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Spanish portrait : Vol. 1: Albéniz, Granados, Turina, De Falla

Spanish portrait : Vol. 1: Albéniz, Granados, Turina, De Falla

This series presents some of the most significant works of European and Latin American music from the last three centuries transcribed for chamber guitar ensemble (in formations ranging from duo to quartet). The works contained in each volume have been selected both for their intrinsic artistic value and their potential to enhance sound production and playing technique. All of the transcriptions are strictly faithful to the original texts and have been reworked in order to make them suitable for players at all levels, from novice to professional. “Guitar Ensemble” is therefore an effective aid for the study of ensemble music from middle and high school up to a conservatory level. Spanish Portrait is an anthology of the works of the most important Iberian composers of the late eighteenth and mid-nineteenth century: Isaac Albéniz (1860-1909), Enrique Granados (1867-1916), Manuel De Falla (1876-1946), and Joaquín Turina (1882-1949).

SEK 286.00
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Studi di tecnica per trombone e congeneri Vol. 1 : Technical Studies for trombone and brass 1st volume

Studi di tecnica per trombone e congeneri Vol. 1 : Technical Studies for trombone and brass 1st volume

The aim of this work is to propose a serious and innovative teaching in the study of trombone (and brass) technique, to develop a suitable lip setting (mouthpiece) and fill gaps in technique, speed and agility. The structure is very agile and flexible, so it adapts optimally to each teacher’s own approach, leaving ample room for didactic proposal and interaction. The volumes are enriched with an introduction by the author and a preface by Enzo Turriziani, principal trombone of the Vienna Philarmonic, in both Italian and English

SEK 236.00
1

Lucia di Lammermoor : Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII)

Lucia di Lammermoor : Edizione critica a cura di Gabriele Dotto e Roger Parker (Vol. 1: XLIV, Vol. 2: VIII)

Gaetano Donizettis Lucia di Lammermoor, written to a libretto by Salvadore Cammarano, was first performed at the Teatro di San Carlo in Naples on 26 September 1835. It has remained in the repertory without interruption as one of Donizettis most popular operas throughout its nearly 200-year history. The edition proposes as the principal text a version of the opera that, for the most part, is as near as possible to that given at the premiere in Naples. However, one of the important new features of the edition is that it includes several fully orchestrated passages that, for unknown reasons, were cancelled very close to the time of the first performance. It also features in the third-act mad scene an obbligato part for the glass harmonica, an instrument that Donizetti had chosen for this extraordinary scene, and drafted in his autograph score, but was then constrained to substitute with a solo flute when the glass harmonica player got into contractual difficulties with the theatre. While the glass harmonica part was considered a mere musicological curiosity some decades ago, the critical edition now convincingly argues for its legitimate restoration as part of the composers preferred concept. The Sources section of the edition includes a detailed examination of all contemporary sources for the opera. The composers autograph score is of course the most important of these, but also of great value is the first printed vocal score of the opera, which in some numbers has a piano reduction prepared by the composer and contains many vocal variants (all reported in the score) that will be a great value to performers. There are also a number of early manuscript copies of the full score, several of which are valuable in outlining the first interpretations of Donizettis music. The critical edition restores the original keys, thus maintaining Donizettis overall harmonic design, but discusses transpositions that later entered the performing and editorial tradition of the opera. Three transposed pieces which may have had Donizettis approval will be made available available in the material for hire to theatres.

SEK 4627.00
1

Tema variato M.S. 82 : Edizione critica di Italo Vescovo

Tema variato M.S. 82 : Edizione critica di Italo Vescovo

Paganini’s Tema variato for solo violin (M.S. 82) is a work dating from the composer’s juvenile period, written between the end of the eighteenth century and the beginning of the nineteenth, a period in which works such as his (M.S. 1) for violin and guitar, the posthumous «Grande concerto» (E minor concerto M.S. 75), and Inno patriottico for violin (M.S. 81) were composed. Organised as a theme followed by seven variations, the piece showcases a decidedly virtuosic musical writing, with numerous technical gestures that seem to prelude the Capricci op. 1 (rapid arpeggiated passages, wide leaps, double stops, etc.) together with a search for unusual effects, such as “organetto” and “flagioletto” (the use of simple or double harmonics). The Tema variato is a significant work both in terms of its historical-instrumental importance and its musical quality, where the carefully thought-out organization of the variations, each with its own distinctive character, is evident. This critical edition is based on the manuscript kept in the Historical Archives of the Municipality of Genoa (ms. 1793) compared with the 1999 Suvini Zerboni edition.

SEK 216.00
1

Inno Patriottico M.S. 81 per violino solo : Edizione critica di Italo Vescovo

Inno Patriottico M.S. 81 per violino solo : Edizione critica di Italo Vescovo

Paganini’s Inno patriottico con variazioni for solo violin M.S. 81 is a composition dating back to the period between 1796 and 1800, during which he also composed works such as the Carmagnola con variazioni M.S. 1 for violin and guitar, the Grande Concerto M.S. 75, the Tema variato for violin M.S. 82 and the Sonata a violin solo M.S. 83. There is not very much background material regarding the piece: the only certainties we have about it are that it dates from his early period, springs from a Genovese environment and has numerous similarities to the Carmagnola con variazioni M.S. 1: both compositions are based on a sprightly popular theme in 6/8 that can be traced back to the Perigordino, a French dance that first appeared in the Ligurian Apennines during the Napoleonic period. The structure of the Inno patriottico con variazioni substantially follows that of the Carmagnola and Tema variato: a theme followed by a series of variations in which Paganini demonstrates his personal concept of variation. This edition is based on a recently rediscovered, non-autograph source owned by the descendants of Eredi Sivori, in combination with the copy held by the Archivio Storico del Comune di Genova and printed sources.

