SKU: AP.6-83896X
ISBN 9780486838960. UPC: 800759838967. English.
Italian composer Giuseppe Verdi dominated the opera world for most of the nineteenth century, and his works remain a mainstay of theaters around the world. From Rigoletto's sprightly La donna é mobile to the rousing Anvil Chorus of Il Trovatore, the composer's music is known and loved by people who've never set foot in an opera house. Now novice keyboardists of all ages can play selections from Verdi's most popular works with these special arrangements of 32 pieces.Highlights include the charming aria Heavenly Aida from the opera set in Egypt during the reign of the pharaohs; Nabucco's Chorus of the Hebrew Slaves, also known as Va, pensiero (Hasten, Thoughts); the Prelude to Act III of La Traviata; the opening of Requiem, Verdi's setting of the Catholic Mass for the Dead; plus selections from Macbeth, Otello, Jerusalem, and other operas. Each selection features a brief introduction, and all the compositions are available as downloadable MP3s (see inside for details).
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: BT.EMBZ14775
Ern Dohnányi (1877 - 1960) composed his C minor fantasia in 1892, at the age of fifteen.This work, which is appearing in print now for the first time, is a real curiosity: apart from a few polyphonic stylistic exercises written while he was at the music academy, this is Dohnányi's only piece for organ. The composer later recalled his first acquaintance with that instrument thus: 'My experience with the organ actually dates back to when I was a third-year grammar school student, for beginning with that year I served as organist for the Sunday worship services in the grammar school's church. These were the first wages I ever earned through music.' The Fantasie wasprepared for publication on the basis of the composer's manuscript by the well-known Dohmányi researcher Deborah Kiszely. Ern Dohnányi (1877 - 1960) composed his C minor fantasia in 1892, at the age of fifteen. This work, now appearing in print for the first time, is a real curiosity: apart from a few polyphonic stylistic exercises written whilehe was at the music academy, this is Dohnányi's only piece for organ. The composer later recalled his first acquaintance with that instrument thus: 'My experience with the organ actually dates back to when I was a third-year grammarschool student, for beginning with that year I served as organist for the Sunday worship services in the grammar school's church. These were the first wages I ever earned through music.' The Fantasie was prepared forpublication on the basis of the composer's manuscript by the well-known Dohmányi researcher Deborah Kiszely.Ern Dohnányi (1877-1960) komponierte die Fantasie in c-Moll 1892 im Alter von fünfzehn Jahren. Das Werk, welches nun erstmalig in Druck erscheint, ist ein echtes Kuriosum: Abgesehen von ein paar wenigen polyphonen Stilübungen aus der Musikakademie ist es das einzige Orgelwerk des Komponisten. Dieser erinnerte sich später folgendermaßen an das Kennenlernen des Instruments: Meine erste Begegnung mit dem Orgel reicht bis zur dritten Klasse im Gymnasium zurück. Ab dieser Klasse nahm ich sonntags die Funktion des Kantors in der Kirche der Schule ein. Das war mein erstes Geld, was ich mit Musik verdiente. Die Fantasie wurde von der bekannten Dohnányi-Forscherin Deborah Kiszelynach dem Originalmanuskript herausgegeben.
SKU: BT.EMBZ14711A
English-German-Hungarian.
The content of this volume consists partly of works that have survived in the composer's manuscript and are now published for the first time, and partly of the original versions of pieces that were published during Liszt's lifetime but later reworked. Of the earlier versions connected with Years of Pilgrimage, 2nd Year, Italy, the most noteworthy are the two completed versions of the Dante sonata, which are now appearing in print for the first time. Further important compositions belonging to the Italy cycle are the Petrarch sonnets. The first versions of these that we are publishing were actually published by the composer, and he also included them in his concert repertoire.Another particularly significant piece being published for the first time is the Freischütz fantasia, a characteristic, fine example of the type of opera fantasia Liszt developed at the beginning of the 1840s. Of the waltzes that feature in this volume, in addition to the first version of the concert pieces - the Grande valse di bravura and the Valse mélancolique - we have also included three complete, technically less demanding little pieces that Liszt intended primarily as mementos. Der Band beinhaltet mehrheitlich die als Autograph erhaltengebliebenen Werke, die hier erstmalig publiziertwerden, und andererseits ursprüngliche Versionen vonWerken Liszts, die noch zu Lebenszeit des Meisters herausgegeben,aber später überarbeitet wurden.Von den früheren, dem Années de p lerinage, 2e année,Italie-Band zugehörigen Versionen verdienen vor allemdie zwei vollendeten der Dante-Sonate besondere Aufmerksamkeit,die erstmals veröffentlicht werden. Dieweiteren bedeutenden Kompositionen des Italien-Zyklussind die Petrarca-Sonette. Die erste Version dieser Werkesind,wurde schon damals von Liszt publiziert und vonihm selbst in sein Repertoire aufgenommen. UnterdenErstausgaben soll auch auf die Freischütz-Fantasie besonderesAugenmerk gelegt werden. Diese ist ein typischerund niveauvoller Vertreter der Anfang der 1840er Jahreerarbeiteten Liszt’schen Ausprägung der Opernfantasie.
SKU: BT.EMBZ14711
SKU: BT.EMBZ14502
This volume contains Liszt's earliest pieces written in a Hungarian style. The complete set of Magyar dallok / Ungarische National-Melodien [Hungarian songs] consisting of 11 items is published here for the first time in a scholarly edition. The composer began to write them resulting from his first return visit to Pest in 1839. The music of these pieces was partly re-used by Liszt at the beginning of the 1850s in his deservedly popular 15 Hungarian Rhapsodies. The Carnival at Pest was inspired by his second tour of Hungary in 1846 it was later re-worked as the 9th Hungarian Rhapsody. The present volume also contains the so far unknown very first version of the 1st HungarianRhapsody, and in addition two large fragments from the 1840s plus a number of album leaves. A detailed preface in Hungarian, English, and German, including new research results, numerous manuscript facsimiles, and critical notes, makes this volume of the New Liszt Edition an important publication of immense scholarly value. Along with the cloth-bound Complete Edition, a paperback version for practical use has also been published. This edition's contents are identical to those of the hardcover edition with the exception that the critical notes are not included. Dieser Band enthält Liszts früheste im ungarischen Stil komponierte Werke. Die gesamte Reihe der Magyar dallok / Ungarische National-Melodien besteht aus 11 Stücken und wurde hier zum ersten Mal in einer wissenschaftlichen Ausgabe veröffentlicht. Der Komponist begann sie in Folge seiner ersten Wiederkehr zu Pest 1839 zu schreiben. Die Musik dieser Stücke wurde teilweise von Liszt Anfang der 1850er Jahre in seinen verdientermaßen populären 15 Ungarischen Rhapsodien wiederverwendet. Der Pester Karneval wurde inspiriert von Liszts zweiter Ungarn-Tournee 1846: er wurde später neubearbeitet als 9. Ungarische Rhapsodie. Der vorliegende Band enthält ebenfalls die bisher unbekannte ersteFassung der 1. Ungarischen Rhapsodie, ferner zwei große Fragmente aus den 1840er Jahren sowie etliche Albumblätter.