Musical score to Huwuld Nyui, for Mezzo-Soprano or Baritone and Two Percussionists, by avant-garde composer Dawn K. Williams. The work is a setting of a Pima poem by Ha-ata, a song to the wind. Includes program note, text translation, and performer instructions. Difficulty level: Hard (professional). Duration: 12 minutes. - COMPOSER AUTHORIZED SCORE - www.dawnkwilliams.com

The composer worked on this symphonic poem from January to April of 1896. The title refers to a Czech folk ballad in which a king falls in love with Domicka while riding and requests his step-mother to bring the young woman back to his castle. The evil step-mother and her daughter kill the hapless girl, with the daughter disguises herself as Domicka, marrying the king just before his departure to war. A magician finds Domicka's remains in the forest and tricks the false bride to give up the missing part of Domicka's remains in return for a Golden Spinning Wheel. The work was premiered in London on October 26, 1896 with Hans Richter conducting the London Symphony. This new study score is a digitally enhanced reissue of the full score first published in 1958 by the Czech State Publishers as part of the Dvorak collected works, edited by Jarmil Burghauser. Unlike so many of the on-demand scores now available, this one comes with all the pages and the images have been thoroughly checked to make sure it is readable. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

(Boosey & Hawkes Chamber Music). Previously unpublished, Bernstein's Variations on an Octatonic Scale was originally composed for recorder and cello in 1988-89 in Key West. Available in the original version, or in a transcription for clarinet in B-flat and cello.

Long admired for his interpretation of Bach's six Sonatas and Partitas for unaccompanied violin, Jaap Schroeder, a leading international soloist, here provides a detailed but informal guide to their performance. Bach's sublime solo violin works have long been central to the baroque music repertoire. No serious violinist can avoid studying them, and few concert artists can resist the temptation of performing them. This is a book for advanced students and performers. Using it is an experience akin to a master class conducted by a uniquely accomplished practitioner. The text is devoted almost entirely to practical matters-bowing, phrasing, ornamentation, tempi, and so on. Schroeder strongly recommends the use of a baroque violin and, especially, baroque bow, but his interpretive insights and suggestions are equally applicable to modern violinists.

In these three librettos, Philippe Quinault turns from classical opera to medieval legends--Renaud and Armida, Amadis and Oriana, and Angelica and Roland--exploring the tensions between love and glory. As usual, the dramatist relates his stories deftly with classic simplicity. In these adaptions of traditional medieval stories of romance, enchantment, monsters, and magic, either the heroine (Armida or Angelica) loves the hero she should hate, or the hero falls for an enemy enchantress, and has to be rescued from her clutches. The love "cure" is usually effected by means of magic or through the intervention of a fairy. Great entertainment from early French literature

Beethoven's Opus 59, Number 2 is the first of three quartets written for a commission by Prince Andreas Razumovsky, who was Russian Ambassador to Vienna at the time. The work comes just six years after the last of Beethoven's early quartets, yet shows a significant difference in style - and in length, with performance times of over 40 minutes common for the quartet. This edition is a Pocket Score, designed for ease of use in rehearsals or in studying the work. Its compact size allows for easy transport in your case.

Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This is the second, revised edition. . NB. This is Vol. 2 onyly 978-1-84955-105-2. . Vol.1 is 978-1-84955-103-8. . Your customer may prefer to buy the two volumes as one book 978-1-84955-035-2. .

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. Holst composed this and nearly all subsequent works in this studio. Now available in a newly-engraved, easy-to-read score edited by Richard Sargeant.

This is a facsimile of the CUP 1921 edition of Part iii - The Hymns and Hymn Melodies of the Organ works.

This is a facsimile of the the CUP 1917 edition of Part ii of Bach's Chorals - The Hymns and Hymn Melodies of the Cantatas and Motetts. Walter Emery said that his biography of Bach was "the only one that is both detailed and readable."

This is a facsimile reprint of the CUP edition of 1915.

Over the past quarter century, music studies in the academy have their postmodern credentials by insisting that our scholarly engagements start and end by placing music firmly within its various historical and social contexts. In Music and the Politics of Negation, James R. Currie sets out to disturb the validity of this now quite orthodox claim. Alternating dialectically between analytic and historical investigations into the late 18th century and the present, he poses a set of uncomfortable questions regarding the limits and complicities of the values that the academy keeps in circulation by means of its musical encounters. His overriding thesis is that the forces that have formed us are not our fate.

