SKU: BA.BA10936
ISBN 9790006567287. 31 x 24.3 cm inches. Preface: Walden, Valerie.
Robert Lindley (1776–1855) was the premier cellist in England for more than 50 years. In 1822 he became the first professor of cello at the Royal Academy of Music in London, where he remained until his retirement in 1851. Lindley, an esteemed and much sought-after teacher, wrote not only the present “Capriccios†but also a cello method, several concertos, and chamber music in which the cello is prominently featured.The “Capriccios and Exercises†contain a multitude of fingering patterns in related major and minor harmonies, exercises for the thumb position and many passages of double stops, all within a melodious framework. Barenreiter’s scholarly performing edition is edited by Valerie Walden, offering cellists and teachers outstanding new material for use in lessons.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY 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: ST.H480
ISBN 9790220223846.
Timed to exploit the centenary of his best pupil, Benjamin Britten, Frank Bridge's reissued Capriccios for Piano Nos.1 and 2 of 1905 come up fresh as paint: Stainer & Bell's front cover alone - reproducing Panini's elaborate 1758 painting Capriccio of Rome - is worth long study. No 1 sounds like Moszkowski; No 2 (a better piece) is more typical, recalling Bridge's own Rosemary and The Sea, and contains some chords silently depressed and exposed by re-pedalling. ***** Showy and effective, and most recommendable.
SKU: HL.14037155
8.25x11.75x0.16 inches.
SKU: HL.49007521
ISBN 9783795702120. German.
Vorwort - Anfange der europaischen Musik. Erste Niederschriften zu einer Musikgeschichte Europas - Agogik als Mittel musiksprachlicher Darstellung. Uber ein Kapitel aus Carl Czernys Vortragslehre - Abstraktion und Archaik: Die Kategorie des Spatwerks - Uber das deutsche Musiktheater im 20. Jahrhundert unter besonderer Berucksichtigung von B.A. Zimmermanns Oper Die Soldaten - Mischgemuss 1630. Spurensuche bei Friedrich Spee - Zum Gesprach zwischen Musikwissenschaft und Musikpadagogik - Gedanken beim Komponieren. Passacaglien, Inventionen, Capriccios - Warum hat Heinrich Bessler das 20. Jahrhundert nicht erwahnt? Horer, Musiker und Musikpadagogik zwischen Museum, Experiment und Tapete - Musikleben. Zur Geschichte und Definitionsproblematik eines Begriffs - Aushalten oder raushalten? Wie Staat und Kunst miteinander umgehen konnen - Erfahrungen mit Johann Sebastian Bach - Richard Jacoby: Lebenslauf und Werdegang, Veroffentlichungen.
SKU: BR.EB-11238
In Cooperation with G. Henle Verlag
ISBN 9790201812380. 9.5 x 12 inches.
Many well-known violinists such as the dedicatee Pablo de Sarasate, together later with Eugene Ysaye and Jacques Thibaud, included in their repertoires Camille Saint-Saens' concert piece composed in 1863. Even today, concert life is hard to imagine without the Introduction et Rondo capriccioso. The highly virtuosic work already inspired critics and audiences during the composer's lifetime; reported about the premiere in 1867 was: The Introduction and the Rondo capriccioso for the same instrument are both original and charming, and Maestro Sarasate, who was in his element here, admirably made the most of it. And a few years later, a music critic described the work as a kind of fantasy waltz in the Spanish style and with a most bewitching effect. After the first performances in 1867, despite success, the work's score and orchestral parts had little chance of publication due to concert companies' reluctance. In 1869 the Paris publishing house G. Hartmann merely published an arrangement for violin and piano produced by the composer's friend Georges Bizet. The orchestral score and parts were first published after the Paris publishing house Durand had acquired publication rights in 1875. The present edition published in collaboration with the G. Henle Verlag is the first critical edition of the work.
SKU: BR.OB-15155-27
ISBN 9790004344972. 10 x 12.5 inches.
SKU: BR.OB-15155-23
ISBN 9790004344965. 10 x 12.5 inches.
SKU: BR.OB-15155-15
ISBN 9790004344934. 10 x 12.5 inches.
SKU: BR.OB-15155-19
ISBN 9790004344958. 10 x 12.5 inches.
SKU: BR.PB-15159-07
ISBN 9790004215647. 6.5 x 9 inches.
SKU: BR.PB-15155
ISBN 9790004215609. 10 x 12.5 inches.
SKU: HL.322832
ISBN 9781540070012. UPC: 888680976644. 8.5x11.0x0.203 inches.
Program Notes: Charango Capriccioso for piano and string quartet was written in 2016. It is based on a previous version of the work which was commissioned by the Austin Chamber Music Center, where it was premiered on July 11, 2006 by Cuarteto Latinoamericano, Felicity Coltman, Heather Coltman and Margaret Coltman. The previous version is scored for piano 4-hands, string quartet and a second cello. As with many of my works, Charango Capriccioso reflects on South America and its history. The work opens with a mysterious theme, which - in an enigmatic tongue - seems to invite us to a remote place high in the Andes. The piano and later the solo viola take us to a quiet beautiful landscape where soon the solo viola meditates about the sad events that took place there starting with the Spanish conquest. A charango (suggested by the piano) introduces an Andean-inspired upbeat theme which gains momentum after dancing through shifting rhythms and colorful orchestrations. At this point, the engimatic theme returns with a new, almost disturbing character. Before the dance flies out of control, the solo cello reappears with the meditative theme as distant bells (played by the piano) restore the peace. Miguel del Aguila.
