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Print Culture & Music In 16Th-Century Venice

Songs For Great Leader : Ideology and Creativity in North Korean Music and Dance

Represents first book-length consideration of North Korean music and dance in English Explores all aspects of music and dance production in North Korea from 1945-2018 Assembles a comprehensive set of recorded and print materials, including interview data and additional fieldwork research

Noteflight: 3 Year Premium Subscription Box

Noteflight® is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser. Join the world's most vibrant music composition community through these exclusive retail edition offers. Features include: Write music on any computer, tablet or smartphone. Share scores in the cloud with other users. You're always using the latest version: no expensive upgrades.

Noteflight: 5 Year Premium Subscription Box

Noteflight® is an online music writing application that lets you create, view, print and hear professional quality music notation right in your web browser. Join the world's most vibrant music composition community through these exclusive retail edition offers. Features include: Write music on any computer, tablet or smartphone. Share scores in the cloud with other users. You're always using the latest version: no expensive upgrades.

Divertimento For String Orchestra

A completely new edition of Einojuhani Rautavaara’s Divertimento is based on the composer's manuscript, incorporating corrections and comments by composer's hand in various sources. Written in 1953, the 9-minute Divertimento is one of Einojuhani Rautavaara's early works in which the rhythms and melodies of Finnish folk music have left a strong print. In this respect the work is a close relative of his popular work The Fiddlers.

Symphony No. 2 - Views of Edo

Edo is the ancient name for the city of Tokyo. Inspired by a series of woodcuts by the artist Utagawa Hiroshige (1797-1858) entitled 'One Hundred Famous Views of Edo', Cesarini’s symphony is based upon a few traditional Japanese melodies. The composition is divided into five movements in arch form: a structure in which the individual sections are arranged symmetrically around a centre. Each movement takes its title from a print from the 'One Hundred Views'.

Technische Studien Band 3

The first of the Supplement volumes to be iussed is Part 3 of the Technical Studies, the manuscript of which, after enduring many vicissitudes and lying hidden for decades, turned up in Weimar only in 1975, and appeared in print in 1983. The thematic index provides an overview of the entire material of all three volumes of the Technical Studies. This publication is available in two versions: bound in blue linen, or in grey boards. Only the former version contains the descriptions of sources and the critical notes.Territorial restrictions may apply. Please ask before ordering.

Schoenberg's Program Notes and Musical Analyses

This is the most comprehensive study of Schoenberg's program notes and analyses of his own music yet published. Schoenberg's Program Notes And Musical Analyses illuminates 42 of Schoenberg'scompositions through his own writings. This material in book emphasizes Schoenberg's deep concern for communicating with and educating his audience. In 1950, as Arnold Schoenberg anticipated thepublication of a collection of 15 of his most important writings, Style and Idea, he was already at work on a second volume to be called Program Notes. Inspired by this idea, Schoenberg's Program Notes AndMusicalAnalyses can boast the most comprehensive study of the composer's writings about his own music yet published. Schoenberg's insights emerge not only in traditional program notes, but also in letters, sketchmaterials, pre-concert talks, public lectures, contributions to scholarly journals, newspaper articles, interviews, pedagogical materials, and publicity fliers. The editions of the texts in this collection, based almostexclusively on Schoenberg's original manuscript sources, include many items appearing in print in English for the first time, as well as more familiar texts that preserve musical and textual information eliminated fromprevious editions. The book also reveals how Schoenberg, desirous to communicate with and educate an audience, took every advantage of changes in technology during his lifetime, utilizing print media, radio broadcasts,record jackets—and had he lived, television—for this purpose. In addition to four chapters in which Schoenberg illuminates 42 of his own compositions, the book begins with chapters on his development and influences, histhoughts about trends in modern music, and, in a nod to the importance of the radio in providing a venue for music analysis, a chapter about Schoenberg's radio broadcasts.

