Format : Book + DVD
SKU: HL.49003188
ISBN 9780946535224. UPC: 841886002289. 8.25x11.75x0.486 inches. English.
Aural Matters provides useful resource material for aural training at Advanced level in a single volume with two accompanying compact discs. the first part is packed with examples of dictation and discrimination exercises, carefully graded in difficulty. The recordings on disc allow these practice-materials to be used by the student at home, as well as by teachers in the classroom. The text provides a systematic approach to aural training * melody and two-part dictation, harmonic recognition, identifying errors in performance * with frequent hints and tips that will enable the student to develop increasing skill and confidence in the tests. Part Two provides an recorded anthology of the compositional techniques with wich students are expected to be familiar at Advanced level. A huge variety of extracts has been specially selected from British folk-songs, world music, jazz, pop and the main periods of art music from the late Renaissance to modern times. A detailed commentary shows how to recognize periods, styles, structures, instruments and techniques in this music, with all of these features copiously illustrated in the examples on disc. The complete work provides an invaluable resource not only for the Advanced level aural syllabus, but also for any study of style and analysis in the wide variety of music that is encountered today. Prelude * Part I: Melody Dictation * Two-Part Dictation * Keys, Chords and Cadences * Intonation * Spot the Mistakes * Part II: Prelude to Part II: Aural and Stylistic Analysis * Folk Music of the British Isles * World Music * Jazz * Popular Music * Music of the Late Renaissance * Music of the Baroque Era * Classical Music * Romantic Music * Music in the 20th Century * Answers to the Tests * Index.
SKU: HL.49030375
ISBN 9781847610454. English.
Aural Matters provides useful resource material for aural training at Advanced level in a single volume with two accompanying compact discs. the first part is packed with examples of dictation and discrimination exercises, carefully graded in difficulty. The recordings on disc allow these practice-materials to be used by the student at home, as well as by teachers in the classroom. The text provides a systematic approach to aural training - melody and two-part dictation, harmonic recognition, identifying errors in performance - with frequent hints and tips that will enable the student to develop increasing skill and confidence in the tests. Part Two provides an recorded anthology of the compositional techniques with wich students are expected to be familiar at Advanced level. A huge variety of extracts has been specially selected from British folk-songs, world music, jazz, pop and the main periods of art music from the late Renaissance to modern times. A detailed commentary shows how to recognize periods, styles, structures, instruments and techniques in this music, with all of these features copiously illustrated in the examples on disc. The complete work provides an invaluable resource not only for the Advanced level aural syllabus, but also for any study of style and analysis in the wide variety of music that is encountered today.
SKU: CA.6000610
ISBN 9790007311407. German.
Volume 3 (in German) contains articles by different authors on the interpretation of organ music of the 20th century (ranging from the early modern era to the avantgarde). The chapters are not structured based on a pre-existing mould or pattern. Rather they display stylistic diversity – personal recollections appear together with analytical studies.Jon Laukvik’s Historical Performance Practice in Organ Playing has become a standard work. It is addressed to organists who wish to integrate the latest knowledge of historical performance practice into their playing today. The insights of this three-volume series are the result of practical and scholarly research which present to the performer in a detailed, easily understandable form a precise view of the customs and goals of performance in previous and modern/ contemporary eras. These volumes are directed not only to organists, but also to organ teachers who are looking for a guide for use in their instruction. Score available separately - see item CA.6000600.
SKU: BA.BA11259
ISBN 9790006569717. 30 x 23 cm inches. Preface: Boecker, Jan / Schmidt, Christof.
As a 20th century composer, Gerard Bunk developed a distinctive musical style comparable perhaps to that of Max Reger or Sigfrid Karg-Elert. In addition to Bunk’s large-scale organ work “Legende†op. 29 and its symphonic version op. 29II, there is a further well-known “Legende†op. 55b written for organ and string orchestra (or string quartet) which was composed in 1945.This edition offers the earlier version of this work, dating from 1914, in its original instrumentation for organ and brass quartet. In order to facilitate performance, the sketchily notated score is carefully supplemented by performance markings from the string version.What Albert Schweitzer praised in the earlier “Legendeâ€, “the calm and vivid layout of the complete workâ€, is also recognisable in Bunk’s later composition: the catchy, modestly beautiful theme alongside the clear musical form of this “Legende†for organ and brass quartet.
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: BA.BA06862
ISBN 9790260105300. 34.2 x 27.3 cm inches. Text Language: Church Slavic.
The Glagolitic Mass, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge.The recently published scholarly-critical edition presents two different versions of the work in two separate volumes: the “September 1927†version (BA 6863) which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928 (BA 6862). This second version was then revised further and published after Janácek’s death by Universal Edition Wien in 1930. Known as the “final authorised versionâ€, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janácek’s regular copyist Václav Sedlácek. The “final authorised version†is the significant version and most suited to performance purposes. The instrumentation is richer, it is more straightforward to rehearse and several important passages are more coherent than in the earlier version. It is the later version that is presented in the vocal score. The Old Church Slavonic text has been prepared by the slavicist Radoslav Vecerka.
