SKU: BR.EB-8936
ISBN 9790004186039. 9 x 12 inches.
Playing piano is great - and not just in minor but also, of course, in major keys as well! High time for the publication of the companion to our bestseller Toll in Moll [Finer in Minor] (EB 9410) to complete now the long missing other half. Playing piano is great - with a selection of beautiful original works, easy to moderate in difficulty. These include both familiar but above all not so familiar pieces from a repertoire varying in terms of era and style. Just by listening to them, these pieces will inspire you to want to play piano more and more. Playing piano is great - when pianists musically en route to the large wonderful works of piano literature have the opportunity to delve more deeply into the special aspects of piano music from different epochs. Playing piano is great - with the pair, Greater in Major and Finer in Minor , two piano books that pianists of all ages can always return to and enjoy over many years.
SKU: CA.4066449
ISBN 9790007219871. Key: B flat major. Language: Latin.
The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and part available separately - see item CA.4066400.
SKU: CA.4066411
ISBN 9790007219833. Key: B flat major. Language: Latin.
SKU: CA.4066413
ISBN 9790007219857. Key: B flat major. Language: Latin.
SKU: CA.4066419
ISBN 9790007141158. Key: B flat major. Language: Latin.
The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score and parts available separately - see item CA.4066400.
SKU: CA.4066403
ISBN 9790007137229. Key: B flat major. Language: Latin.
The House of Esterhazy commissioned what are probably some of the most important masses to be written at the turn of the 18th to the 19th century: Joseph Haydn's last, six great masses, Beethoven's Mass in C major and the masses of Johann Nepomuk Hummel. The resonance in the contemporary musical press upon the publication of the B flat major Mass of 1816/17, Hummel's first Esterhazy mass, was exceptionally positive. In addition to the rather simply constructed wind parts, which can also be played by the organ, the work places greater demands on the strings and choir (without soloists) to master an effect-laden, expressive diversity ranging from pastoral simplicity and martial trumpet calls to artistically wrought fugues which is rarely encountered. The present new edition offers the first scholarly-critical edition of the work in a reliable musical text, including performance material. Score available separately - see item CA.4066400.
SKU: CA.4066412
ISBN 9790007219840. Key: B flat major. Language: Latin.
SKU: CA.4066414
ISBN 9790007219864. Key: B flat major. Language: Latin.
SKU: CA.4062919
ISBN 9790007138103. Key: B flat major. Language: Latin.
To a greater extent than almost any others, Mozart's Masses combine a very high degree of artistic accomplishment and tonal beauty with fulfilment of the demands made by the Liturgy. Even the textually expansive movements Gloria and Credo are, in most of Mozart's Masses, short enough to meet the requirements of a festive service, today as in his time. The choral parts are not too difficult for well-trained amateur singers. Score and parts available separately - see item CA.4062900.
SKU: SU.80101392
Ad majorem Dei gloriam (2010) sets a familiar Latin phrase, attributed to St. Ignatius of Loyola. Ad majorem Dei gloriam inque hominum salutem. (For the greater glory of God and the salvation of humanity.) SATB Chorus, a cappella Duration: 2' Composed: 2017 Published by: Zimbel Press Minimum order quantity: 8 copies. To order quantities fewer than 8.
SKU: BR.PB-5698
ISBN 9790004216354. 10 x 12.5 inches.
Joachim Raff's Fifth Symphony Lenore op. 177, composed in 1872, reveals the composer as a representative of the middle ground between Neo-German aesthetics and the symphonic tradition. It owes its name to G. A. Burger's ballade, which is the programmatic basis of the final movement. Using this literary model, Raff oriented himself to the Berlioz program symphonies and the Liszt symphonic-poem concept, on the one hand, but on the other, he let the three preceding movements follow traditional symphonic form. Raff conducted the Lenore symphony's premiere in December 1872 in a concert by the Furstliche Hofkapelle in Sondershausen. The concert went to his satisfaction, although the audience evidently did not know what to make of the work: [...] and the symphony [...] was played before this faintly musical party. Essentially for the greater glory of God and my edification, less for that of the said public, which seems to have been rather horrified by it. His friend Hans von Bulow had, however, a great pleasure in hearing the symphony the following year in Berlin. In her preface, the editor Iris Eggenschwiler provides detailed information about the work's genesis, documents Raff's ideas and intentions, and facilitates a comprehensive orientation within the historical context. Breitkopf & Hartel is now presenting for the first time with this symphony an orchestral work by Raff in a modern Urtext edition, thus also continuing its collaboration with the Joachim-Raff-Gesellschaft.In collaboration with the Joachim-Raff-Archiv Lachen (CH).
SKU: HL.49046442
ISBN 9781540094780. UPC: 842819113003.
The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.
SKU: CA.2091500
ISBN 9790007037338.
This cycle contains Aller Augen warten auf dich, Herre SWV 429, one of the composer's most popular vocal works. The twelve four-part motet-style settings published in 1657 demonstrate all the attributes of his mature style, using simple homophonic settings as effectively as demanding polyphony. They represent something of a counterpart to the 1648 Geistliche Chormusik, but here, Schutz paid greater attention to practical use in church services and to the training of the Dresden choirboys.
SKU: BR.EB-9410
ISBN 9790004188842. 9 x 12 inches.
