SKU: BT.WMP2112
ISBN 9789810884802.
Teachers' Choice, Selected Piano Repertory & Studies for Grades 4 & 5 is compiled to provide teachers and students with good options for the 2011-2012 ABRSM Piano examinations.
SKU: BT.WMP2212
ISBN 9789810751180. English.
Teachers’ Choice, Selected Piano Repertory & Studies for Grades 4 & 5 is compiled to provide teachers and students with good options for the 2013-2014 ABRSM piano examinations.
SKU: BT.EMBZ20004A
English-German-Hungarian.
Supplementary Volume 16 of the New Liszt Edition contains free arrangements and technical exercises. In the first section can be found early versions of three arrangements. The first consists of the first and intermediary versions of a transcription of Die Rose, a song Schubert composed to a poem by Schlegel. The arrangement of the second movement of Berlioz's Harold Symphony also draws on literary inspiration: Lord Byron's (1788-1824) narrative poem Childe Harold's Pilgrimage (1812-18) was a literary experience Liszt shared with Berlioz. The fantasy on themes from Bellini's opera La sonnambula [The Sleepwalker] (here the first version of 1842, and the second version dating from the following decade are given) is important in music history because it was while he worked on this (and other operatic fantasies) that Liszt developed a new concept of the form, which took shape in more complex and more concentrated fantasies than before. Particularly interesting material can be found in the appendix. In addition to sketches and drafts for arrangements of Spanish themes, there are three sources published here for the first time, which shed light on technical aspects of Liszt's piano teaching. These are three sets of exercises: the first written by Liszt himself for Valérie Boissier in 1832; the second a copy in an unidentified hand from the same period or slightly later; and finally the third which was noted down in 1871 by Henri Maréchal in Rome based on the composer's dictation. This latest volume of the New Liszt Edition includes a detailed preface in German, English, and Hungarian containing new research findings, together with five manuscript facsimiles and critical notes. Simultaneously with the cloth-bound Complete Edition, a practical paperback version has been published, the contents of which are identical to those of the hardcover edition, minus the inclusion of critical notes.
SKU: PA.H07325
ISBN 9790260101074. 31 x 23.5 cm inches.
Emil Hradecky is a prominent Czech composer frequently inspired by dance music and jazz. Since completing his studies at the Prague Conservatory he has written various tutors, textbooks and instructive compositions for children. His works are distinguished by their fresh melodies and distinctive rhythms.
SKU: FA.MFCD017B
8.27 x 11.69 inches.
Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du SilenceFrom Robert Orledge's notes:My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