Freie Bearbeitungen 2

This volume marks the 40th volume of Liszt's published piano works for two hands. The free arrangements and fantasies created in the second half of the 1830s accurately represent the composing skills of the already mature, celebrated piano virtuoso that Liszt was by that time. The themes of Trois morceaux de salon (the first work of this volume) are derived from Swiss and Spanish melodies in the first two movements, respectively. The third movement, on the other hand, quotes Giovanni Pacini's opera Niobe. Following this ''trilogy'' melodies from Bellini, Donizetti, Meyerbeer, and Mercadante's major operas appear. Examples include reminiscences and fantasies based on Ipuritani, Lucia di Lammermoor, Les Huguenots, and Il giuramento. To the best of our knowledge, the latter has not appeared in print anywhere so far.

Messe Solennelle - Ste Cécile : Ste Cécile

Messe solennelle (Ste Cécile) for Soloists (STB), Choir (SATB), Orchestra and Organ Sacred works occupy a large part of Charles Gounod’s oeuvre. It was the Messe solennelle en l’honneur de SainteCécile that established his fame as a church composer. Its melodic invention and effective handling of the orchestra reveal a close proximity to opera. This Urtext edition is based not only on the original print of1856 but also on copyists’ manuscripts and autograph sources. Rounding off this well-researched Urtext edition are an informative Introduction and a detailed Critical Commentary. The edition is being publishedtocelebrate the 200th anniversary of Gounod’s birth. - Gounod’s well-known mass in a new Urtext edition - Bilingual Foreword (Ger/Eng) and Critical Commentary (Eng) - Idiomatic piano reduction- Full score and parts (BA8966) and vocal score (BA8966-90) available for sale

Freie Bearbeitungen 12

The volume includes the famous 'Weinen, Klagen' variations, based on Bach's similarly-titled cantata and motifs from the 'Crucifixus' of his B minor Mass: a paraphrase of Gounod's 'Hymne a Ste Cécile', appearing here for the first time in print, 'A la Chapelle Sixtine', based on Allegri's 'Miserere' and Mozart's 'Ave verum Corpus' (the part based on a chorus from the 'Ave verum Corpus' can also be performed separately), the 'Rapsodie espagnole', a fantasia on themes from the incidental music to Beethoven's 'Die Ruinen von Athen', Liszt's transcription of the Pilgrims' Chorus from Richard Wagner's opera 'Tannhäuser', and 'Les adieux'. 'Reverie sur un motif de l'opéra Roméo etJuliette…'. The volume is available linen-bound (with critical notes, Z.12401A) and also in a cheaper, hard paperbound version that is adequate for practical purposes.

Annees de Pelerinage Deuxieme annees, Italie

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.

Johannes-Passion (St. John Passion) BWV 245

The St. John Passion was first performed in Leipzig on Good Friday of 1724. Written three years before the St. Matthew Passion, it was a work Bach revised during the rest of his life, in fact he didnot leave us a definitive version either in print or fair copy. The sources give evidence of four different versions used at four performances - 1724, 1725, around 1730 and during the last years of Bach's life. They oftencontain two or more readings for the same passage, or even different movements that on different occasions occupied the same place in the work.Barenreiter's edition uses the final version IV as its basis withalternativemovements and readings contained in the appendices. A comprehensive preface in the study score (German/English) TP197 gives full information.- Full score, performance material (BA5037), vocal score (BA5037-90)and study score (TP197) available for sale.

Ludwig van Beethoven: Sonatas for Piano and Violin, Volume I/II

Ludwig van Beethoven wrote his ten violin sonatas during a period of just fifteen years, between 1797 and 1812. Using our carefully revised two-volume edition of the complete sonatas, the performer can observe with fascination how Beethoven refashions, and varies, the principles of sonata form in each work. What makes this Urtext edition particularly valuable is the fact that all the sonatas have been edited using the surviving manuscripts as well as the original print editions personally supervised by Beethoven. When laying out the text, our editor has attempted to preserve the layout of these sources as exactly as possible. Thus Beethoven’s original notation is reproduced instrict conformity with these models, vividly elucidating the musical relationships desired by the composer. Along with an annotated part, an extra part without fingerings is included for violinists who want to establish their own approach to Beethoven’s violin sonatas.