SEK 216.00
1

Greeting Cards - 18 pezzi per pianoforte : from opus 170 - Edizione a cura di Luca Ciammarughi

Greeting Cards - 18 pezzi per pianoforte : from opus 170 - Edizione a cura di Luca Ciammarughi

Mario Castelnuovo Tedesco composed 52 Greeting Cards for various instruments between 1953 and 1967, collectively catalogued as opus 170, which he developed in a non-systematic manner up to the year before his death. These pieces were conceived as gifts for his interpreters and students, whom the author meant to gratify with these pleasant little vignettes. Composed between 1953 and 1964, the 18 Greeting Cards for piano (17 for piano solo and 1 for two pianos) represent a point of equilibrium between experimentation and tradition. In the same series : Greeting Cards for guitar, critical edition by Frédéric Zigante (NR 141936)

SEK 350.00
1

Tchaikovsky : 14 original pieces with performing notes

Tchaikovsky : 14 original pieces with performing notes

Att spela de stora kompositörernas största verk har nu blivit lättare tack vare en serie upplagor, där stycken separeras, organiseras efter progressiva svårighetsgrader och förses med en hel rad värdefullt stödmaterial som historiska och litterära introduktioner till varje verk, tekniska riktlinjer för pianister, fingersättning etc. Ett utmärkt sätt att upptäcka den stora pianorepertoaren och ett användbart läromedel. Den aktuella samlingen inleds med verk hämtade från Children's Album, som The Sick Doll och The March of the Wooden Soldiers, speciellt lämpliga för nybörjarelever. Detta följs av ett urval hämtat från The Seasons, som inkluderar ett av Tchaikovsky's mästerverk, the Barcarolle (June). Volymen avslutas med ett särskilt intressant erbjudande för pianobrandmän. SONGLIST 1. The Sick Doll [Pjotr Iljitsj Tchaikovsky] 2. March of the Wooden Soldiers [Pjotr Iljitsj Tchaikovsky] 3. The New Doll [Pjotr Iljitsj Tchaikovsky] 4. Playing Hobby Horses [Pjotr Iljitsj Tchaikovsky] 5. April: Snowdrops [Pjotr Iljitsj Tchaikovsky] 6. October: Autumn Song [Pjotr Iljitsj Tchaikovsky] 7. May: Starlit Night [Pjotr Iljitsj Tchaikovsky] 8. June: Barcarolle [Pjotr Iljitsj Tchaikovsky] 9. December: Christmas [Pjotr Iljitsj Tchaikovsky] 10. The Pine-Tree Swings by the Gate [Pjotr Iljitsj Tchaikovsky] 11. Merry Katya [Pjotr Iljitsj Tchaikovsky] 12. Under the Green Apple Tree [Pjotr Iljitsj Tchaikovsky] 13. Song of the Volga Boatmen [Pjotr Iljitsj Tchaikovsky] 14. There Was No Wind [Pjotr Iljitsj Tchaikovsky]

SEK 276.00
1

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Le opere attestate in antologie compilate in vita : Vol. 10/I - Edizione critica a cura di Alessandro Borin - David Bryant (testi in italiano e

Vol. 10 of the Complete Works, articulated in two parts, contains the music found exclusively in manuscript and printed anthologies compiled prior to the great sixteenth-century Venetian composer’s death in 1585. Broadly speaking, Gabrieli’s contributions to collective anthologies fall into the following categories: 1) celebratory compositions, in several cases conceived as individual contributions to madrigal cycles by various composers in honour of more or less prominent Venetian or other personalities; 2) compositions originating in social and cultural circles close to Gabrieli; products of the composer’s habitual interaction with patrons, poets and musicians in midsixteenth-century Venice, these compositions are published in anthologies containing similar works by other composers in Gabrieli’s milieu; 3) individual madrigals inserted in generic multi-author anthologies. Vol. 10/I features eight compositions on texts in Latin, Italian and ‘stradioto’ dialect (a linguistic concoction in which words of Greek origin appear against a background of simulated Venetian dialect). These include Gabrieli’s contribution to a Corona of nine sonnets by various composers on the death of Annibale Caro, the celebrated man-of-letters whose production comprises a highly successful Italian translation of Virgil’s Aeneid. The entire Corona is edited in the Complete Works. Gabrieli’s presence in multi-author anthologies follows a predictable pattern. The young composer’s earliest madrigals appear in editions of music by well-established authors (Vincenzo Ruffo, Cipriano de Rore) or collective anthologies edited by enterprising local musicians or other cultural figures (Giulio Bonagiunta, a singer at St Mark’s; the Venetian poet, actor and musician Antonio Molino). These give way to anthologies of music by highly celebrated composers, to which Gabrieli, his reputation now secure, accedes by invitation; and, beginning in 1583, non-Italian publications (increasingly common in the years following the composer’s death).

SEK 1364.00
1