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Poet and Peasant and Other Great Overtures : in Full Score

Poet and Peasant and Other Great Overtures : in Full Score

A prolific writer of theatrical music whose works ranged from incidental music for operettas to full operas, Franz von Suppé (1819 95) is perhaps best known as the composer of the overture from which this collection takes its name. According to Grove's Dictionary of Music and Musicians, "Suppé is the earliest Viennese composer of musical farces whose works still survive as viable stage scores (and popular overtures) . . . . His light, fluent style includes the ability to vary a phrase length or melodic and rhythmic figure in a personal and immediately effective way." In addition to the title piece originally arranged for no less than 59 different combinations of instruments this compilation includes the Vienna Jubilee Overture and the overtures to three of the composer's most popular works: Morning,Noon and Night in Vienna: Beautiful Galatea: and Light Cavalry. Reprinted from authoritative editions and offered in a convenient single-volume format, these full scores will delight students, musicians, and admirers of the celebrated Austrian composer. Reprint of Vienna Jubilee Overture (August Cranz, Leipzig, n.d.): and overtures to the following works: Morning, Noon and Night in Vienna (C. F. W. Siegel, Leipzig, n.d): Beautiful Galatea and Light Cavalry (Cranz): and Poet and Peasant (Josef Aibl, Munich, n.d.).

SEK 454.00
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Mozart and His Piano Concertos

Mozart and His Piano Concertos

This classic of music criticism provides detailed studies of 23 of Mozart's piano concertos. In addition to establishing the lines along which the genre developed, the concertos also shed light upon the technical and inspirational growth of their creator. The first full-length survey devoted to these works, this scholarly book presents a full, concrete musical analysis that makes liberal use of musical examples — 417 in all — and presents authoritative information on the concertos' form, tone, style, and balance as well as the circumstances of their composition. The author compares and contrasts each piece with Mozart's other works and with compositions byBeethoven, Haydn, and other composers. A definite text for musicologists, performers, teachers, and students, this study's clarity and personable tone make it accessible to any lover of Mozart's music.

SEK 355.00
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Serenades Nos. 1 and 2 : in Full Score

Serenades Nos. 1 and 2 : in Full Score

These two serenades reflect Brahms's interest, during the years 1858 and 1859, in the symphonies of Haydn and Mozart, as well as the latter's exquisite divertimenti, scored for small instrumental ensembles. Serenade No. 1 in D major was in fact originally composed for nine woodwinds and solo strings, then later rescored for full orchestra. Its six movements — graceful, melodious, and light-textured — reflect the elegance of the Mozart model while entertaining us with Brahms's characteristically spacious, flowing themes. Serenade No. 2 in A major for Small Orchestra was a favorite of Brahms — warm, intimate, and darkly colored because of the unusual absence of violins.Referring to the work as his beautiful opus, the composer often reflected on its delicacy and the severe test of performing its pensive Adagio, the third movement of five. This attractive, inexpensive edition — combining both serenades in a single volume — is sure to appeal to a wide audience of musicians and music lovers.

SEK 315.00
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Parade. Ballet Realiste Sur Un Theme De J. Cocteau

Parade. Ballet Realiste Sur Un Theme De J. Cocteau

Although his name was associated with fashionable artistic movements of early twentieth-century Paris — Cubism, Surrealism, Dadaism, and Neoclassicism — Erik Satie followed his own light, never belonging to any group or adopting a particular doctrine. A true nonconformist, he struck out on his own path to develop a musical structure reflecting his unique personality and eccentricities, anticipating artistic tendencies that others shaped into dogma. Satie's 1916 ballet Parade, created in collaboration with three leading artists of the period, was hailed as a Cubist manifesto. Jean Cocteau created the idea for the production: Pablo Picasso designed sets and costumes:and Léonide Massine choreographed the production and danced in the premiere performance of May 18, 1917. Stripped of subjective emotion, the work removes basic fragments of melody and simple harmonies from their conventional associations and recasts them in unexpected but logical patterns — a practice similar to the Cubist painters' transformation of everyday items into novel configurations. This inexpensive full score will be treasured by music lovers and all admirers of this uniquely influential twentieth-century composer.

SEK 276.00
1

Alexander Scriabin: Poem Of Ecstasy And Prometheus: Poem Of Fire

Alexander Scriabin: Poem Of Ecstasy And Prometheus: Poem Of Fire

In the early years of our century, when vital new forces were revolutionising the arts, Russian-born Alexander Scriabin (1872-1915) was one of the visionary pioneers who sought a new musical language. At least a full decade before the advances of Stravinsky and Schoenberg, Scriabin had begun the process of a complete break with all musical conventions. By 1905 he was immersed in a search for a way to express, in sound, the mystical and theosophical ideas obsessed him. Scriabin ’s last two orchestral works were the products of a virtual delirium of composing. Simultaneously refining his poem called Poem of Ecstasy and completing the symphony that grew out of it (and shared its name), Scriabin never forgot the rapture of composing this work about creation and self-fulfilment: “I gasp for breath, but oh, what bliss! The very meter kindles the meaning…” Prometheus: Poem of Fire – Scriabin ’s last and most revolutionary symphony – portrays Man’s epic journey from the mists of beginning time to a wonderous self-realisation, given the gift of fire and light to make creative vision possible. Massively scored, Prometheus incorporates a “colour Organ” to bathe the performance space in a vast interplay of coloured lights. For the music professional and every student of composition, orchestration and conducting, both scores are strikingly original and instructive. Equally fascinating are Scriabin ’s approach to composition, the extraordinary sonorities of his orchestra and his fanciful, often supercharged, performance instructions that replace conventional words for tempo, mood and expression.

SEK 246.00
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Story Of Jazz As Told By The Men Who Made It

Story Of Jazz As Told By The Men Who Made It

Music is your own experience, your thoughts, your wisdom. If you don't live it, it won't come out of your horn. — Charlie Parker What is jazz? The rhythm — the feeling. — Coleman Hawkins The best sound usually comes the first time you do something. If it's spontaneous, it's going to be rough, not clean, but it's going to have the spirit which is the essence of jazz. — Dave Brubeck Here, in their own words, such famous jazz musicians as Louis Armstrong, King Oliver, Fletcher Henderson, Bunk Johnson, Duke Ellington, Fats Waller, Clarence Williams, Jo Jones, Jelly Roll Morton, Mezz Mezzrow, Billie Holiday, and many others recall the birth, growth, and changes in jazz over theyears. From its beginnings at the turn of the twentieth century in the red-light district in New Orleans (or Storyville, as it came to be known), to Chicago's Downtown section and the Original Dixieland Jazz Band and Chicago's South Side to jam sessions in Kansas City to Harlem during the Depression years, the West Coast and modern developments, the story of jazz is vividly and colorfully documented in hundreds of personal interviews, letters, tape recorded and telephone conversations, and excerpts from previously printed articles that appeared in books and magazines. There is no more fascinating and lively history of jazz than this firsthand telling by the men who made it. It should be read and re-read by all jazz enthusiasts, musicians, students of music and culture, students of American history, and other readers. A lively book bearing the stamp of honesty and naturalness. — Library Journal. A work of considerable substance. — The New Yorker. Some of the quotations are a bit racy but they give the book a wonderful flavor. — San Francisco Chronicle.

SEK 301.00
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