’ work, spurred on by the unusual pedagogy of his father. The piece is particularly notable for its use of bitonality in the two interludes, subtly foreshadowing more well-known examples by Stravinsky, Bartók, and others by approximately two decades.The bitonal interludes were so ahead of their time, in fact, they were omitted from the first copy that was submitted to a publisher in 1892. (Alas, the piece was rejected even despite these “shocking†elements having been left out, and it wasn’t published until more than five decades later.) There is some ambiguity about when exactly Ives added the interludes into his manuscript copy, though ample evidence suggests he had performed the piece with the interludes around the time he notated the piece in 1891-92. In any case, in light of this piece and his other polytonal explorations from the last decade of the 19th century, it seems fair to give Ives credit for being a pioneer in this area!This arrangement for Piano, Four Hands, closely follows Ives’ original version for organ, setting aside William Schuman’s popular adaptation for symphony orchestra and William Rhoads’ band transcription of the Schuman orchestration. Pianists will find that the piece translates well to the instrument. Ideally, the choreography and logistics of elbow-to-elbow four-hands playing approximates the wild joy one gets from watching an organist play the piece (e.g., the elaborate pedal part in the final variation).In preparing this publication, attention was paid to details in the dual Critical Editions (Presser 443-41003) of both Ives’ manuscript edition and the 1949 publication edited by organist E. Power Biggs (who is credited with discovering what had been a long-lost, forgotten work.) But as with much of Ives’ output, attempting to create a true ‘urtext’ score is a futile endeavor, and especially with a piece such as this one – in which Ives incorporated improvisation in live performance – seems unnecessary anyhow. True die-hards are of course encouraged to consult the critical editions and even find inspiration in the orchestrated version. Generally, performers are advised to be wild, have fun, and not to be too rigid in their interpretive choices.Dynamics in this arrangement mostly follow the organ score closely. Pianists will use good judgment about pedaling throughout, which should be straightforward and intuitive. Courtesy accidentals have been provided frequently – without parentheses – balancing the need for extra clarity in the context of Ives’ murky musical language, and a desire to avoid unnecessary clutter.A few notes that might inform interpretive decisions:mm. 15-16: There are inconsistencies here between Ives’ original manuscript and the 1949 Biggs edition, regarding the top voice in m. 15, beat 3 (C# vs. Cn) and m. 16 (D Major vs. D Minor).mm. 76-84 & 143-146: In both Interludes, Ives emphatically notates extreme dynamic contrast, in order to highlight the bitonality. Although it may seem counterintuitive (or even a misprint, as has apparently been misconstrued by some), performers are urged to follow the composer’s marking!m. 109: Two-note slurs have been added here for clarity and consistency with other similar passages, though they do not appear in either the original manuscript or Biggs.m. 112: The last two eighth notes of Primo appear as 16ths in the original manuscript.mm. 183-186: The original manuscript has a slightly different bass line.mm. 184 & 186: Primo gestures have been re-written to be slightly more idiomatic for Piano, Four Hands.m. 186: The breath mark at the end of this bar does not appear in either the manuscript or Biggs, but is an editorial suggestion – aside from being appropriately dramatic, it will indeed be necessary in a reverberant hall!I would like to thank Steven Vanhauwaert, the other half of my piano duo, 4handsLA, for his input on early drafts of this arrangement.— Danny Holt, April 2022.
SKU: HL.49046419
ISBN 9781540090577. UPC: 840126933109. 9.0x12.0x0.268 inches.
Rota is best known for his Oscar-winning film music, but has also left outstanding works in numerous other genres. His 15 piano preludes were originally written in 1964. The arrangements for piano four hands mostly remain close to the original. The level of difficulty is usually at a good intermediate level, Primo is somewhat more demanding than Secondo.
SKU: BA.BA04081
ISBN 9790006497782. 33 x 25.8 cm inches.
In his libretto for “ Riccardo primoâ€, Paolo Rolli drew on Antonio Lotti’s opera “ Isacio tiranno †which had been performed in Venice in 1710. Handel needed a text with two great women’s roles, for the two best female singers of the day were members of his troupe – Francesca Cuzzoni and Faustina Bordoni . He had already written the operas “Alessandro†and “ Admeto †for them. He began composing “ Riccardo †in spring 1727, completing the first version on 16 May. However, following the death of King George I on 11 June 1727, the theatres remained closed. For Handel, who had become a British citizen in February 1727, the accession of George II to the throne offered new possibilities, and he embarked on a revision of the opera. With this, he was able to offer a new opera for the coronation festivities, the hero of which was one of King George’s charismatic forebears. From May onwards, Handel thoroughly revised the present score, wrote some parts anew and expanded it with particularly splendid music. Handel and Rolli also improved the plot and introduced patriotic elements to honour the British monarchy. The historic background is the third crusade against Saladin, the Sultan of Egypt and Syria , who had recaptured Jerusalem in 1187. Although King Richard I captured Cyprus and together with French crusaders stormed the fortress of Akko in the Holy Land, the crusade ended with a ceasefire and Jerusalem remained in Saladin’s hands. Richard was given the title ‘Coeur-de-lion†¹â€™ by the English for his great military ability and bravery, although the Sicilians had first given him this name because of his relentless cruelty in clashes around Messina . The vocal score is based on the Halle Handel Edition volume published in 2005, edited by Terence Best, and contains the second version of the opera which was premiered in November 1727.
