Harp Studies II
This book situates harping activity as a vital aspect of music making in traditions around the world.
The Poets of Tin Pan Alley
From the turn of the century to the 1960s, the songwriters of Tin Pan Alley were synonymous with American popular music. Irving Berlin, Cole Porter, George and Ira Gershwin, Rodgers and Hart--even today these giants remain household names, their musicals regularly revived, their methods and styles analyzed and imitated, and their songs the bedrock of jazz and cabaret. In this new edition of The Poets of Tin Pan Alley, authors Philip Furia and Laurie Patterson offer a unique perspective on these great songwriters, showing how their poetic lyrics were as important as their brilliant music in shaping a golden age of American popular song. Furia and Patterson continue the tradition of great perception and understanding established in the first edition as they explore the deft rhymes, inventive imagery, and witty solutions these songwriters used to breathe new life into rigidly established genres. They devote full chapters to such greats as Irving Berlin, Lorenz Hart, Ira Gershwin, Cole Porter, Oscar Hammerstain II, Howard Dietz, E.Y. Harburg, Dorothy Fields, Leo Robin, and Johnny Mercer. They also offer a comprehensive survey of other lyricists who wrote for the sheet-music industry, Broadway, Hollywood, and Harlem nightclub revues. This was the era that produced The New Yorker, Don Marquis, Dorothy Parker, and E.B. White--and the book places Tin Pan Alley lyrics firmly in this fascinating historical context. In these pages, the lyrics emerge as an important element of American modernism, as the lyricists, like the great modernist poets, took the American vernacular and made it sing.
Ferdinando Carulli
Who would have thought you could play classical music on a ukulele? But you can! Here are compositions from the Romantic Era by Ferdinando Carulli. These pieces have been transcribed for the low G and are perfect for intermediate to advanced performers. Have fun!
Symphony No.1, Op.25 ’Classical’
Prokofiev started work on his first numbered symphony in the later half of 1916, composing the bulk of it while on a country holiday to escape the street fighting in Petrograd during the February revolution, finally completing the work on September 10, 1917. Inspired by his encounter in conducting class with the works of Haydn and Mozart, the symphony features clear and light orchestration Mozart in particular would have appreciated. The premiere took place in Petrograd on April 18, 1918 with the composer conducting the newly formed State Orchestra, formerly the Court Orchestra of the Tsar. Editor Clinton F. Nieweg used all available sources in preparation of this outstanding edition of this landmark 20th century work. With a new clear engraving, the young Prokofiev's mastery of orchestral writing is readily apparent. First issued by the now-defunct publisher Kalmus in 2010, Serenissima is most pleased to offer this outstanding edition in study score format, along with the full score and orchestral parts. Serenissima is proud to serve as the only authorized publisher for Mr. Nieweg's outstanding editions.
Symphony No.2, Op.27
Composed over a six month period (October 1906 to April 1907), Rachmaninoff's second excursion into symphonic form was written at a time when he was still not entirely confident in his abilities to handle the genre. Unhappy with the first draft, the work was subjected to much revision for several months after its completion. The premiere, given on January 26, 1908 in St. Petersburg's Mariinsky Theatre with the composer conducting, received tumultuous applause from the delighted audience. The work gained much popularity soon after and remains a staple of the orchestral repertoire to this day.Editors Clinton F. Nieweg and Christopher R. Morgan have consulted all available sources in course of preparing their edition of this cornerstone work. Originally issued in 2011 by the now-defunct publisher E. F. Kalmus, this superb edition is now available from Serenissima Music as a large conductor score and orchestral parts aling with the study score offered here.
Dance of the Hours from ’La Gioconda’
Dance of the Hours (Danza della ore) was composed for a ballet in the Act III finale to the 1876 opera La Gioconda. The scenario was a simple one: the depiction of the hours of the day using solo and ensemble dances. The opera was a major breakthrough for Ponchielli, and the third-act ballet soon became a favorite in the concert hall and as an independent ballet number. It's fame reached and entirely new level with its use as the background for a ballet-parody in the 1940 Disney film Fantasia, featuring dancing hippos, ostriches, alligators and elephants.Clark McAlister's edition goes back to Ponchielli's original score and was carefully researched consulting first editions, manuscripts and performance material. Originally issued in 2007 by the defunct publisher E.F. Kalmus, we are very pleased to make this excellent edition available in a convenient size study score. The large conductor score and orchestra parts are also exclusively available from Serenissima Music.
