SKU: CF.MXE21M
ISBN 9780825871627. UPC: 798408071622. 11 x 17 inches.
A Glimpse Retraced is scored for piano solo, flute (dbl piccolo), clarinet in Bb, violin and violoncello. The title of this concerto for piano with four instruments is a metaphor for its formal design: a fleeting observation, made in passing, is retraced and elaborated, then condensed and distilled. Eckardt's A Glimpse Retraced was commissioned by Carnegie Hall and is dedicated to Marilyn Nonken, who gave its first performance in Weill Recital Hall at Carnegie Hall, New York City on April 12, 1999.
SKU: PR.114419200
ISBN 9781491114223. UPC: 680160671731. 9 x 12 inches.
Spirit was composed in memory of the renowned clarinetist Laura Flax. Laura commissioned Ran’s first solo clarinet work, For an Actor: Monologue for Clarinet, to premiere with the Da Capo Chamber Players in 1978. Ran returned to the clarinet in many compositions over the years, sometimes as a lead instrument and at other times as an important voice, yet always inspired by Laura’s rich sound, blazing technique, and the “brain and guts†that she brought to her playing. As a memorial, Spirit is not about absence, but rather a celebration displaying a wide range of emotions, with at least a tiny glimpse of Laura’s brilliant spirit and spiritedness. Only in the work’s final stretch does the sense of parting and loss take over.SPIRIT was composed in memory of Laura Flax (1952-2017), the renowned New York-based clarinetist and my cherished friend. Our musical and personal association began in 1977 when Laura invited me to compose a solo clarinet work, For an Actor: Monologue for Clarinet, in memory of her mother, Hazel Flax, whom I had known.After composing For an Actor for Laura I came back to the clarinet in many of my compositions over the years, sometimes as a lead instrument and at other times as an important voice. In all of my clarinet music Laura is present. The rich sound, blazing technique, the “brain and guts†that she brought to her playing, and her remarkable person, have inspired me in so many ways during the four decades of our friendship, and beyond.I did not want Spirit to be about absence, though. I wanted the piece to exhibit a wider range of emotions, as well as capture at least a tiny glimpse of Laura’s brilliant spirit and spiritedness. Only in the work’s final stretch does the sense of “parting,†and of loss, take over.Upon completing Spirit on October 21, 2017 I found myself compelled to add at the bottom of the score the words “To Laura, always in my heart,†as though in an effort to reach out, for a brief moment, and touch the unreachable.—Shulamit Ran.
SKU: CF.CY1871F
ISBN 9780825895289. UPC: 798408095284. 11 x 14 inches.
With degrees from Sarah Lawrence College and Columbia University, Wallach went on to receive the first ever doctorate in composition from the Manhattan School of Music. She has won first prize in the Inter-American Music Awards, has had her String Quartet nominated for a Pulitzer Prize, and was commissioned for a 200-voice oratorio by the New York Choral Society for its 35th Anniversary season. Wallach also serves as pre-concert lecturer for the New York Philharmonic. Her works have been published by E.C. Schirmer, C.F. Peters, and others. The aptly named Glimpses (1981), a series of brief vignettes for orchestra, shows her developing style and command of orchestral forces. Performance materials available on rental.
SKU: BR.EB-32032
ISBN 9790004186343. 9 x 12 inches.
Invaluable Glimpses Schumann's close collaboration with the David quartet, together with the valuable advice of his friend Mendelssohn Bartholdy, led the composer to make extensive changes to the Streichquartette op. 41 before publication in December 1842. The present edition is hence to be thought of as a critical Urtext edition; it offers in fact to those interested, an invaluable glimpse into Schumann's creative process and his striving for the final form of his string quartets. All the deletions, changes, and the original phrasing were carefully worked out in detail, restored, and editorially identified in the music text. A detailed preface giving the geneses of the works, as well as pages of the autograph score in facsimile, complement the edition. The parts are of course so configured in the reliable Breitkopf quality that the quartets can also be performed today in the traditional form. The present edition was also used for the Leipzig String Quartet's 2010 CD recording.
SKU: BR.PB-32032
ISBN 9790004215661. 6.5 x 9 inches.
SKU: BR.PB-32032-07
SKU: PR.11641861SP
UPC: 680160685202.
What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.