SKU: BA.BVK02090
ISBN 9783761820902. 21.5 x 15.5 cm inches. Language: German. Preface: Mosch, Stephan.
This book is in German.,,Weil jede Note zahlt(Because Every Note Counts) - this is the credo regarding interpretation which Alfred Brendel formulates in this book. It is an invitation to reflect about how to deal with Mozart's music, about what we generally call ,,interpretationand what has undergone fundamental changes again and again in the course of the last 100 years. Famous Mozart interpreters and world-renowned musicologists share their experiences and insights in conversations and essays: What did it mean and what does it mean to perform Mozart?From the contents:- How does Mozart compose? About his scores and compositional procedures- Why spontaneity and risk are so important: on performance practice- Mozart's theatre of diversity: questions about the human existence on stage- From Richard Strauss to Nikolaus Harnoncourt: on the artistic physiognomy of great Mozart conductors- How did composers of the 20th century respond to Mozart?- Music festival history is German history: a documentary on the Mozartfest WurzburgConversations by Markus Thiel with Alfred Brendel, John Eliot Gardiner, Christian Gerhaher, Brigitte Fassbaender, Hartmut Haenchen, Markus Hinterhauser, Rene Jacobs, Frank Peter Zimmermann and Tabea ZimmermannAuthors of the EssaysUlrich Konrad, Robert D. Levin, Stephan Mosch, Wolfgang Rathert and Thomas SeedorfDocumentary PartHansjorg Ewert, Christian Lemmerich, Dimitra Will, Renate UlmThe EditorStephan Mosch is Professor for Aesthetics, History and Artistic Practice at the Hochschule fur Musik Karlsruhe. Barenreiter already published his books ,,Komponieren fur Stimme. Von Monteverdi bis Rihm. Ein Handbuch(BVK 2379) as well as ,,Weihe, Werkstatt, Wirklichkeit. Wagners ,,Parsifalin Bayreuth 1882-1933(BVK 2326).In collaboration with the Mozartfest Wurzburg which celebrates its 100th Anniversary in 2021.
SKU: BR.SON-607
ISBN 9790004802632. 10 x 12.5 inches.
No longer just a facsimile: Sibelius's Symphony No. 0 in a proper edition With the world premiere of Kullervo in 1892, Jean Sibelius staked his claim at the age of 27 to the front ranks of the symphonists of his day, long before he began writing his purely instrumental symphonies and tone poems. At the same time, he defined himself as a modern-day Finnish composer through his choice of the text from the Kalevala epic, whose title role he interpreted with modern psychological means. By the time Sibelius was celebrating his major international triumphs in the early 20th century, his Symphony No. 0 was long forgotten. After a provisory first edition of Kullervo in 1966, the work quickly gained the esteem of Sibelius conductors who also performed the work with the Finnish vocal text outside of their native country. Yet in spite of pioneer recordings such as those of Paavo Berglund, Colin Davis, Jukka-Pekka Saraste, Esa-Pekka Salonen and Osmo Vanska, the grandiose work had not been adequately present in international concert life up to now not least because there was no practicable edition. The volumes of the Complete Edition edited by Glenda Dawn Goss now offer a musicologically accurate music text for the first time. This music text will form the basis for the projected performance material. The complete edition Jean Sibelius Werke intends to pave the way for a new evaluation of the Finnish composer and, in particular, of this hitherto editorially neglected work, the composer's only choral symphony.
SKU: HL.49041606
ISBN 9783795794842. German.
The Richard Wagner Complete Edition presents the composer's entire output for the first time in a reliable form. The conductor Michael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages.This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessible source materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions; these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions.
SKU: HL.49012015
ISBN 9783795792459. UPC: 073999726176. 11.0x15.0x0.818 inches.
SKU: HL.49041604
ISBN 9783795794651.
SKU: HL.49041605
ISBN 9783795794859.
SKU: HL.49046009
The Richard Wagner Complete Edition presents the composers entire output for the first time in a reliable form. The conductorMichael Balling, in the early years of the 20th century, attempted to make Wagner's work more accessible for research and performance, but the edition only reached 10 volumes - some with grave shortcomings - and was discontinued after Balling's death in 1925. A further attempt at a complete edition by Otto Strobel was abandoned at the preliminary stages. This third attempt at a complete edition will be the first scholarly, critical edition, based on an evaluation of all the accessiblesource materials and the latest findings of serious Wagner research. As the edition is also intended for practical performance, the musical text has been kept free of philological insertions; these are listed in the appendices of each volume in the Critical Commentary. Numerous, partly unpublished works - some relatively unknown - and variant versions are published here for the first time. The edition presents authentic texts for Wagner specialists and researchers and critically based performing materials. Contrary to widely held opinions, even the well-known works of Wagner are not necessarily available in reliable editions. The genesis, history and performances directed by Wagner himself are extensively documented so as to present as complete an image as possible of Wagner's compositional intentions.
