Songs by Women Composers. Par . Women composers and their lieder long eked out a shadowy existence in music research and practice, though ever since the early 19th century, the lied had become a central female compositional genre, softening gender-related restrictions and opening up new artistic spheres of action. It is true that names such as Clara Schumann and Fanny Hensel are now far more estab…

20 Easy to Intermediate Pieces from four Centuries. Par NEUMANN EVA-MARIA (Arr.). Making music in a quartet uniquely nurtures young string players’ musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music’s supreme discipline, as early as possible. Indeed, composers…

Serie III Bd. 8 Kammermusikwerke Weiterer Besetzungen. Par MENDELSSOHN-BARTHOLDY FELIX. With the exception of the works for violin or violoncello and piano, to each of which a separate volume is devoted, all of Mendelssohn's other works for one or two instruments with piano are collected in this volume. Mendelssohn did not have any of these works printed. They are the viola sonata MWV Q 14, compos…

Par CAMPOGRANDE NICOLA. The score is inspired by the urban gardens that are becoming a new, exciting presence in our cities. In such a setting I imagined the piano as an urban memory and the string trio as a green, vegetal presence that surrounds it. Doing that, I created in my mind three special places to develop the different movements of the score. The first is indeed ideally On a Concert Hall …

Par BACH JOHANN SEBASTIAN. Piano scores for mixed choir, solo voice and piano. Soli: STB and Choir: SATB/ Répertoire / Soliste, Choeur Mixte et Orchestre

Par BACH JOHANN SEBASTIAN. Piano scores for mixed choir, solo voice and piano. Soli: ATB and Choir: SATB/ Répertoire / Soliste, Choeur Mixte et Orchestre

Par RAFF JOACHIM. The Violin Sonata No. 1 in E minor, op. 73, a “Grand Sonata for Violin and Piano,” occupies an important position in Joachim Raff’s oeuvre: it reflects numerous artistic, aesthetic, biographical, and reception-historical aspects characteristic of Raff. The work was composed in Weimar in 1854, when Raff was going through a process of artistic self-discovery. He increasingly distan…