Christmas Carols for Piano. Beginner Christmas Sheet Music Book for Kids and Adults (＋Free Audio)
Every beginning is difficult ...Do you also have the feeling that most Christmas piano sheet music for beginners is still too difficult to play?One of the biggest mistakes you can make when you start learning the piano is trying to play difficult pieces too soon. It could take you too long to master a piece, which can quickly cause you to lose your motivation to play the piano. That is why many beginners give up after only a short time.So, to keep at it, it is important that your piano songs are adapted perfectly to your needs. In this book you will find a diverse collection of 45 easy Christmas songs for beginners - for both kids and adult students - that show letters (note names), numbers (fingerings), and lyrics.In this book, you will get: 45 EASY CHRISTMAS SONGS FOR BEGINNERS - All songs have been arranged especially for beginning students. This means that all complex chords and rhythms have been simplified. Also, all the carols are kept relatively short, only one or two pages long. This will allow you to enter the magic world of piano without frustration.INTERNATIONAL CHRISTMAS SONGS - In this book you will find many well-known Christmas carols and holiday songs, as well as some international songs famous in non-English speaking countries. This varied selection of easy sheet music will fuel your enjoyment when practicing the piano.FROM EASIEST TO HARDEST - Are you tired of searching for piano pieces with the appropriate difficulty? At the beginning of this book, you will find very simple songs, and then they gradually get more challenging as the book progresses. This will keep you motivated and enable you to progress through the levels.WITH LETTERS AND NUMBERS - All songs in this book are presented with letters above the music notes to help you know what keys to press. All songs also include finger placements (numbers) in problem areas.LARGE PRINT - Most music notes for beginners are pretty small, so learners struggle to read them without squinting. To avoid this, all songs in this book have a clear layout and large print for students to follow the pieces easily.NOTES FOR BOTH HANDS - Most easy piano pieces for beginners have notes for practicing one hand only. The proper technique, however, is playing with all fingers and both hands. That's why all pieces in this book are in both treble and bass clef (i.e., both right and left hand).BONUS: FREE AUDIO FILES TO DOWNLOAD - Do you want to get an idea of what a piece should sound like? If you are unsure how to play a piece, our audio files will help you get a feel for the melody.Buy this book NOW and enter the splendid world of piano and music!Ideal also as a wonderful birthday present or Christmas gift.
St. Paul’s Suite, H.118b
Holst's popular suite was named for the St. Paul's Girls' School of Hammersmith, London - where he was the music director from 1904 until his death thirty years later. Composed in 1912 as a token of gratitude for the installation of a sound-proof teaching studio, where Holst composed this and nearly all subsequent works. The four movement suite was also premiered at St. Paul's by the school orchestra under Holst's direction in the winter months of 1913. Not long after the premiere, the school purchased wind instruments, resulting in the addition of parts for flutes, oboe, clarinets and horn to the original string orchestra setting. The premiere date of this amended setting is unknown but the extra parts seem to have been added by 1920. Clark McAlister's new edition the setting with winds is based on the composer's manuscript, which differs in several respects from the string orchestra setting published in 1922. McAlister's score was first issued in 2006 by the now-defunct publisher E.F. Kalmus. Serenissima is proud to make this outstanding work available and is now the exclusive publisher for not only the study score offered here but the large score and orchestra parts.
Habanera, D 63
Originally for piano, Chabrier's Habanera was arranged for orchestra by the composer for a concert he conducted in Angers on November 4, 1888. The piano version was also the first to be published (Enoch Fr癡res et Costallat, 1885). The orchestral version, which is transposed up to D major, was not issued until 1889. The Habanera is a fine example of the Spanish genre which was so popular in the works of French composers in the 19th and early 20th centuries.Richard W. Sargeant's newly engraved is based upon the 1889 first edition score and parts, the composer's manuscript having vanished during the second world war. The study score offered here is a reduced format reproduction of thr large conductor score which is also available along with the orchestral parts from Serenissima Music.
Violin Concerto No.2, MS 48
Paganini's second concerto is separated by 11 years from his first, and differs quite a bit in content, with concentration more on intrinsic musical aspects than in showcasing the composer's famous virtuosity as violin virtuoso. Although the composer included the piece in his own list of works, it was not published until 11 years after his death - by the Paris firm Schonenberger as No.2 of a series titled "Oeuvres Posthumes". It's most famous for the third movement which features an unusual instrument in the orchestra of 1826 - a tuned bell in F-sharp. This led to the nickname "La Campanella". Though originally applied to the third movement's principal theme, it soon referred to the entire concerto. It also inspired several other composers to produce their own fantasies upon the melody.The score offered here is a newly engraved, thoroughly researched edition prepared by Gregory Vaught as part of the Nieweg Performance Editions series. The large score and orchestral parts are available from Serenissima Music along with the convenient study score format listed here.
