Format : Octavo
SKU: HL.14016411
8.25x11.75x0.156 inches.
Composer's Note:
In writing these pieces I had in mind certain difficulties which worry most organists from time to time; and in order to combine, as it were, business with pleasure I thought it worthwhile to concentrate upon one aspect of organ technique in each piece, even at the risk of making them a little more difficult than others in this series.
In Procession the main difficulty lies in the pedals Arabesque, on the other hand could hardly have had a simpler pedal part: its object is to exercise the left hand in producing a smooth, running semi-quaver pattern Pageant with its cross-rhythms, is designed to produce well-disciplinedhands and feet that can, when required, work in conflicting rhythms.
I have kept the registration schemes as simple and straightforward as possible.
SKU: HL.49046858
ISBN 9781705162316. UPC: 196288062257.
Krzysztof Penderecki's soulful Aria has long been considered a standard work. The harmonious structure, which is reminiscent of baroque ostinati, forms the basis for the arios designed cantilena. Originally composed for string orchestra, the work is now available as an arrangement for wind quintet and enriches the repertoire as a short interlude in the concert program.
SKU: IM.3941
Contents: Preludio from I Masnadieri; Rigoletto's Aria from Rigoletto: Act II, No. 9; Amelia's Aria from Un ballo in maschera: Act III, No. 7.
SKU: HL.48025394
UPC: 196288195467.
This small suite of three solo pieces was written for violist Deborah Lander, a member of the Sydney Alpha Ensemble, which recorded Kats-Chernin's first portrait CD Clocks for ABC Classics in 1997. The first piece turns out to be a “classical” ragtime in which theabsence of the accompanying piano with its chords and alternating basses is never noticed. The second piece on the open D string flows meditatively in quiet triple time. The third piece is a solo variation of Elena Kats-Chernin's big “hit”, the beautiful Eliza Aria from her ballet Wild Swans. The three interludes can be included in a programme individually or together, in any order.
SKU: HH.HH242-SOL
ISBN 9790708059844.
The final instalment of the three volume collection of Zinck’s complete keyboard music contains his sets of variations (one on the tune made popular by Mozart, Lison dormait, and the other a surprisingly virtuoso set on a simple children‘s song) and a sequence of his very individual miscellaneous pieces, including the atmospheric setting for keyboard solo of Das Traumschiff (complete with nautical illustration). Many of his teaching pieces are published here for the first time from a manuscript source in the Royal Library, Copenhagen, and include original fingering from the composer. All the works in this volume would be effective on either clavichord or fortepiano.
SKU: HL.49015983
ISBN 9790001144728. 9.0x12.0x0.08 inches.
Hummel wrote three versions of the four-minute fantasias: the original version for basset horn as well as versions for solo bass clarinet and solo bassoon. The most effective version undoubtedly is the version for basset horn with its mystically transfigured sound which even Mozart had used for the musical reference to the world to come.Each of the three fantasias begins with a Gregorian song in praise of the Virgin Mary followed by an elaborate fantasia on this tune. Thus, Hummel bridges the period from the 17th century to the present time, from the old-fashioned religious melody to 20th-century music. 'Marianische Fantasien' are pieces of moderate difficulty, yet full of charming beauty. They will enthuse the audience both in the concert hall and in church.
SKU: PR.510079380
Composed in 1834, Liszt's Grand duo is based on material from three pieces from the first book (op. 19b) of Mendelssohn's Songs without Words (no. 1 in E major, no. 6 in G minor, and no. 3 in A major). While Liszt made an almost literal transcription of the first piece, he gave the second and third pieces a much freer arrangement, in the style of concert paraphrases. The large-scale concert piece was premiered by Liszt and Chopin on Christmas Day 1834 in a salon in Paris. The Grand duo was not published in Liszt's lifetime, and has survived as a draft.Schubert's Fantasy in C major (also known as the Wanderer Fantasy) was a defining musical experience for the young Liszt. He arranged this masterpiece of Romantic piano literature for piano and orchestra in 1851, at the beginning of his Weimar period, and it was premiered by Julius Egghard in Vienna in December of that year. By 1855, Liszt had transcribed this arrangement for two pianos, because it was played on 22 October 1855 at a concert held in Weimar in honour of his birthday. With the version for piano and orchestra, Liszt attuned the fantasy to the requirements of the concert hall, reinforcing the orchestral effects inherent in Schubert's composition. His aim with the two-piano version was to achieve a similarly grand effect in spaces too small for an orchestra. The arrangement for piano and orchestra appeared in print in 1857, followed by the two-piano version in 1862.This volume comes complete with a detailed preface in English, German, and Hungarian containing new research findings, several manuscript facsimiles, and a critical report in English.
This collection of tuneful and engaging pieces ranges from Grades 1-5 in standard and is an ideal introduction to developing improvisation. Designed espeically to help the classically trained musician who is nervous abouttrying to improvise jazz. This great book should help to allay those fears. This book also includes a CD which features short and fairly simple performances, allowing you to copy and learn whilst you play