Beethoven's String Quartet No. 5 (Opus 18, No. 5), is part of the set of 6 quartets that Beethoven wrote between 1798 and 1800. This is the Performer's Edition of the quartet, with clean print and easy to read markings designed for the performer. This version is a pocket score, sized at approximately half a standard sheet of paper for easy transport and use for performing musicians and students.

WE SANG BETTER consists of two volumes of very clear advice about singing from great singers of the past. Volume 2 (ISBN 978-84-940477-9-4) is entitled Why it was better and contains further evidence and reasoning from singers 1800 to 1960. This volume is 260 pages long, and contains 20 illustrations. One very important thing right from the start, said Puccini s star soprano Maria Jeritza, - not to scream and not to force. As Volume 1 made clear, the best singers of this period approached their art and their training gently. They built slowly upon the individual voice granted by nature. Volume 2 gives further proof that many of these singers knew exactly what they were doing and why. They were highly aware that singing can go wrong. But they said if you wanted superlative singing you had to keep approaching it their way. You would never master supreme singing: if you put your trust in scientific discoveries or fixes; if you rushed your training or forced; or if you tried to copy some academic style . The original Italian model for singers was uncomplicated: the aim was to be natural, spontaneous and simple. And, as Puccini added, We Italians love beauty of sound. This volume takes evidence from the singers on dozens of topics such as: pressure, exercises, forward, dans le masque, covering, from the chest, voix sombr e, portamento, attack, vowel modifications, support, golden ages, keeping up with instrumentalists, listening to others, performances of early music, etc - and also on the question of whether singing is a science, an art, or even something more - something spiritual. James Anderson is a musician who has worked for the Arts Council of Great Britain and has run major European Festivals. Regretting the scarcity of supreme singing today, he has spent the last 30 years researching and collating this advice. He now helps young singers through the Singers Legacy website. For your information, the first volume (ISBN 978-84-940477-8-7) is entitled How we sang and contains 250 tips on how to sing from singers 1800 to 1960; the first volume is 490 pages long, and contains 130 illustrations.

Three of the most outstanding waltzes from Tchaikovsky's ballet masterpiece have been thoughtfully arranged as a 15-minute dance suite by Carl Simpson, who also prepared the new critical edition of the complete ballet. The final waltz is the most familar, but the two others offer quite different perspectives on the familar dance form from the Russian master.

The seventh in his visionary series of thirteen tone poems for orchestra, Liszt's "Festkl nge" was composed in 1853 and was given its premiere in Weimar on 9 September 1854 with the composer conducting the Weimar Hofkapelle. This new study score is a digitally-restored reissue of the score edited by Otto Taubmann in the fourth volume of the Liszt-Stiftung edition, published in 1909. As with all PLP scores a percentage of each sale is donated to the amazing online archive of free music scores and recordings, IMSLP - Petrucci Music Library.

Beethoven's String Quartet No. 2 (Opus 18, No. 2), is part of the set of 6 quartets that Beethoven wrote between 1798 and 1800. This is the Performer's Edition of the quartet, with clean print and easy to read markings designed for the performer. This version is a pocket score, sized at approximately half a standard sheet of paper for easy transport and use for performing musicians and students.

Lofty and Ascendant, for String Quartet, was composed in 2005 in conjunction with the novel, 'Lofty and Ascendant, this view of a girl', also written by Phaedimus. It was first performed in concert on 7th April 2007.

Over the years, many examination pieces have captured the imagination of teachers and students, but the stars of past syllabuses are often forgotten. The Best of Grade 4 Violin brings together best-loved pieces from current and past syllabuses, including Hindu Song (Rimsky-Korsakov), Sometime Maybe (Wedgwood) and Fly me to the Moon (Howard). Containing fresh editions of folk and classical masterpieces alongside contemporary favourites, all pieces have been rigorously researched by violin expert Jessica O'Leary. Online audio of performance and accompaniment tracks are available, as are useful practice tips. This book includes pieces from current and past Trinity and ABRSM syllabuses. Jessica O'Leary has a successful career as a teacher, professional violinist, ABRSM examiner and seminar presenter. She has toured and recorded extensively as a member of the Academy of St Martin in the Fields, and has performed with Madonna, Led Zeppelin, the London Symphony Orchestra and the Royal Opera House. She teaches violin and viola and directs string ensembles at St Paul's Girls' School, Eltham College and Junior Guildhall London.