Ode to Death, H.144
Considered by many to by Holst's most beautiful choral work, Ode to Death was composed as a tribute to friends who died in World War I. Using the poetry of Walt Whitman, who he considered a mystic new world prophet, Holst set the last section of "When Lilacs Last in the Dooryard Bloom'd" using open chords with the feeling of infinite space. This haunting classic is now available in a newly engraved and thoroughly researched score by Richard W. Sargeant, Jr. The full score and orchestra parts are also available for sale from Serenissima Music.
Copp矇lia Ballet Suite
Copp矇lia, Delibes' first complete ballet score, was given its premiere in Paris at the Th矇璽tre Imp矇rial de l'Op矇ra on May 25, 1870 - less than two months before the onset of the Franco-Prussian War which not only disrupted performances of the ballet (especially after the siege of Paris) but led indirectly to the untimely deaths of choreographer Arthur Saint-L矇on (September) and 17-year old prima ballerina Giuseppina Bozzacchi (November). The ballet was soon revived and went on to become the most performed ballet at the Paris Op矇ra, entering the international ballet repertoire with performances in St. Petersburg, London and elsewhere before 1900.The suite offered here is the original one approved by the composer, consisting of four 'movements' made up of two dance numbers each, differs from the suite issued in 1883 by the Berlin publisher F羹rstner. This newly engraved edition by Clark McAlister, prepared from the original Heugel edition, was first published by the now-defunct firm E.F. Kalmus in 2005. Serenissima Music is proud to make this excellent edition available in a convenient study score format along with the full conductor's score and orchestra parts.
Snare Drum Development L3
Snare Drum Development (SDD) and Drumset Development (DD) are, throughout the PercMP Development Areas, the main framework around which all other Development Areas orbit; these areas have been conceived to help percussion and drum teachers achieve a profound view of their student's improvements while guiding them throughout the higher levels of drum playing.The student, while studying SDD, should be simultaneously working on DD: the level of DD should be one less than SDD's, thus, when beginning the second level of SDD the first level of DD can be introduced.As progress is made, a new Development Area may be added: the more areas the student manages, the more profoundly competence and skills will grow; nonetheless, SDD and DD should be the only Development Areas on which the student will be working constantly.SDD consists of short pieces that the student will have to prepare for the following lesson; how these pieces will be mastered is an issue to be pre-emptively clarified in order to positively monitor the student's progress. Therefore, the teacher will have to determine in advance which criteria to adopt when evaluating each piece and assigning a new one in its place.The general complexity expressed at each level of SDD does not have to be comparable to the difficulty of other areas simultaneously studied, especially if related to repertoire. Indeed, the student may find him/herself studying a repertoire piece that is much more difficult than is expressed by the level required in SDD: this would be perfectly appropriate while the contrary would surely be unfitting. The time term of SDD is classified as VST while a repertoire piece may be classified from MT to VLT; therefore, the latter can be more complex.In the pieces throughout all levels of SDD, rhythmic patterns and time signatures are gradually introduced: technical skills, rhythmic skills and a sense of meter will therefore gradually improve.When composing these works, one of the main objectives was to supply both students and teachers with pieces in which the formal structures would well be identifiable, thus stimulating an attitude to analysing the pieces before studying them. Developing the ability to identify periods, phrases and motifs will surely allow the student to achieve a higher level of awareness; consequently, a higher degree of motivation for increasing one's technical skills will strongly improve. While performing these pieces the student will therefore not find him/herself playing a series of grooves, where a rhythmic motif or phrase is constantly repeated throughout the piece, but will be required to interpret, by considering the drum as a solo instrument, pieces with a musical meaning in their whole, even though they may, at a very first level, be only of eight measures long.Snare Drum Development L3 is the third book of the SDD series, offering the continuation for a gradual formative path related to snare drum development.
Old Hungarian Dances
This new orchestration by Clark McAlister is based on the final nine items in Bart籀k's 1915 piano suite Hungarian Peasant Songs, Sz.71. Scored for a Mozart-sized orchestra, it is a most attractive setting of the final section or Bart籀k's original piano version, where the nine peasant songs are played without a break. McAlister's orchestration was first issued as full score and parts in 2007 by the now-defunct American publisher E.F. Kalmus. The study score offered here is a reduced-size reissue of the large score, which is now exclusively available from Serenissima Music along with the orchestra parts.