SKU: BA.BA04058
ISBN 9790006495672. 33.1 x 25.6 cm inches. Text Language: Italian. Nicola Francesco Haym.
“ Tolomeo †was Handel’s last opera for the Royal Academy of Music in London . Composed between March and 19 April 1728, it was premiered on 30 April. Handel revived the opera several times further: in 1730 in an extensive revision, with seven performances, and in 1733 with four performances. The historical background is the dispute between Cleopatra III and her younger son Ptolemaio X Alexander I ( Tolomeo ). In 110 BC Cleopatra drove Tolomeo out of Egypt . She died, irreconciled to him, in 101 BC. The new vocal score is based on the “Halle Handel Edition†(vol. II/20), published in 2000. The main part contains the version from the premiere. The extensive appendix also enables later versions to be performed.
SKU: BA.BA04070
ISBN 9790006495870. 33 x 26 cm inches. Text Language: Italian. Text: Paolo Antonio Rolli.
Handel†s “Deidamia†was premièred on 10 January 1741 only a few weeks after “Imeneoâ€. The librettist Paoli Rolli , a previously unsucessful librettist for Handel, delivered with his finest work “Deidamiaâ€. On 10 February 1741 the third and final opera performances of this work took place under Handel’s direction. Oddly enough “Deidamia†would not be performed again until the beginning of the 20th century. This opera is based on the themes of humour and seriousness. The personal harmonising of Heroism (Achilles) and Love ( Deidamia ) build on the essential dramatic features of this work. “Deidamia†is the last great opera in a series of masterpieces: “Orlandoâ€, “Poroâ€, “Ezioâ€, “Ariodanteâ€, “Alcinaâ€, “Serse†and “Imeneoâ€. The vocal score is based on the Urtext of the Halle Handel Editon.
SKU: M7.ART-42171
ISBN 9783866421714. German.
'Romantisch e Piano-Duette' enthält eine Sammlung von Originalkompositionen zu vier Händen. Die Stücke sind leicht bis mittelschwer arrangiert, wobei der Primo- und Secondo-Teil vom Schwierigkeitsgrad her gleichwertig sind. Freunde des gemeinsamen Spielens am Klavier finden hier abwechslungsreiche und schwungvolle Stücke mit eingängigen Melodien, die Freude am Musizieren zu zweit bringen sollen. Das vierhändige Klavierspielen ist bei vielen Schülern äußerst beliebt, daher ist diese Art des Musizierens, sowohl für einen fundierten, abwechslungsreichen und modernen Klavierunterricht, als auch für das häusliche Musizieren bestens geeignet. Das gemeinsame Musikerlebnis schult die Fähigkeit sich selbst und anderen zuzuhören, die rhythmische Präzision und nicht zuletzt die Motivation zu üben. Alle Liebhaber vierhändiger Klaviermusik, die nach neuen, modernen Rhythmen sowie Melodien suchen und Abwechslung in ihr Repertoire bringen möchten, werden hier fündig.
SKU: PR.144406020
UPC: 680160621217. 11 x 14 inches.
Times Like These was commissioned and premiered by clarinetist Jean Kopperud and pianist Stephen Gosling, who also included the work on their Albany Records CD Extreme Measures. The work was also adopted by clarinetist Lisa Oberlander, who performed it at the 2014 ClarinetFest of the International Clarinet Association and recorded it on her debut album, Times Like These. A YouTube video performance by Oberlander is available, with pianist Yien Wang.
SKU: BA.BA04059
ISBN 9790006495771. 33.1 x 26 cm inches. Text Language: Italian. Giacomo Rossi.
SKU: CF.PPS7
ISBN 9780825887406. UPC: 798408087401. 9x12 inches.
A simplistic, yet impressive percussion section feature for the earliest of beginners; playable by young percussionists after as little as ten weeks of study. You can double up the snare drum part and even place the percussion in the front to give the attention they deserve. Get those budding percussionists off to a good start!
SKU: CF.PPS7F
ISBN 9780825887413. UPC: 798408087418. 9x12 inches.
