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Irene Rogers: First Duet Book For Little Jacks And Jills

Irene Rogers: First Duet Book For Little Jacks And Jills

An ideal first duet book when two young people are learning together. This progressive book begins with extremely simple hands-separately pieces for both parts and move on to pieces where quite a lot of ledger-line reading is required. Especially planned for children of pre-school or elementary level and is suitable for class sight-reading and is ideal preparation for further Pianoforte study. The attractive and varied music and easy arrangements will inspire and give confidence to beginners.

DKK 102.00
1

Solos For The Alto Saxophone Player (Ed. Larry Teal)

Solos For The Alto Saxophone Player (Ed. Larry Teal)

Although many outstanding composers have written for the saxophone, its comparitively late invention leaves a great void in its literature - namely that of pre-20th Century music. If the saxophonist wishes to perform this music, he must turn to transcriptions, and that is what we find in this volume. Selected and edited by Larry Teal, always with the qualities and limitations of the instrument in mind, these pieces for Alto Saxophone with Piano accompaniment, range in era and style from Haydn to Granados. Selected for the ABRSM Alto and Baritone examinations grades 6 and 7.

DKK 229.00
1

The G. Schirmer Piano Album of Wedding Classics

The G. Schirmer Piano Album of Wedding Classics

45 Processionals, Recessionals, Interludes and Other Service Music. Studies show that there is still a preference among a significant percentage of brides and grooms for a classical wedding. This extraordinarily diverse collection covers 400 years of music, specifically chosen as appropriate for wedding ceremonies. Many of the choices are traditional; others are fresh suggestions. There are five indexes of the contents sorted by specific musical service functions: Processional and Recessional, Pre- and Post-Service Assembly, Interludes and Underscoring, Devotional, and Personal. Music by Bach, Barber, Boccherini, Brahms, Chopin, Clarke, Corigliano, Debussy, Fauré, Foster, Franck, Gounod, Grieg, Handel, Liszt, Malotte, Mendelssohn, Mouret, Mozart, Pachelbel, Puccini, Ravel, Satie, Schubert, Schumann, Stölzel, Tchaikovsky, Vivaldi, Wagner.

DKK 261.00
1

John Corigliano: Stomp For Scordatura (Violin Solo)

John Corigliano: Stomp For Scordatura (Violin Solo)

A note from the composer: What to include in a competition piece in 2011? One could write a virtuoso étude or a lyrical essay: but the judges will have dozens of pieces that demonstrate these virtues. I thought a more interesting piece would test a performer’s imagination, intelligence and musicality by offering interesting new problems to solve. Hence, this unaccompanied six-minute study I call Stomp . Stomp poses its player three problems; of ear, style, and coördination. First, the violin’s outer two strings are tuned to non-standard pitches. This mis-tuning (scordatura) deepens the instrument’s range, and replaces the usual perfect fifths between strings with grating dissonances high and low. Second, the piece is modeled not on classical precedents, but on American fiddle music — bluegrass and jazz. And third, as in fiddle playing, the violinist must periodically stomp with his or her foot along with the music. So Stomp demands a theatrical mind, an unerring ear, and a delight in making music with the entire body. It is supposed to be fun for the audience, and a workout for the soloists. I can’t wait to hear them play it.

DKK 158.00
1

Yehudi Wyner: Piano Concerto “Chiavi In Mano”

Yehudi Wyner: Piano Concerto “Chiavi In Mano”

The idea for a Piano concerto for the Boston Symphony was instigated by Robert Levin, the great Mozart scholar and Pianist. The idea was evidently embraced by BSO Artistic Administrator Tony Fogg and supported by Music Director James Levine. Much of the concerto was composed during the summer of 2004 at the American Academy in Rome in a secluded studio hidden within the Academy walls. While much of the composing took place far from home, the concerto comes out as a particularly “American” piece, shot through with vernacular elements. As in many of my compositions, simple, familiar musical ideas are the starting point. A shape, a melodic fragment, a rhythm, a chord, a texture, or a sonority may ignite the appetite for exploration. How such simple insignificant things can be altered, elaborated, extended, and combined becomes the exciting challenge of composition. I also want the finished work to breathe in a natural way, to progress spontaneously, organically, moving toward a transformation of the musical substance in ways unimaginable to me when I began the journey. Transformation is the goal, with the intention of achieving an altered state of perception and exposure that I am otherwise unable to achieve. “Chiavi in mano” – the title of the concerto – is the mantra used by automobile salesmen and realtors in Italy: Buy the house or the car and the keys are yours. But the more pertinent reason for the title is the fact that the piano writing is designed to fall “under the hand” and no matter how difficult it may be, it remains physically comfortable and devoid of stress. In other words: Keys in hand."" - Yehudi Wyner, December 13, 2004