Oboe Concerto in D minor, Op.9 No.2
Tomaso Albinoni's Oboe Concerto in D minor has long been regarded as one of the finest concertos composed for the instrument. It was published in Amsterdam in 1722, the second of the 12 Concerti a cinque, Op.9. The date of composition and the premiere is unknown, but the work has increased in popularity in the later half of the 20th century to the present day along with the movement for historically appropriate performance practice. The edition offered here is a new one prepared by Richard W. Sargeant Jr. working from the copies of the 1722 print available online at IMSLP. This study score is a reduced-format version of the large score and also includes the editor's realization of the continuo part. Besides the large score, the orchestra parts and an oboe and piano reduction are also available from Serenissima Music.
E.W. Wolf
Among the many works composed in various genres by Ernst Wilhelm Wolf (1735-1792), the solo keyboard works stand out for their accessibility, expressivity, and clear formal unity. They are fine examples of the early classical and rococo style popular in Germany at the time. This edition includes 74 works composed between 1765 and the end of Wolf's life, mostly sonatas, some sonatinas, and one fantasy with variations. A friend and admirer of Carl Philipp Emmanuel Bach, Wolf, like C.P.E., clearly favored the clavichord, but most of the sonatas can be played on the fortepiano, as well as the modern piano. An important Foreword to Wolf's 1785 publication, A Guide to Good Performance on the Clavichord, is included here (in Volume 2) in a new translation. It is a valuable treatise that not only details Wolf's specific advice on clavichord technique, but also describes ornamentation, articulation, and other issues applicable to keyboard playing of the period.
Orlando Gibbons
Orlando Gibbons (1583-1625). The Consort Anthems: Behold, thou hast made my days; Blessed are all they that fear the Lord; Glorious and powerful God; Great King of Gods; Lord, grant grace; O all true faithful hearts; See, see, the Word is incarnate; Sing unto the Lord; This is the record of John; We praise thee, O Father; Do not repine, fair sun; See, see, the Word is incarnate (high version). Introduction, Critical Commentary and scores. Performing parts available direct from the publishers.
Poeme, Op.25
Composed between April and June 29, 1896 while on holiday in Italy, the Po癡me was written in response to a request by the violinist Eug癡ne Ysaÿe for a concerto. Initially entitled Le Chant de l'amour triompant - after a romantic novella by the Russian novelist Ivan Turgenev which might have been inspired by events in his own life: the failed engagement of Pauline Viardot's daughter Marianne to the composer Gabriel Faur矇 and Turgenev's own infatuation with Pauline, which led to his leaving Russia to end up in Paris residing at the Viardot household. Turgenev, Pauline and Marianne Viardot and Faur矇 were all acquaintances of Chausson, but his ultimate creation was a work without any kind of extra-musical program.The Po癡me was given its offical premiere with Ysaÿe as soloist on December 27, 1896 at the Nancy Conservatoire, with the orchestra conducted by Guy Ropartz. The present score is a superb newly engraved critical edition by Clinton F. Nieweg based on the composer's manuscript and the first edtion first issued in 2010 by the now-defunct E.F. Kalmus. The large score and orchestra parts are likewise available from Serenissima Music.
Festival Overture on ’The Star-Spangled Banner’
Composed for a special July 4th, 1879 orchestral concert conducted by the famed bandmaster and conductor Patrick Gilmore, the 'Festival Overture on the American National Air' was not Dudley Buck's first treatment of the famous melody composed by John Stafford Smith. In 1866 Buch composed the Concert Variations on 'The Star-Spangled Banner' for organ as his Op.23 - published in 1869. The overture became quite popular in the composer's lifetime, often featured in Gilmore's summer concerts held on Coney Island's Manhattan Beach during the 1880s and early 1890s in a band arrangement. It was also a regular in orchestral concerts conducted in both America and in Europe by Frank Van der Stucken - founder of the Cincinnati Symphony.This new definitive performing edition by Clark McAlister is based on the composer's manuscript held at the Library of Congress. Previously issued by the now-defunct E.F. Kalmus in 2011, this new study score is a reduced-format reproduction of the beautifully engraved large score issued that year. The orchestral parts and full score for this outstanding edition are now exclusively available from Serenissima Music.
Learning the Bass, Book Two
Learning the Bass, Book Two continues the popular string method presented in Learning the Bass, Book One. Besides extensive work in note-reading, techniques such as string crossing, slurs, and both right and left-hand agility are taught. This book can be studied in private lessons, in single-string classes, or in mixed-string classes, along with Learning the Violin, Book Two, Learning the Viola, Book Two, and Learning the Cello, Book Two. A score and piano accompaniment is also available. This book could be studied along with Playing the Bass, Book One.
