9 Deutsche Arien Hwv 202-210

9 German Arias HWV 202-210

Lied-Bicinien -

202 Choralsätze zum EKG von 46 zeitgenössischen Komponisten für 2 gleiche Stimmen teilweise mit einem Melodieinstrument ad lib choral score, Anthology 2 equ.voices/Instr-mel ad lib. Paperback

Darius Milhaud: Cortege Funebre Op. 202 (Study Score)

Cortege Funebre

78 ausgewählte Choralvorspiele aus alter und neuer Zeit EG 138 - 202 -

Performance score, Anthology Org Paperback

Composizioni vocali del '600 italiano : dalla villanella alla cantata, Pian & Forte Vol. 202

Composizioni vocali del '600 italiano : dalla villanella alla cantata, Pian & Forte Vol. 202

Isaac Albeniz: 26 Pieces Arranged for Guitar

This comprehensive edition brings together all of the standard pieces in the adopted Albeniz "guitar repertoire" along with additional pieces that complete many of the suites and other groupings as published during the composer's lifetime. These solo arrangements were made while consulting the earliest editions of the piano originals, and are faithful to Albeniz tempo indications, dynamics, phrasing slurs, and other expression markings. The selections are: Pavana-Capriccio, Op. 12 (1992); Suite espanola, Op. 47 (1886); Recuerdos de viaje, Op. 92 (1888); Doce piezas espanolas, Op. 164 (1889); Espana, seis hojas de album, Op. 165 (1890); Serenata espanola (Cadiz, cancion), Op. 181 (1890); Mallorca, barcarola, Op. 202 (1890); Zambra granadina, danse orientale, WoO (1891); Cadiz-gaditana, WoO (1891); and Chants d'Espagne, Op. 232 (1891-1894). Carefully researched and meticulously fingered in the scholarly manner one would expect from Stanley Yates.

Sonata for Euphonium and Piano

The Sonata for euphonium and piano was written in 2013, an idiomatic transcription of the Sonata for bassoon and piano (Op.36) Lasting about 13 minutes, it has three movements: Allegro Moderato – Larghetto – Allegretto con spirito.The first movement is free-ranging tonally, continually developing the initial thematic material – a neo-Baroque motif with prominent use of a minor seventh interval. The time signature is continually changing, predominantly between 2/4 and 3/8, to give a highly-charged rhythmic, and perhaps unsettled, effect. The central movement is expressive, melancholy and desolate. The rhythm is more regular here – largely a steady 6/8 flow, butharmonically, the highly chromatic style is almost atonal to enhance this forlorn atmosphere. The movement explores the entire range of the euphonium and the piano accompaniment converses contrapuntally, sharing the numerous motifs with the euphonium. It concludes plaintively with reiterations of the euphonium’s initial four notes. The finale reverts to a more relaxed, and uplifting, mood. The euphonium’s initial scalic motif also has a neo-Baroque flavour. This originates from a solitary piano figure (bar 202) in the first movement. In fact, these outer movements have numerous melodic and harmonic links to consolidate a sense of overall organic shape. Ultimately, the whole movement derives from its first few bars, and constantly develops this material.