DKK 368.00
1

Richard Wagner: Der Fliegende Hollander (Libretto)

Richard Wagner: Der Fliegende Hollander (Libretto)

The story of the Dutch sea-captain, cursed to wander the earth unendingly, featured three themes that were of enduring interest to Wagner: the Wanderer on his Quest, Redemption through Self-sacrifice, and Pre-destined Love. The story is that a storm drives Daland's ship off course. A ghostly schooner arrives and its captain, the Flying Dutchman, steps ashore. He is bound to his ship as he once pledged to sail around the Cape of Good Hope if it took him forever. Once every seven years he may leave his ship in search of a woman who will save him from his deathless wandering if she is faithful until death. Daland offers his daughter Senta?s hand in marriage. As they approach the village, Senta?s suitor Erik notices she is preoccupied. He relates a frightening dream in which he saw her sail away with the Dutchman, and Senta exclaims that this is her own dream as well, and pledges her faithfulness to him. Erik is not happy and insists that Senta is his. The Dutchman, overhearing, believes himself betrayed and sets sail. Senta runs to the top of a cliff, proclaiming herself faithful unto death, and leaps into the sea. Their ghostly forms are seen together ascending to Heaven.This is the Schirmer edition of the Libretto in the original German with an English translation by Stewart Robb.

DKK 110.00
1

John Adams: The Chairman Dances (Score)

John Adams: The Chairman Dances (Score)

John Adams emerged in the last decades of the twentieth century as one of the most influential and widely performed American composers since Copland. 'The Chairman Dances' is a 'foxtrot for orchestra' that emerged as an offshoot of the composer's 1986 political opera 'Nixon in China'. It has become one of the composer's most popular works. In this piece, from the third act of the Opera, protocol and ceremony are forgotten as the audience is led into the apparent privacy of the characters' bedrooms to hear their intimate discussions. Each sings of his or her current personal concerns, while at some level the couples (Dick and Pat, Chairman and Madam Mao) connect with each other on the emotional plane of nostalgia. The Nixons reminisce about their early, pre-public married lives. The Maos look back to their youthful idealism and budding romance, and foxtrot together to the wistful tune that forms the basis of this composition. The chugging and coloristic flashes that begin the work give way to the dance theme proper in the strings. The work 'runs out' instead of ending, in imitation of the hand-wound gramophone which had accompanied the dancing of the Maos in earlier, happier times.First performed in January 1986 by the Milwaukee Smphony Orchestra, the piece was commissioned by the National Endowment For The Arts.

DKK 523.00
1

Autobiography For Pt2 Sc Band

Autobiography For Pt2 Sc Band

The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became, and still is, a major sport among the oldsters. Some of the contemporary books are good reading indeed. One of the best of them is the result of an enormous research job, as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure I would be one of the first to be utterly bored by the subject. It was not so easy, however, to dismiss the whole idea as my friends presented it. The only answer I could think of with any degree of enthusiasm was this one, written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band, with its apparently inexhaustible colors and its fabulous vitality. The form (if the term has any right being here) is seven short pictures, each about two minutes long, of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where the piece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms, around the swimming pools, by the putting green, everywhere-but I honestly do not believe any of them crept into what I was writing. I do not believe I paid much more than passing attention to them. Part Two : IV. 1916: Mo. to N.Y. V. 1919: The Merrill Miracle VI. 1926: A Parisian in Paris VII. 1935: What Was the Question? The three of my seven ages in Part One took us to the legal end of my youth. Gathering up my unspectacular belongings, including my entire fortune of less than two hundred dollars, I swooped down on New York for no more reason than that it was New York and had a street in it called Broadway. The music borrows two or three rhythms from the era, but the only note-for-note quote is what the bugler at Camp Funston played every morning while we put on our shoes. Later, when we get to Paris, some of the cute old French tunes that everybody knows come tripping by. This is the full extent of actual musical quotes, at least conscious ones. As I laid down the pen on this I wondered how many musicians had done the same kind of autobiography, and I remembered being in London with one of the editors of Chappell and Company when Bert Kalmar and Harry Ruby turned out "Three Little Words". I innocently said I wondered why that title had not been thought of before. My British friend said, "Funny you should ask that! I just looked it up in the index of songs copyrighted in the British Isles. There are fifty-three." - Robert Russell Bennett

DKK 102.00
1