Symphony No.1, CG 527
Composed in 1853-54 as a kind of 'musical vacation' from the operas he was busy with, Gouod's first symphony was given its official premiere in Paris at a concert of the Soci矇t矇 des jeunes artistes on March 4, 1855 under the direction of Georges Paseldoup. The publisher Colombier issued score, parts and an arrangement for piano duet by the young Georges Bizet. This work might have served to inspire Bizet to try his own hand at the symphonic form as made the arrangement for piano duet shortly before starting his own Symphony in C major, which was forgotten for many years after Bizet's death.This newly engraved edition was made by Clark McAlister with some assistance from Nancy M. Bradburd, retired associate librarian of the Philadelphia Orchestra. First issued in 2006 by the now-defunct publisher E.F. Kalmus, the edition is now exclusively available from Serenissima Music. This new study score is a reduced-format reissue of the large score.
Symphony in D minor, CFF 130
Composed between 1886 and 1888, Franck's sole mature symphony received its premiere at the Paris Conservatoire on February 17, 1889 under the baton of Jules Garcin to decidedly mixed reviews. This opinion changed soon though and the work was already being performed by orchestras worldwide by the first part of the 20th century. The composer gave his manuscript to the dedicatee Henri Duparc, which sadly was destroyed in a fire at the Duparc estate in 1935.This newly engraved edition, carefully prepared from the first edition and other authoritative sources by Clinton F. Nieweg was first issued by the now-defunct publisher E.F. Kalmus in 2012. The study score offered here is a reduced format reissue of the 2012 score, which is now also available along with the orchestral parts from Serenissima Music.
Two Horn Concertos
Haydn's early concerto for horn dates from 1762 - the second year of Haydn's long tenure as Kappellmeister of the Esterhazy court. Musicologists debate the intended occasion and soloist. Many have suggested it was composed for Thaddaus Steinm羹ller, one of the first musicians hired by Haydn the previous year, while others argue for it being composed for the baptism of one of the children of Joseph Leutgeb, the famous hornist for whom Mozart wrote concertos.The so-called second concerto, thought to date from around 1767 is now regarded by most Haydn scholars as doubtful. It was first mentioned in the Breitkopf catalogue of 1781 and haydn's brother Michael is argued to be the real composer, though others are in the running as well. The ca.1781 Dresden manuscript simply states it was composed by Signor Haydn, though the main source for the present edition is a copy of a Zwittau manuscript made by Eusebius Mandyczewski.The present editions were prepared by Clark McAlister on the basis of the first edition and other authoritative sources and published in 1994 by the now-defunct E.F. Kalmus. Serenissima is proud to now be the exclusive source for McAlister's excellent edition and the present study score is produced ina handy and easy to read format.
Le Chasseur maudit, CFF 128
Composed in 1882, Franck's brilliant ton poem is after a ballad by the German poet Gottfried B羹rger about a count who defiantly goes hunting on Sunday in violation of the sabbath. Though reminded of the day via church bells and chants and warned by church elders, the Count blows his hunting horn. In the forest he is cursed by a loud voice: "Cursed hunter, be thou eternally pursued by Hell!" The wild ride commences when the count attempts to flee but is sourrounded by flames, and pursued by demons - blocking him and then chasing him day and night. Even when the count and his horse fall into the abyss they are borne through the air to ride on in eternal punishment.Inspired by the lurid tale, Franck unleashed the power of a large orchestra to portray the dark and fantastic tale of the infernal ride in sound. Clint Nieweg and Nancy Bradburd's 2010 edition, previously issued by the now-defunct publisher E.F. Kalmus, is based on the first edition and other authoritative sources. The study score offered here is a reduced-format reissue of the large conductor's score, which is now available along with the orchestral parts from Serenissima Music.
Clarinet Concerto No.2, Op.5
Composed around 1815 and dedicated to Tsar Alexander I of Russia, Crusell's second concerto is one which takes full advantage of the two prominent registers of the instrument, which the minor-key first movement uses to highten the dramatic nature of the music. The second movement, a pastorale-like Andante in the relative major, is followed by a return to F minor for the Rondo - which nevertheless ends in F major. The concerto was first published in 1818 and this first edition was the primary source for McAlister's newly engraved edition offered here - in a convenient reduced format study score. The large score and orchestra parts are also exclusively available from Serenissima Music.