The new Finer in Minor With beautiful, easy to moderately difficult, familiar and above all not so familiar pieces, our bestseller Finer in Minor has now been a companion for many generations on their way to the wonderful works of major piano literature. In the meantime, the sister edition Greater in Major (EB 8936) expands the sound palette, showing that playing the piano in a major key is, of course, just as beautiful as playing in a minor key! In the course of preparing it, the desire for freshness and renewal of the well-established minor-key edition developed. Editors and publishing house finally gave in and decided on a revised and expanded new edition. The outer appearance has been adapted to its major-key twin, and inside the edition, things look new and different, too. New composers and even more pieces expand the range of minor-key music to include new worlds of sound and feeling. Thus, playing the piano is simply great - with Greater in Major and Finer in Minor ! Voices to the 1st edition: It is a good collection of easy pieces and well edited. (Music Teacher) The publisher began with a novel idea and invested their faith in its success by producing a bright, colorful album that will easily catch the eye of the potential buyer. (Trevor Barnard, Music Teacher)The editors of the Keyboard Crocodile have delved into music history's treasure chest of piano literature and come up with some gems in the minor mode that offer major enjoyment.MP3 audiofiles, performed by Aki Sakae, are to be found in the download section or on YouTube. Here you can find the sister edition Greater in Major.
SKU: PR.114410380
UPC: 680160015160. 9.5 x 13 inches.
My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so. The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement. An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work's intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement's scherzo is an aggressively animated piece of musical machinery. The third movement's Variations unfold into a greater variety of moods than the others - but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement's attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major. The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.My second String Quartet was written twenty years after the first, Opus 4 from 1978. The First Quartet is an obsessively contrapuntal work in one movement, which was no doubt influenced by my studies with David Diamond. I had always intended to return to the medium once I left the astringency of my earlier style, but it was only when the National Federation of Music Clubs commissioned a major chamber work, with unspecified instrumentation, to celebrate their 100th Anniversary that I was enabled to do so.The Second Quartet is in four movements: Moderato, Allegro isterico, an Andante theme with 11 variations, and the closing Allegro, which then returns to the tempo of the first movement.An audience member at the premiere told me that she heard echoes of recent tragic events such as the Oklahoma bombing in this work. While I had no such programmatic intent while writing the quartet, it was not an entirely incorrect assessment of the work’s intended emotional impact. The quartet is pervaded by a sense of seriousness, even mournfulness. The second movement’s scherzo is an aggressively animated piece of musical machinery. The third movement’s Variations unfold into a greater variety of moods than the others – but the moments of lyricism are countered by aggressive or ironic outbursts. The final movement’s attempt at triumph quickly subsides into a return of the first movement, before being transformed onto a sense of resignation and acceptance as the chromaticism of the opening theme is transformed into a pure and diatonic C-Major.The work received its world premiere by the Shanghai Quartet at the 100th Anniversary Congress of the National Federation of Music Clubs at the Congress Hotel in Chicago on August 19th 1998.
SKU: FH.VAE1
ISBN 978-1-55440-574-9.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. One outstanding volume of Orchestral Excerpts includes a wealth of excerpts from Level 7 through ARCT that are often greater in length than standard audition fare. Students will achieve a better understanding of great symphonic literature and learn more about the style of each composer by playing each excerpt in context. This book encourages more successful auditions and better-educated orchestral performers.Level 5:Etude in F Major, op. 45, book 2, no. 42 - Wohlfahrt, FranzBallet Variation - Geringas, YaakovThe Bee's Knees! - Cohen, MaryArpeggio Study - Kinsey, Herbert transc. Margaret BanwellEtude in C Minor - Bruni, Antonio BartolomeoLevel 6:Etude in D Minor, op. 45, book 2, no. 47 - Wohlfahrt, FranzEtude No. 2 in F Major - Kreutzer, RodolpheEtude in C Minor, op. 21, no. 73 - Campagnoli, Bartolomeoetude speciale, op. 36, book 1, no. 3 (Fermete d'archet) - Mazas, Jacques-FereolEtude in G Minor - Bruni, Antonio BartolomeoLevel 7:Wild Fire - Cohen, Maryetude speciale, op. 36, book 1, no. 8 (Division of the Bow in the Cantilena) - Mazas, Jacques-FereolEtude in A Minor, op. 37, no. 10 - Dont, JakobEtude in D Major - Bruni, Antonio BartolomeoMelodious Double Stops No. 17 - Trott, JosephineLevel 8:Double Stopping and Simple Chords - Kinsey, Herbert transc. Margaret BanwellCaprice in E flat Major, op. 3, no. 5 - Fiorillo, FederigoEtude No. 12 in D Minor - Kreutzer, Rodolpheetude speciale, op. 36, book 1, no. 30 (Ronde villageoise) - Mazas, Jacques-FereolPolonaise and Trio, op. 18, no. 2 - Campagnoli, BartolomeoEtude in D Major - Bruni, Antonio Bartolomeo.
SKU: CY.CC3032
ISBN 9790530110072. 8.5 x 11 in inches.
Eternal Source of Light Divine is an aria from G. F. Handel's secular cantata Ode for the Birthday of Queen Anne (HVW 74). While this particular aria is immensely among trumpeters and sopranos (who generally sing the vocal line an octave above the original), Handel intended the line to be sung by an alto voice. In this arrangement for trumpet and organ, Justin Bland has kept the vocal line (now played by the right hand of the organist) in the octave in which Handel wrote it. The original notes of the trumpet part also remain unchanged, allowing the part to easily be played on both modern and baroque/natural trumpets. Although the aria was written in D major, a version in C major is also included, allowing for a greater number of possibilities of performance. For example, if an organ at A=466 is used, the C major version can be used so that the resulting performance sounds in D major at A=415.
