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Transcriptions of Orchestral Works by Franz Liszt Pdf
Piano duet teams will thrill at this new collection of Liszt's own duet transcriptions of five of his most popular orchestral works. Titles: * Le Preludes * Orpheus * Prometheus * Ce qu' on entend sur la Montagne * Mazeppa Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.
Liszt: Transcriptions of Orchestral Works by Anonim Pdf
Piano duet teams will thrill at this new collection of Liszt's own duet transcriptions of five of his most popular orchestral works. Titles include: Le Preludes * Orpheus * Prometheus * Ce qu' on entend sur la Montagne * Mazeppa.
Music Arranging and Orchestration by John Cacavas Pdf
Orchestrating is a highly complex technique and to many, even those with academic training, a mystery fraught with a labyrinth of hazards. What is required, along with innate talent and general musicality, is the practical "know how." This is hard to achieve without actual professional experience and contact with "live" orchestras. To this end, John Cacavas contributes his extensive experience and ability with a practical approach to the practical problems of orchestrating. It is in this context most orchestrators must function, and to whom this book should be of benefit. The author has been a "musical activist" in all the varied aspects of instrumental combination from the "classical" to the "contemporary," and in the diverse application of his skills in all the media that utilize music and "orchestrations."
Beethoven Symphonies Nos. 1-5 Transcribed for Solo Piano by Franz Liszt Pdf
This memorable tribute reveals Liszt's remarkable capacity for translating orchestral effects into pianistic terms. An astonishing, brilliant, and sensitive tribute to the master by the 19th-century's greatest piano virtuoso.
24 piano transcriptions of classical masterpieces by Robert Schultz Pdf
Robert Schultz has transcribed this wonderful collection of the most famous orchestral, operatic, vocal, and chamber works for advanced piano. Included are works by Albinoni, Bach, Bellini, Fauré, Massenet, Mozart, Pachelbel, Puccini, Saint-Saëns, Schubert, Tchaikovsky, and many others. Each piece is appropriate for concerts and recitals. Titles: Adagio in G Minor (Tomaso Albinoni) * Air from Orchestral Suite No. 3 (Johann Sebastian Bach) * Ave Maria (Giulio Caccini) * Ave Maria (Franz Schubert) * Canon in D (Johann Pachelbel) * Casta Diva from Norma (Vincenzo Bellini) * Dance of the Blessed Spirits from Orfeo ed Euridice (Christoph Willibald Glück) * Eighteenth Variation from Rhapsody on a Theme of Paganini (Sergei Rachmaninoff) * Intermezzo from Cavalleria Rusticana (Pietro Mascagni) * Kol Nidrei (Max Bruch) * La Mamma Morta from Andrea Chénier (Umberto Giordano) * Largo from Clavier Concerto No. 5 (Johann Sebastian Bach) * Meditation from Thaïs (Jules Massenet) * Minuet and Trio from String Quintet, Op. 13, No. 5 (Luigi Boccherini) * Mon Coeur S'orvre À Ta Voix from Samson and Delilah (Camille Saint-Saëns) * O Mio Babbino Caro from Gianni Schicchi (Giacomo Puccini) * Pavane (Gabriel Fauré) * Polovetsian Dance from Prince Igor (Alexander Borodin) * Soave Sia Il Vento from Cosi Fan Tutte (Wolfgang Amadeus Mozart) * The Swan from Carnival of the Animals (Camille Saint-Saëns) * Un Bel Di from Madama Butterfly (Giacomo Puccini) * Valse Triste (Jean Sibelius) * Vocalise (Sergei Rachmaninoff) * Waltz from The Sleeping Beauty (Peter Ilyich Tchaikovsky). 124 pages.
Music in Chopin's Warsaw examines the rich musical environment of Fryderyk Chopin's youth--largely unknown to the English-speaking world--and places Chopin's early works in the context of this milieu. Halina Goldberg provides a historiographic perspective that allows a new and better understanding of Poland's cultural and musical circumstances. Chopin's Warsaw emerges as a vibrant European city that was home to an opera house, various smaller theaters, one of the earliest modern conservatories in Europe, several societies which organized concerts, musically active churches, spirited salon life, music publishers and bookstores, instrument builders, and for a short time even a weekly paper devoted to music. Warsaw was aware of and in tune with the most recent European styles and fashions in music, but it was also the cradle of a vernacular musical language that was initiated by the generation of Polish composers before Chopin and which found its full realization in his work. Significantly, this period of cultural revival in the Polish capital coincided with the duration of Chopin's stay there--from his infancy in 1810 to his final departure from his homeland in 1830. An uncanny convergence of political, economic, social, and cultural circumstances generated the dynamic musical, artistic, and intellectual environment that nurtured the developing genius. Had Chopin been born a decade earlier or a decade later, Goldberg argues, the capital--devastated by warfare and stripped of all cultural institutions--could not have provided support for his talent. The young composer would have been compelled to seek musical education abroad and thus would have been deprived of the specifically Polish experience so central to his musical style. A rigorously-researched and fascinating look at the Warsaw in which Chopin grew up, this book will appeal to students and scholars of nineteenth century music, as well as music lovers and performers.
The Keyboard Music of J.S. Bach by David Schulenberg Pdf
The Keyboard Music of J.S. Bach provides an introduction to and comprehensive discussion of all the music for harpsichord and other stringed keyboard instruments by Johann Sebastian Bach (1685-1750). Often played today on the modern piano, these works are central not only to the Western concert repertory but to musical pedagogy and study throughout the world. Intended as both a practical guide and an interpretive study, the book consists of three introductory chapters on general matters of historical context, style, and performance practice, followed by fifteen chapters on the individual works, treated in roughly chronological order. The works discussed include all of Bach's individual keyboard compositions as well as those comprising his famous collections, such as the Well-Tempered Clavier, the English and French Suites, and the Art of Fugue.