Dixtuor, Op.14
Enescu composed this work for chamber winds in 1906 for a Paris ensemble known as the Soci矇t矇 moderne d'instruments ? vent, who gave its premiere on June 12 of that year. The work was published a year later but has only recently made its way into the chamber wind repertoire. The new edition offered here was perpared by Clark McAlister and first published in 2007 by the now-defunct publisher E.F. Kalmus.This new study score, in a handy size, is a reduced format reissue of the 2007 large score, which is now exclusively available along with the parts from Serenissima Music.
Contemporary Duos for Cello
Contemporary Duos for Cello by contemporary classical composer Avraham Chachamovits Liston to it here: https: //soundcloud.com/achacham/sets/contemporary-classical-works
Carmen Suite de Concert No.1
In the wake of Georges Bizet's untimely death in 1875, his longtime friend Ernest Guiraud (1837-1892) arranged two orchestral suites taken from the French master's final work, the opera Carmen. The two suites were compiled between 1880 and 1882. Guiraud selected five items for the first suite: Pr矇lude, Aragonaise, Intermezzo, Les Dragons d'Acala and Final (Les Toreadors) which was published by the Paris firm Choudens. The first suite's orchestration little changed from that found in the corresponding numbers of the opera in Guiraud's score. Around 1906, the German conductor Fritz Hoffmann orchestrated the S矇guidille for the publication of his edition of the first suite issued by the Leipzig publisher Breitkopf und H瓣rtel. Hoffmann's orchestral setting departs substantially from the composer's own orchestration in the opera. For this new edition, Clark McAlister has provided a new orchestration of the famous S矇guidille in which the vocal line is given to English horn while Bizet's own orchestration is largely unchanged. For those who prefer Hoffmann's setting, it is to be found as an appendix in the present score. The large conductor's score and orchestral parts for this outstanding new edition are exclusively available from Serenissima Music.
Two Tit-Bits of Room-Music
While renowned for his imaginative folk-music settings, Percy Grainger also composed a number of original works in a folk-music style. This new study score presents two Grainger originals written in the manner of English folk music. The first, Mock Morris, composed in the style of an English morris dance, was one of the earliest composed (1910). The second one, Handel in the Strand, likewise heavily influenced by the style of morris-dance tunes - with the indication that it is to be "played to or without clog-dancing".As with many of Grainger's British Folk-Music settings both of these exist in multiple arrangements - "dished-up" by the composer himself as part of his own "Room-Music Tit-Bits" series. Composed between 1910 and 1912, Mock Morris is scored for an ensemble of string sextet (or string orchestra), while Handel in the Strand is for piano quartet. The scores offered here are digitally restored reissues of the ones published in 1911 and 1912 by Schott & Co., Ltd. of London. The full scores and parts for both of these works are also available from Serenissima Music.
The Saint-Saens Cello Concerto No. 1 Study Book, Volume One
The Saint-Saens Cello Concerto No. 1 Study Book, Volume One helps you learn and perfect every measure of the first two "movements" of this major cello concerto. The Concerto is broken down into short sections and taught through carefully graded exercises. Skills that would otherwise be difficult, such as shifts, fast scale patterns, and double stops can now be mastered. You can be free to concentrate on artistic expression by solidifying your cello technique. The Saint-Saens Cello Concerto No. 1 Study Book, Volume One gives you essential tools to be a better cellist. The entire cello part to the first two "movements" of the Concerto is presented at the end of the book (the piano accompaniment is not included). This book could be studied along with The Popper High School Study Book for Cello, Volume One.
Pietro Paolo Borrono
Who would have thought you could play classical music on a ukulele? But you can! Here are songs and dances from the Rennaissance by Pietro Paolo Borrono transcribed for Low G ukulele. These delightful pieces which were originally written for the lute are arranged for performers from intermediate level to advanced level and are designed to improve your skills.
Japanese Suite, H.126
Composed while working on The Planets, Holst wrote this suite for the Japanese dance Michio Ito in 1916. Ito supplied the Japanese melodies for all numbers save the "Marionette Dance" and possibly performed in the premiere at London's Coliseum Theatre the same year. The first confirmed performance of this 11-minute suite took place on September 1, 1919 in Queen's Hall with the New Queen's Hall Orchestra conducted by the composer. The suite was finally published in 1925 by Hawkes and Son.This newly engraved edition prepared by Richard W. Sargeant draws on primary sources and is a welcome addition to the libraries of Holst aficionados worldwide. With a clean and readable layout, the score is a reduced-format version of the full score - also available from Seremissima Music along with the orchestral parts.
