Testing Hearing The Making of Modern Aurality

The Unorthodox Guitar : A Guide to Alternative Performance Practice

A Merry Christmas Party

When Christmas is coming, a nice medley should always be in your programme. This accessible medley by Simon Fahnholz includes ‘All I Want for Christmas Is You’, ‘Christmas Time’, ‘Feliz Navidad’ and ‘Thank God It’s Christmas’. A nice alternative to the usual Christmas anthems! When Christmas is coming, a nice medley should always be in your programme. This accessible medley by Simon Fahnholz includes ‘All I Want for Christmas Is You’, ‘Christmas Time’, ‘Feliz Navidad’ and ‘Thank God It’s Christmas’. A nice alternative to the usual Christmas anthems!

Chant of the Phoenix : Quarter Military Band QMB 543

Chant of the Phoenix is based on the legend of the sacred bird in Egyptian religion. After living for 500 years, the Phoenix would build a nest of herbs, fan the nest with its wings to set it afire, and burn itself to death. Fromthe ashes would emerge a new bird which, after maturing and testing its strength in flight, would soar off to the sun. (9:00)

Claude Debussy: Fourteen Preludes (Score)

Ensemble1 Flute in C db. Alto Flute in G and Piccolo1 Clarinet in A and Bb(1 Contrabass Cl. in Bb *)1 Bassoon (db. Contra Bassoon *)1 Trumpet in BbHarp1 Violin1 Viola1 VioloncelloThe score is written in transposition*) The part of the Contrabass Clarinet should be the first choice. However, if aplayer/instrument is not available, the part may be performed on the ContraBassoon.The part of the Contrabass Clarinet was initially performed by the Bassoonplayer of the Danish Chamber Players.Thus, the Cb.Cl./Cfg. does not playsimultaneously with the Bassoon.The three Prelude-arrangements (No. 1-5, 2-1, 2-2) that uses the ContrabassClarinet incorporate the alternative part for Contra Bassoon in the performancematerial.The alternative scores with Contra Bassoon are included in an appendix at theend of the score.The arranger suggests that the Preludes are played without conductor.

Black River Overture

The Black River Overture was commissioned by the music society Pfarrkapelle Schwarzenbach, on the occasion of its 50th anniversary. Schwarzenbach literally means “black brook” - hence the title of the work. This light-hearted piece is a compliment to all music societies and wind bands that have continued despite alternative, modern leisure-time activities in villages; as such, they are able to offer a wonderful and meaningful occupation to both the young and young-at-heart: namely, making music! These societies are the basis for all cultural work, making life rich and colourful.

Choral Works : Clothbound in Slipcase

Based on the Béla Bartók Complete Critical Edition (Z. 15009), these three cloth-bound volumes in slipcase include Bartók's complete choral works. The lyrics in this Urtext edition are in the original languages and in the translations authorized by the composer. Literal English translations are provided in the appendix, which also includes early and alternative versions of the works.The edition is complete with informative prefaces (in Hungarian, English, and German) and detailed Editorial Comments (in Hungarian and English). The Comments give an overview of the textual, folk-music, and compositional sources, and provide detailed information on the performance practice of Bartók's choral works. The edition has been printed on high-quality and environmentally-friendly paper.The three volumes are also available in paperback (Z. 20035, 20036, 20037). Separate editions of each work included in these volumes are also available.