SKU: HL.49041610
ISBN 9783795794590. 11.25x15.25x1.347 inches.
SKU: OU.9780193683167
ISBN 9780193683167. 13 x 10 inches.
This volume contains newly edited versions of four important later orchestral works by Walton: Capriccio Burlesco, Improvisations on an Impromptu of Benjamin Britten, Prologo e Fantasia, and Varii Capricci. The first three works were written for American orchestras; the last for the opening of the Royal Festival Hall in 1976.VoicingCappricio Burlesco - picc, 2 fl, 2 ob, ca, Ebcl, 2 cl, bcl, 2 bn, cbn, 4 hn, 3 tpt, 2 tbn, btbn, tba, timp, 3 perc (SD, TD, BD, cast, w blk, cym, whip, xylo, tamb, bongo), hp, str Improvisations on an Impromptu of Benjamin Britten - 3 fl (III+picc), 3 ob (III+ca), 3 cl (III+bcl), 3 bn (III+cbn), 4 hn, 3 tpt, 3 tbn, tba, timp, 3 perc (glock, xylo, clash cym, sus cym, BD, tamb, 3 bongos, SD, MD), hp, str Prologo e Fantasia - 3 fl, 3 ob (III+ca), 3 cl, 3 bn (IIII+cbn), 4 hn, 3 tpt, 3tbn, tba, timp, 4 perc (SD, cym, BD, xylo, clash cym), hp, pn, str Varii Capricci - 3 fl (III+picc), 2 ob, ca, 3 cl, 3 bn, 4 hn, 3 tpt, 3 tbn, tba, timp, 3 perc, cel, hp, str.
About William Walton Edition
In March 2014 Oxford University Press published the last volume in its magnificent William Walton Edition, the only complete critical edition of a 20th-century British composer's oeuvre. All 24 volumes are handsomely printed and bound. Walton's entire output is now available to scholars and performers in a definitive and fully practical edition, based on the form in which the composer ultimately wished his music to be performed. The general editor, David Lloyd-Jones - the eminent conductor, English music specialist, and founder of Opera North - invited a world-class expert to edit each volume. Carefully researched introductory essays place the works in their historical context and in the composer's oeuvre, and there are full critical notes.
SKU: CA.3108063
ISBN 9790007206819. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and part available separately - see item CA.3108000.
SKU: CA.3108069
ISBN 9790007134129. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score and parts available separately - see item CA.3108000.
SKU: CA.3108061
ISBN 9790007206796. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
SKU: CA.3108053
ISBN 9790007183370. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
The Reformation cantata Ein feste Burg ist unser Gott BWV 80b, published by Carus-Verlag for the first time in a practical performing edition, remained unknown to Bach scholars until well into the 20th century. The evidence of its existence is three fragments of the first folio of Bach's score, which can be dated to the years 1728-1731. By contrast, the long-familiar expanded new version of the cantata with its powerful opening chorus (BWV 80) dates from the 1730s or 1740s. It only survives in a copy of Bach's score, but this allows conclusions to be drawn about the history of the versions; thus, by using the fragments mentioned above, it has been possible to reconstruct the first version. This result is a Bach cantata which is less extensive and in a more concise normal format, with reduced wind instruments. A relaxed, contrapuntal four-part chorale movement with the first and last verses of the Lutheran hymn forms the framework, and the other movements are the same as in the later new version. This simpler cantata is also entirely suitable for celebrating Reformation Day, as Bach did around 1730. Score available separately - see item CA.3108000.
SKU: CA.3108055
ISBN 9790007183387. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
SKU: CA.3108071
ISBN 9790007206833. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
SKU: CA.3108062
ISBN 9790007206802. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
SKU: PR.11441690S
UPC: 680160626021. 9 x 12 inches.
Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago. Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination. Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars. It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920sâ€, first shown at New York’s Metropolitan Museum of Art in 2006-07. Nussbaum would have been a bit too young to be included in this exhibit. His most noteworthy art was created in the last very few years of his short life. The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory†as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure musicâ€, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.   The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened†(das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary†life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace†is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â€If I must perish - do not let my paintings dieâ€; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory†is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes. All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .
SKU: CA.3108057
ISBN 9790007242688. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
SKU: CA.3108099
ISBN 9790007206857. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.
SKU: CA.3108064
ISBN 9790007206826. Key: D major. Language: German/English. Text: Luther, Martin / Franck, Salomo.