Christmas Day, H.109
Gustav Holst's 'Choral Fantasy on Old Carols' was composed in 1910, just two years before the similar work, Fantasia on Christmas Carols, by his good friend Ralph Vaughan Williams made its debut. It seems to have been composed for a Christmas concert given in London by Morley College, where the premiere likely took place. The carols employed - Good Christian Men Rejoice, God Rest You Merry Gentlemen, Come Ye Lofty, Come Ye Lowly, and The First Nowell - include a couple also found in the Vaughan Williams work. This newly engraved and researched edition by Richard W. Sargeant Jr. is based upon the composer's manuscript and the first edition vocal score and orchestral parts issued by Novello in the same year it was written. Holst's fantasy is shorter by about 5 minutes than the Vaughan Williams and offers a different view of the familiar carols. The full conductor's score and orchestral parts are also available from Serenissima Music.
Symphony No.10, K.74
This early symphony is thought to have been composed in 1770 during Mozart's first visit to Milan. The date of the first performance remains unknown but a Milan venue during the period of the visit is certainly possible. Composed in the Italian overture style, the symphony's three movements are organized in two distinct sections with the opening 'allegro' follwed by an 'andante' with no break. Shortly after Mozart's death the composer's manuscript ended up with the publisher Johann Andr矇, who mistakenly labeled it as the overture to the opera Mitridate - which has its own distinct overture. The newly engraved study score here, edited by Richard W. Sargeant Jr., is based upon the composer's manuscript and first edition in a very clear and readable layout. Serenissima also has the full conductor's score and orchestral parts available for sale.
Moorside Suite, H.173
Holst composed the Moorside Suite for the BBC and the National Brass Band Festival Committee for the final of the National Brass Band Championships of Great Britain at Crystal Palace in 1928. He was excited to be able to listen to all 15 performances of the competition, in which the Black Dyke Mills Band conduced by William Halliwell won. This was his only work for Brass band and its immediate popularity and success lead to other commissions for the genre. For the newly engraved score offered here, editor Richard W. Sargeant, Jr. has reorganized the traditional British brass band instrumentation for the symphonic brass ensemble found in most orchestras, with the additional flugelhorn and euphonium to retain something of the sound Holst heard at the 1928 premiere. The full score and instrumental parts for this new edition are also available for sale from Serenissma Music.
Domenico Bianchini
Who would have thought you could play classical music on a ukulele? But you can! Here are 27 Renaissance Lute pieces by Domenico Bianchini from the 16th Century transcribed for tablature and modern notation. These pieces have been transcribed for low G ukulele and are recommended for Intermediate to Advanced Performers. Have fun!
Christmas Day, H.109
Gustav Holst's 'Choral Fantasy on Old Carols' was composed in 1910, just two years before the similar work, Fantasia on Christmas Carols, by his good friend Ralph Vaughan Williams made its debut. It seems to have been composed for a Christmas concert given in London by Morley College, where the premiere likely took place. The carols employed - Good Christian Men Rejoice, God Rest You Merry Gentlemen, Come Ye Lofty, Come Ye Lowly, and The First Nowell - include a couple also found in the Vaughan Williams work. This newly engraved and researched vocal score by Richard W. Sargeant Jr. is based upon the composer's manuscript and the first edition vocal score and orchestral parts issued by Novello in the same year it was written. Holst's fantasy is shorter by about 5 minutes than the Vaughan Williams and offers a different view of the familiar tunes. Printed in a very readable large size with a chorus' needs in mind, this new definitive vocal score will be a welcome addition to choral libraries everywhere. The full conductor's score and orchestral parts are also available from Serenissima Music.
The Descent of the Soul
A modernistic Symphonic Tone Poem by classical contemporary composer Avraham Chachamovits Listen to it here: https: //soundcloud.com/achacham/the-descent-of-the-soul
Two Explorations for Brass Quintet
A modernist Explorations for Brass Quintet by contemporary classical composer Avraham Chachamovits Listen to it here: https: //soundcloud.com/achacham/sets/explorations-for-brass
Piano / Keyboard Improvisation One Note at a Time
This unique book is short and very much to the point and will teach you to improvise whatever your current level of expertise, but is certainly more for the potential or actual 'gigging' musician. The topics covered are: ● Basic fingering information and exercises; ● Intervals; ● Scales: major, minor (natural, harmonic, melodic) and chromatic; ● Pentatonic and blues scales; ● Scale modes; ● Chord construction inc. 6/9 and m7sus4; ● Diatonic chords; ● Arpeggios (major, minor including 7ths); ● Numerous exercises and examples with audio links; In addition the price includes several other related digital books in pdf format including: ● How to read music; ● Hanon piano / keyboard exercises 1 - 30; ● 3 Chord / Arpeggio books; ● 2 Scale books. These additional items will enable anyone to improvise even with no prior experience!