SKU: CF.TXT10
ISBN 9781491150986. UPC: 680160908486. 6 x 9 inches. Text: Denise Schmidt.
Denise A Gainey's Kalmen Opperman: Passing on the Flame combines interviews with Opperman's former students with personal essays and reflections from those closest to the master teacher and performer. Gainey explores Opperman's life, pedagogy, and countless contributions to the clarinet's canon. A longtime student and research colleague of Opperman's, Gainey provides a rare glimpse into the life and work of one of the greatest contributors to the clarinet.
SKU: HL.44006367
ISBN 9789043101844. UPC: 884088084684. 9.0x12.0x0.158 inches. International (more than one language).
These arrangements for organ in the style of folk and spiritual music were created during the 19th century. They provide the occasional glimpse of the old African jumba dances and plantation songs. Each arrangement is a unique step on a voyage of discovery into the fascinting characteristis of this music. 16 arrangements of beloved spirituals, including: Morning Has Broken * Amazing Grace * Nobody Knows the Trouble I've Seen * Were You There? * Deep River * Lord, I Want to Be a Christian * Steal Away to Jesus * Let Us Break Bread Together * Go Tell It on the Mountain * Is There Anybody Here? * Swing Low, Sweet Chariot * Greensleeves.
SKU: HL.50600750
ISBN 9790080305324. 245x340 mm inches. Hungarian, English. Gyorgy Kurtag.
In the autumn of 1974 György Kurtág began to copy selected pieces from the series Games into a music notebook for Zoltán Kocsis who had been his student in earlier years and who, even today, is one of its most authentic performers. Kocsis played from this notebook in the first public performance of Games in 1974. The gradually expanding series of piano pieces also appeared in print in the course of later decades; however, since then he has used this collection - expanded over 32 years since by Kurtág - whenever he plays pieces from Games in concert. Since the time of this 1974 concert, as he writes: 'I didn't know that the spiral notebook I received at the premiere would later become, as it were, my permanent companion. That I would take it with me from Japan to Canada, from Australia to Iceland, travelling to the world's most prominent concert halls, surviving fire damage, flood, transport catastrophes, theft attempts, forced landings and so on, and that - well beyond the intention of its being 'copied with love' - it would include works and sketches for which this notebook would become the principal source.' The manuscript gives a glimpse into Kurtág's workshop from the viewpoint of both performers and musicologists. The former can understand more from Kurtág's handwriting about the composer's intentions than from the printed score. The musicologists, however, can study the historical origins of the works: some works can be found here in more than one version, others appear in a version different from the printed score. The publication is accompanied by a booklet and a CD supplement. The booklet contains Kocsis's own personal preface, as well as András Wilheim's essay providing information about the collection and the pieces contained therein. On the CD we hear 11 works performed by Kocsis, from a recording made in 1982 which has not previously been commercially issued.
SKU: HL.14008409
This is - so far - the earliest composition by Davies to be available for performance, and mighty interesting it is. Written while he was still a young student, it provides a candid glimpse of the thing that concerned him: how music could be both forward-moving in the classical Western sense (this is, after all, a piece for a wholly conventional medium) and repetitive in the manner of the Indian and medieval music in which he was interested. What results is a singular machine geared to an intermittent ostinato in the first violin. This movement for string quartet was first performed by the Arditti Quartet in May 1983, as part of the 40th Anniversary Gala concert of the Society for the Promotion of New Music at the Barbican Hall, London. Score (miniature). Duration c. 5mins.
SKU: BT.EMBZ14701
This volume offers performance pieces for the more advanced classes in music schools, at the same time allowing a glimpse into the 19th-century music scene. Piano pieces have been arranged from popular compositions of the period - operas, orchestral and chamber music works. These are not simply piano transcriptions but genuine works for the piano, written by famous composers and pianists of the time. Dieser Band bietet nicht nur Stücke für die höheren Klassen der Musikschule, sondern verschafft uns gleichzeitig einen Einblick in die musikalische Sichtweise des 19. Jahrhunderts. Aus einigen populären Werk-auschnitte der Periode - Opern, orchestrale und Kammermusikstücke - entstanden einfache Klavierstücke. Sie sind nicht nur bloß Klavierauszüge, sondern echte Klavierwerke. Ihre Urheber waren renommierte Komponisten und Pianisten ihrer Zeit.
