From the Suite To Gozzi's Fairy Tale Drama-The Gozzi's Turandot - in one form or another - occupied Busoni at various times in the years 1904-1917. He was very fond of fantastical and magical tales: his immediately preceding work was the Piano Concerto Op. 39 BV247 which included music from an unfinished adaptatioon of Adam Oehlenschläger's Aladdin. In 1904 Busoni began sketching incidental music for Gozzi's Chinese fable. He also arranged a concert suite which was first performed in 1905 and published in 1906. A production of Gozzi's play with Busoni's music was mounted by Max Reinhardt in Berlin in 1911 and for the second and last time in London in 1913. This transcription of the first movement of Busoni's Turandotsuite was created for George A. Treviño and his superb Lopez High School Band of Brownsville Texas. The piece was premiered in February 2017 at the Texas Music Educators Association convention on the occasion of the Lopez band's 6A Honor Band performance.
SKU: SU.90810090
Symphony Orchestra: 3fl(pic), 2ob, 2cl, bcl, 3bn(contra); 4hn, 2tpt, 3tbn(bs), tba; timp, 3 perc, hrp, pno; strings Chamber Orchestra: 2fl(pic), 2ob, 2cl, 2bn; 2hn, 2tpt, 2tbn; timp, 2 perc; strings Duration: 9' Composed: 1994 Published by: Subito Music Publishing Full Score & Parts: available on rental: This work... is characteristic of the purest American style of the composer, who creates modern music without disdaining rhythm and melody, as well as a very peculiar lyricism. —El Día, Mexico City The composition in only one movement, allows us to feel its brilliance and its charm and at the same time its power... —Nuestro Pais, Mexico City.
SKU: HL.49044408
ISBN 9790001141031. 8.25x11.75x0.384 inches.
4 (2. auch Picc., 3. auch Picc. u. Altfl., 4. auch Altfl. u. Bassfl.) * 1 * Ob. d'am. * 2 Engl. Hr. (2. auch Heckelphon) * 4 (3. auch Bassklar., 4. auch Bassklar. u. Kb.-Klar.) * 4 (4. auch Kfg.) - 6 * 4 * 4 * 0 - P. S. (3 hg. Beck. * 3 Tamt. * 4 Thai Gongs * Trinidad Steel Drum * Wassergong [tief] * Crot. * 7 Bong. * 12 Tomt. [chrom.] * Schellentr. * O-Daiko * Log Drums * kl. Tr. * gr. Tr. mit Beck. * Tempelbl. * 3 Woodbl. * 2 Sistr. * Guiro * Mar. * Ratsche * Kast. * Frusta * 2 Flex. * Donnerblech [bronze] * Glsp. * Vibr. * Marimba) (5 Spieler) - Hfe. * Cel. * Klav. - Str.
SKU: CF.W2682
ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major.
Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key.The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr” indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “tr”sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper” trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito” is interpretedas faster than the “Allegro” (without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcompo ser imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467).
SKU: CA.5199203
ISBN 9790007186661. German. Text: van Swieten, Gottfried.
Joseph Haydn's oratorio Die sieben letzten Worte unseres Erlosers am Kreuze is probably one of the most frequently performed settings of music for Good Friday. Haydn set these Seven Words in a dramatic, extremely gripping emotional style which is utterly compelling. Originally the work was conceived as a purely instrumental composition - as meditative music in seven slow movements with an introduction and concluding movement (Il Terremoto - the earthquake) for a Passiontide church service. From the outset, Haydn had composed the themes of the movements with a vocal spirit in mind, so when he heard a vocal arrangement of his work in 1794 in Passau with a German singing text - an obvious idea - it inspired him to write his own vocal version. The first performance took place in 1796 in Vienna. With the flourishing of choral societies in the 19th century, this vocal version of the Seven Words became one of the most frequently-performed Passion music settings of all. The critical Urtext edition of the work now published offers a revised musical text reflecting current scholarly standards.
SKU: CA.5199205
ISBN 9790007186654. German. Text: van Swieten, Gottfried.
SKU: CA.5199200
ISBN 9790007186647. German. Text: van Swieten, Gottfried.
SKU: BT.DHP-1094670-140
9x12 inches. English-German-French-Dut ch.
With Emperor, French composer Thierry Deleruyelle wanted to create a descriptive musical work depicting the life of Napoleon Bonaparte. The first movement represents the idiosyncrasies of this famous personality as well as his dramatic mood swings. The second movement is dedicated to his great love, Josephine Beauharnais. A contrasting third movement depicts Napoleon the fearless general and the countless battles he waged. A truly powerful work about one of histories truly powerful men.Mit Emperor schuf der französische Komponist Thierry Deleruyelle ein deskriptives Werk nach dem Leben von Napoleon Bonaparte. Der erste Satz hebt die Charakterzüge des Kaisers von Frankreich hervor, wozu Heldenmut und Brillanz ebenso wie Schwermut gehören. Der zweite Satz ist seiner großen Liebe Josephine Beauharnais gewidmet und im Kontrast dazu der dritte Satz dem Feldherrn Napoleon und seinen zahlreichen Schlachten. Ein schillerndes Werk über eine große historische Figur!Avec Emperor (L’Empereur), le compositeur français Thierry Deleruyelle signe une fresque musicale en trois tableaux, consacrée Napoléon Ier (1769-1821) qui fut Empereur des Français de 1804 1815. Le premier tableau, « l’Aigle », illustre deux facettes du caractère de l’Empereur : héro que et éblouissant lorsqu’il mène ses troupes la victoire, sombre et mélancolique dans la tourmente de l’histoire. Le deuxième mouvement est consacré Joséphine de Beauharnais, la grande et unique passion de Bonaparte, sa première épouse, son incomparable impératrice. La courbe mélodique est noble et élégante, l’orchestration riche en couleurs sonores. Le troisième et derniertableau - D’Austerlitz Waterloo - est un récit de batailles, de la grande victoire la chute définitive. Le climat musical est dominé par un esprit de conquête. Les rythmes soutenus de la caisse-claire symbolisent la chevauchée infernale de la cavalerie impériale. Nous suivons l’itinéraire militaire de l’un des hommes les plus célèbres et les plus controversés de l’histoire de France. Con Emperor, Thierry Deleruyelle firma un affresco musicale dedicato a Napoleone. Seguiamo il destino militare e personale di Bonaparte. Il primo affresco, “l’Aigle”, illustra due aspetti del carattere dell’Imperatore: eroico quando conduce le sue truppe alla vittoria, malinconico nella tormenta della storia. Il secondo movimento è dedicato a Josephine di Beauharnais, la grande e unica passione di Napoleone. Il movimento finale - Da Austerlitz a Waterloo - è un racconto delle battaglie, delle grandi vittorie e della caduta definitiva.
SKU: BT.DHP-1094670-010