Cello Concerto, Op.85
Following a disastrous premiere given by the under-rehearsed London Symphony on October 27, 1919 with the composer conducting and Felix Salmond as soloist, Elgar's last great work only very gradually entered the repertoire. Besides Salmomd, the only cellist to champion the work in the composer's lifetime was Beatrice Harrison, who also was the first to record the entire concerto in 1928 with a much-better rehearsed LSO conducted by Elgar. In the following decades the concerto's popularity grew slowly thanks to performances and recordings by Pablo Casals, Paul Tortelier and Mstislav Rostropovich, whose student Jacquline du Pr矇's performances and recordings served to push the work into the permanent repertoire. The study score offered here is a thoroughly corrected edition first prepared by Nancy M. Bradburd and Clinton F. Nieweg first issued as a large score in 2008. The large conductor's score and orchestra parts are now also for sale from Serenissima Music.
Trio for Violin, Cello and Piano, Op. 16
A modernist Trio for Violin, Cello and Piano by contemporary classic composer Avraham Chachamovits Listen here: https: //soundcloud.com/achacham/sets/trio-for-violin-cello-and
Songs from Lovecraft and Others
In addition to being a prolific critic and editor and an occasional fiction writer, S. T. Joshi has long been a classical musician-violinist, singer, composer, and conductor. Over the past several years he has composed more than a dozen songs for unaccompanied four-part choir, based on the poetry of H. P. Lovecraft and others. Three sonnets from Lovecraft's Fungi from Yuggoth-"Background," "Expectancy," and "Continuity" (dedicated to the memory of W. H. Pugmire)-provide the texts of three songs that evoke their author's awareness of humanity's place in the cosmos. Joshi also interprets Lovecraft's love of nature ("Sunset") and of cats ("Little Sam Perkins"). Clark Ashton Smith's "Ecstasy" and "Requiescat" are rendered in lush musical settings, as are George Sterling's "Ever of You," "My Swan Song," and the bleakly atheistic "To Science." Edgar Allan Poe's "To Helen" ("the glory that was Greece, / And the grandeur that was Rome"), Ernest Dowson's evocative "Non Sum Qualis Eram," and "Imprisoned" by the contemporary poet Mary Krawczak Wilson are also turned into moving songs. Accompanying the scores of these pieces is a free download of computer-generated sound files, allowing readers to hear every note of the songs. A truly unique publication by Hippocampus Press!
A Fugal Concerto, H.152
Composed in 1923 in the USA the University of Michigan Library, Holst's eight-minute gem for solo flute, oboe and strings was given its first performance at the President's residence of the university by members of the Chicago Symphony under the baton of Frederick Stock on May 17 of that year. First publication followed soon afterwards by Novello in London. Offered here is a study score for the newly engraved critical edition based upon the composer's manuscript and first edition prepared by Richard W. Sargeant Jr. The large conductor's score and orchestra parts are likewise available from Serenissima Music, inc.
A Fugal Overture, H.151
Originally composed as the overture for his opera The Perfect Fool but ultimately not used, Holst displays his wit and exuberance in this delightful work. Showcasing his interest in counterpoint, it is not a strict fugue, but a more of a comic fugue-parody using canonic material. Offered here is a study score for the newly engraved critical edition based upon the composer's manuscript and first edition prepared by Richard W. Sargeant Jr., printed on high quality stock and perfect-bound with a glossy cover. The large conductor's score and orchestra parts are also available for sale from Serenissima Music, inc.
Piano Concerto No.1, Op.15
Composed in 1858, Brahms' first concerto was given its premiere in Hanover's Royal Theater on January 22, 1859 with the 25-year-old composer as soloist and the orchestra was conducted by Joseph Joachim. The new work got a cold reception in Hanover and a similar reaction was the response to the Leipzg performance 5 days later with the far more professional Gewandhaus orchestra. Undaunted, the work was received with great applause at the third performance in March, given in Hamburg. The concerto has been a staple of the concert repertoire for piano and orchestra ever since.The study score offered here is a corrected edition prepared by Clinton Nieweg and Robert Sutherland from the composer's manuscript, the first editions and other authoritative sources. The large conductor's score and orchestral parts are also available from Serenissima Music.
24 Piano ?tudes
A modernist 24 Piano ?tudes from the Contemporary Classical composer Avraham Chachamovits. Listen here: https: //soundcloud.com/achacham/sets/piano-tudes