SKU: BR.OB-15155-16
ISBN 9790004344941. 10 x 12.5 inches.
SKU: BR.OB-15155-30
ISBN 9790004344989. 10 x 12.5 inches.
SKU: BT.DHP-1053833-401
ISBN 9789043122375. English-German-French-Dutch.
Concerto Capriccioso begins with a short, fanfare-like introduction, after which the soloist explores the field with a short “solo rubatoâ€. Movement 2 begins in a dreamy 5/4 time, followed by a second theme, which is composed as a dialogue.. The third movement is a broad dialogue between the soloist and the accompaniment. This musical game between the soloist and accompaniment will captivate and delight your audience every time. Also available for flute and concert band.Het werk begint met een korte fanfareachtige introductie, waarna de solist het terrein verkent met een korte ‘solo rubato’. Hierna begint het echte ‘concertato’. De begeleiding antwoordt en becommentarieert met tussenpozen. De introductieduikt weer op, waarna dezelfde opzet nog eens volgt.Deel twee begint in een dromerige 5/4 maat, gevolgd door een tweede thema, dat als een dialoog wordt uitgewerkt. Het derde deel is een brede dialoog tussen solist en begeleiding.De opnieuw fanfareachtige inleiding komt steeds als een refrein terug tussen de tarantella-achtige solopassages.Concerto Capriccioso is een boeiend muzikaal spel van solist en begeleiding. Ook leverbaar voor fluiten harmonieorkest.Das Werk beginnt mit einer kurzen, fanfareähnlichen Einleitung. Dann beginnt das eigentliche concertato“. In Intervallen antwortet und kommentiert die Begleitung. Der zweite Satz beginnt in einem verträumten 5/4-Takt, gefolgt von einem zweiten Thema, welches als Dialog komponiert wurde. Der dritte Satz ist ein breiter Dialog zwischen dem Solisten und der Begleitung. Das musikalische Spiel zwischen Solist und Begleitung wird Ihr Publikum immer wieder aufs Neue begeistern. Ebenfalls erhältlich für Flöte und Blasorchester.La brève introduction prépare l’entrée du soliste qui explore le tissu musical travers un court solo joué rubato. Le deuxième mouvement nous absorbe dans une douce rêverie en 5/4. Le troisième mouvement est écrit sous la forme d’un dialogue entre le soliste et l’accompagnement. Le jeu musical entre le soliste et l’accompagnement est particulièrement plaisant et captivant. Questo concerto inizia con una breve introduzione simile ad una fanfara. Inizia quindi il vero “concertato†con uno sviluppo di passaggi soli in intervalli diversi tra loro. Il secondo movimento apre in un 5/4 sognante, seguito da un secondo tema, composto come dialogo, e una variazione dell’introduzione. Il terzo movimento è un dialogo più ampio tra l’accompagnamento e l’assolo simile ad una tarantella che non mancher di entusiasmare il pubblico. Disponibile anche per flauto e banda.
SKU: HL.48185482
UPC: 888680837389. 9.0x12.0x0.432 inches.
Jindrich Feld: Quintetto capriccioso (Quintet-Mixed).
SKU: BT.DHP-1053846-010
English-German-French-Dutch.
Concerto Cappricioso begins with a short fanfare-like opening. It?s three movements then develop with exciting dialogues between the soloist and the main concert band, which both answers and accompanies the soloist, in addition to adding their own new material. The musical game between the solis and accompaniment will captivate and delight your audience every time. Concerto Capriccioso begint met een fanfareachtige introductie, waarna een korte ‘solo rubato’ volgt. Dan begint het echte ‘concertato’. De begeleiding antwoordt en becommentarieert met tussenpozen. De introductie duikt weerop, waarna dezelfde opzet nog eens volgt. Deel twee presenteert een tweede thema, als een dialoog uitgewerkt. Het beginthema keert terug, maar met een anders opgezette begeleiding. Het derde deel is een brede dialoog tussen solisten begeleiding. De opnieuw fanfareachtige inleiding komt steeds als een refrein terug tussen de tarantella-achtige solopassages. Het spel tussen de solist en de begeleiding blijft steeds boeiend.Concerto Cappricioso beginnt mit einer kurzen fanfareähnlichen Einleitung. Dann entwickeln sich drei Sätze voll von spannenden Dialogen zwischen dem Solisten und dem übrigen Blasorchester, das mal kommentierend, mal antwortend und mal begleitend agiert. Das musikalische Spiel zwischen Solist und Begleitung wird Ihr Publikum immer wieder aufs Neue begeistern. La brève introduction prépare l’entrée du soliste qui explore le tissu musical travers un solo joué rubato. La musique adopte ensuite la forme concertato. L’accompagnement dévoile ses réponses et commente le sujet par intervalles. Le deuxième mouvement est une douce rêverie tandis que le troisième développe un dialogue entre le soliste et l’accompagnement. Le jeu musical est particulièrement plaisant et captivant pour l’auditoire. La breve introduzione prepara l’entrata del solista che esplora il tessuto musicale attraverso un assolo eseguito rubato. La musica adotta in seguito la forma del concertato. L’accompagnamento svela le sue risposte e commenta il soggetto con intervalli. Il secondo movimento è una dolce fantasia, mentre il terzo sviluppa un dialogo tra il solista e l’accompagnamento. Il gioco musicale si dimostra per il pubblico particolarmente piacevole e accattivante.