Pacific Dreams

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting "Pacific Dreams" Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of "Pacific Dreams", he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his "Pacific Dreams".Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Pacific Dreams

Pacific Dreams describes the experience of Miguel, a traveling composer from Spain who, feeling somewhat alienated from his homeland, is wandering through an area of Sydney known as The Rocks. At a small outdoor market in a typical street of this oldcolonial neighbourhood, he discovers a print of William DeShazos painting "Pacific Dreams" Portrayed in the painting is the surf of one of the exotic islands in the Pacific. Next, with the impressive Sydney Harbour Bridge looming over the narrowstreets of The Rocks, he envisions sultry Pacific beaches. Suddenly a theme he once composed about the lakes in Japan comes to him. Is it the Asian influences present in cosmopolitan Sydney that bring this theme to mind? Or perhaps the waters aroundSydney, over which he could sail to Tahiti? He is uncertain. Could this same theme be used to create a new composition about his feelings for the metropolis Sydney? How then to work his Pacific Dreams into the mix? Miguel is certainly no fan ofHawaiian music. Mayby he could use the vocabularies of islands like Hawaii and Tahiti, their beautiful vowel combinations being sung ad libitum by a mixed choir.With these ideas and his newly purchased print of "Pacific Dreams", he boards the Metroat Circular Quay. He has a final glimpse of the harbour and the Sydney Opera House as the train races into the ground. On to the hotel! To work! He must compose!Maestoso : Miguel is impressed as he gazes upon the Sydney Harbour Bridge. And yet, hewants to go away from this city. Away, to an exotic island in the Pacific.Steady Rock : In the Rocks, musicians are playing at a square. Miguel basks in the atmosphere but at the same time he is fantasizing about Hawaii and Tahiti.Andante Lamentoso :In his hotel room, Miguel is feeling sad and lonely in this big city. He takes comfort in his "Pacific Dreams".Allegro : Miguel boards the boat that takes him from Darling Harbour to Circular Quay. In his mind he is traveling on to Hawaii. Or is ithome, where the bolero is playing? He is pulled back to reality by the skyline of Sydney.

Antonín Dvorák: Piano Concerto g minor op. 33

Written in one fell swoop and polished for ages: thus arose one of the most significant works of Czech piano music. Dvorák’s G-minor Piano Concerto was composed in barely two months in 1876 only to be refined for more than seven years before it finally appeared in print. As a result, Dvorák’s handwritten score abounds in changes and corrections. The 141-page autograph bears impressive witness to the work’s extraordinarily difficult gestation. Besides the original text, it contains annotations in lead, red and blue pencil as well as red ink, not to mention many passages hidden beneath pasted slips of paper. Until 1990 the score was owned by Dvorák’s heirs. At the instigation of thepianist András Schiff and with his generous financial support we can now present the first complete facsimile edition of this exhilarating document in a high-quality reproduction that uncannily resembles the original to the last jot. Readers are invited to track down and follow the stages in the work’s genesis. An ideal gift for the “Dvorák Centenary Year” in 2004 … and of course there after as well.

Music Publishing: The Complete Guide (2nd Ed.)

Written by an attorney with over 30 years of experience in the music industry, Music Publishing: The Complete Guide is the definitive manual on music copyright. Whereas many books on the subject are aimed at artists and songwriters, this book serves as a guide for industry pros, lawyers, and music business and law students. Subjects covered include copyright: performing rights organizations: mechanical, synchronization, and print licensing: songwriter and composer agreements: publishing administration and foreign sub-publishing: production music libraries: pitching and placement companies: sampling: and much more. The discussion also delves into historicalperspective and current trends and revenue opportunities in the evolving digital marketplace. Easy-to-read narratives explain the key points for all of these types of deals. There are many sample agreements included in the book, all annotated in simple terms that explain the often complex contract language. There are also links to copyright and publishing resources, listings of foreign performance and mechanical societies, and anecdotes and case studies from real world incidents. If you're looking for a thorough grounding and go-to reference book on music copyright, not just a quick crash course, your search is over.Updated second edition covers digital royalties and changes in the law, including the Music Modernization Act.

La Mer : Trois Esquisses Symphoniques

Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905, however Debussy refined this work upuntil at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previouslyunavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, especially in terms of articulation and dynamics.This new edition includes the famous “fanfare”inMovement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulosand Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which iscommitted to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score andorchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable, generous layout.Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a CriticalCommentary (Eng).

Zoli Kocsis's Manuscript book : Facsimile numbered edition with CD

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. This edition has been published for György Kurtág's 90th birthday. (Tünde SzithaIn 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.'