Danse Macabre and Other Piano Transcriptions by Franz Liszt,Daniel Glover Pdf
Original collection features Liszt's interpretations of his own "Totentanz" plus Saint-Saens' "Danse Macabre, " Berlioz's "Dance of the Sylphes" from" The Damnation of Faust, "Weber's "Overtures to Die ""Freischutz" and "Oberon, "and several other pieces.
Franz Liszt is most well-known for his compositions for piano and orchestra, but his influence is also strong in chamber music, choral music, and orchestral transcriptions. This new collection of essays presents a scholarly overview of all of the composer's work, providing the most comprehensive and current treatment of both his oeuvre and the immense amount of secondary literature written about it. Highly regarded critics and scholars write for both a general and academic audience, covering all of Liszt's major compositions as well as the neglected gems found among his choral and chamber works. Following an outline of the subject's life, The Liszt Companion goes on to detail Liszt's critical reception in the German press, his writings and letters, his piano and orchestral works, his neglected secular choral works, and his major organ compositions. Also explored here are his little-known chamber pieces and his songs. An exhaustive bibliography and index of works conclude the volume. This work will both elucidate aspects of Liszt's most famous work and revive interest in those pieces that deserve and require greater attention.
Beethoven symphonies nos. 1-5 by Ludwig van Beethoven,Franz Liszt Pdf
This memorable tribute reveals Liszt's remarkable capacity for translating orchestral effects into pianistic terms. An astonishing, brilliant, and sensitive tribute to the master by the 19th-century's greatest piano virtuoso.
The Organ Music of Johannes Brahms by Barbara Owen Pdf
Influenced by Robert and Clara Schumann and Joseph Joachim, Johannes Brahms not only learned to play the organ at the beginning of his career, but also wrote significant compositions for the instrument as a result of his early counterpoint study. He composed for the organ only sporadically or as part of larger choral and instrumental works in his subsequent career. During the final year of his life, however, he returned to pure organ composition with a set of chorale preludes--though many of these are thought to have been revisions of earlier works. Today, the organ works of Johannes Brahms are recognized as beautifully-crafted compositions by church and concert organists across the world and have become a much-cherished component of the repertoire. Until now, however, most scholarly accounts of Brahms's life and work treat his works for the organ as a minor footnote in his development as a composer. Precisely because the collection of organ works is not extensive, the pieces--composed at different times during Brahms's lifetime--help to map his path as a composer, pinpointing various stages in his artistic development. In this volume, Barbara Owen offers the first in-depth study of this corpus, considering Brahms's organ works in relation to his background, methods, and overall artistic development, his contacts with organs and organists, the influence of his predecessors and contemporaries, and analyses of each specific work and its place in Brahms's career. Her expert history and analysis of Brahms's individual organ works and their interpretation also investigates contemporary practices relative to the performance of these pieces. The book's three valuable appendices present a guide to editions of Brahms's organ works, a discussion of the organ in Brahms's world that highlights some organs the composer would have heard, and a listing of the organ transcriptions of Brahms's work. Blending unique insights into composition and performance practice, this book will be read eagerly by performers, students, and scholars of the organ, Brahms, and the music of the Nineteenth Century.
Complete Bach Transcriptions for Solo Piano by Franz Liszt Pdf
Franz Liszt's transcriptions of other composers' music are as highly regarded as his original piano works. Some listeners Schumann among them consider Liszt's painstaking transcriptions to be completely new works. Using his gifts for fathoming the deepest meanings of a given piece, Liszt also created a uniquely revealing work. In addition to drawing attention to composers and works that would otherwise have remained unknown to a wider public, Liszt's piano transcriptions introduced the instrument to uncharted territory: for the first time, a keyboard could be used to reproduce the sound of any instrument. The composer brought numerous innovations to the practice of piano playing to achieve the richness and color of the original works, from the technique of hand crossing to revolutionary changes in the use of the pedals. First acquainted with the works of Bach through his piano studies, Liszt further explored the earlier composer's works in his career as a virtuoso performer. His piano interpretations of Bach's organ music are executed in a simple and straightforward manner, and they rapidly became the classic models for all future works in this genre. This compilation, featuring such famous and well-loved works as Six Organ Preludes and Fugues (BWV 543 548) and the Fantasy and Fugue in G minor (BWV 542), attests to their enduring power and beauty. "
Author : Sam Morgan's Jazz Band Publisher : A-R Editions, Inc. Page : 312 pages File Size : 45,7 Mb Release : 2012-01-01 Category : Music ISBN : 9780895797247
Complete Recorded Works in Transcription by Sam Morgan's Jazz Band Pdf
Book URL: https://www.areditions.com/rr/rra/a073.html This edition consists of musical transcriptions of all eight recordings of Sam Morgan¿s Jazz Band, made in New Orleans in 1927. These are among the first recordings of black New Orleans jazz bands made in their home city and, as the band consisted of musicians who stayed on in New Orleans after the Great Exodus to Chicago and New York in the early 1920s, the recordings preserve a purer form of the collectively improvised ensemble of the earliest black jazz bands. It is a loosely integrated, purely linear ensemble mass, a collective projecting of melodic lines close to the unassimilated heterophonic singing of the Black Primitive Baptist and Sanctified Churches. This proto jazz style was being rapidly eclipsed in the 1920s by more flamboyant and technically brilliant forms of New Orleans jazz being recorded by Louis Armstrong, Sidney Bechet, and Jelly Roll Morton. The scores contained herein are the first complete transcriptions of this rare and distinctive music to appear in print.