Concerto : for the Left Hand for Piano and Orchestra

In 1929 Paul Wittgenstein, a pianist and war veteran who lost his right arm in the Great War, commissioned Maurice Ravel to write a concerto for him to perform. The result was one of Ravel’s most thrillingcompositions and, for Wittgenstein, the most important of the many works he commissioned over the course of his career.This scholarly-critical edition of Ravel’s Piano Concerto For The Left Hand isbased on previously inaccessible and unknown sources. The editor, Douglas Woodfull-Harris, was able to consult manuscripts in the private library of the Paul Wittgenstein Estate which allowed him to retrace the work’sevolutionfrom Ravel’s autograph working copy to the first printed edition.A source of key importance to our new edition is a handwritten French copy of Ravel’s own Piano reduction (the autograph isinaccessible) that he gave to Wittgenstein to facilitate rehearsing the work. This copy is the sole source reflecting Wittgenstein’s own interpretation and containing his changes to the final cadenza. It also helps us tounderstand omissions in the first edition of the score as well as the Piano reduction, and enabled the editor, amongst other things, to correct a great many notes which could be found in previous editions, including the solo Pianopart.The Piano reduction in our edition contains both Ravel’s and Wittgenstein’s fingering. Also included is a solo part without fingering, thereby giving pianists the opportunity to enter their own fingering afterhaving studied those of Ravel and Wittgenstein.Score and orchestral parts in large format (25.5 x 32.5 cm)Includes source descriptions and a Critical Commentary with alternative readings(Eng)Informative Introduction on the work’s history and genesis (Ger/Eng/Fr)With facsimile pagesPiano reduction with separate Urtext solo part enclosedFull score & parts (BA7881) and two-Pianoreduction (BA7881-90) available for sale

Hans Abrahamsen: Left, Alone (Score)

Left, Alone for Piano (left hand) and Orchestra was composed by hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29, 2016, Cologne. Programme Note: I was born with a right hand that is not fully functional, and though it never prevented me from loving playing the piano as well as I could with this physical limitation, it has obviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth.My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn, my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor.Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand, but rather by a composer who can only play with the left hand. The title Left, alone contains all kinds of references, not only to the obvious fact that the left hand is playing alone. Left, alone is divided into two large parts, each consisting of three smaller movements – in effect, six in total. The work was commissioned by Westdeutscher Rundfunk, and co-commissioned by City of Birmingham Symphony Orchestra, Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans Abrahamsen, 2015

Robert Schumann: Complete Piano Works Study Score - 6 Volume Slipcase (Henle Urtext)

On the 200th anniversary of Robert Schumann's birth, an ambitious project is coming to a close: For the first time since Clara Schumann's Complete Edition of 1879?93, all of the works for Piano solo are appearing as one editorial project.Spanning almost ten years of painstaking work, all of the Schumann titles published by G. Henle Publishers have undergone a careful revision. The Schumann expert Ernst Herttrich has closely examined each edition and also dedicated himself to those works that were previously missing from the catalogue.The result is being published in this new collection, comprising six volumes as well as study editions in a slipcase. They replace the former four volumes (HN108-HN115). Arranged clearly according to opus numbers, it includes not only all of Schumann's Piano works, revised to reflect the latest scholarly findings, but also informative accompanying texts, alternative versions and much more besides.Contents:Abegg Variations op. 1Papillons op. 2 Paganini-Studies op. 3 Intermezzi op. 4 Impromptus op. 5 (1833/1850) Davidsbündlertänze op. 6 Toccata op. 7 (1830/1834)Fantasy Pieces op. 12 (with Appendix: posthumous piece) Paganini-Studies op. 10 Sonata f sharp minor op. 11 Allegro b minor op. 8 Carnaval op. 9Symphonic Etudes op. 13 Piano Sonata with Early Version: Concert sans Orchestre f minor op. 14 Scenes from Childhood op. 15 Kreisleriana op. 16 Fantasy C major op. 17 Arabesque op. 18 Flower Piece (Blumenstück) op. 19 Humoresque B flat major op. 20 Novelettes op. 21 Sonata g minor op. 22 Night Pieces op. 23 Carnival of Vienna op. 26 3 Romances op. 28 Scherzo, Gigue, Romance and Fughetta op. 32 Album for the Young op. 68 Four Fugues op. 72 Four Marches op. 76 Forest Scenes op. 82 Exercises [Beethoven Studies] Variations on a Theme in E flat major ["Ghost" Variations] E flat major Drei Fantasiestücke op. 111 Three Piano Sonatas for the Young op. 118 Album Leaves op. 124 Seven Piano Pieces in Fughetta Form op. 126 Gesänge der Frühe op. 133 "Einsame Blume" from Forest Scenes op. 82 Coloured Leaves (Bunte Blätter) op. 99