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Exultavit cor meum in Domino, SWV 3. In te, Domine, speravi, SWV 4. Cantabo Domino in vita mea, SWV 5. Kinsky, George; Halm, Hans Henle Verlag. Biamonti, Giovanni Catalogo cronologico e tematico delle opere di Beethoven, comprese quelle inedite e gli abbozzi non utilizzati. Torino: ILTE.
The Biamonti Catalogue sought to incorporate all works listed in other places, including the Beethoven Gesamtausgabe , the Kinsky-Helm catalogue WoO numbers and the Hess catalogue.
Franz Benda. Lee, Douglas A. Franz Benda , a thematic catalogue of his works. Thematic catalogues. New York: Pendragon Press. Hector Berlioz. Holoman, D.
Kern Catalogue of the works of Hector Berlioz. Heinrich Biber. Chafe, Eric Thomas The church music of Heinrich Biber. Studies in musicology. Lists all kinds of musical works by Biber, notwithstanding the book's title. Non-thematic catalogue. William Billings. Kroeger, Karl Catalog of the musical works of William Billings. Music reference collection. New York: Greenwood Press. Georges Bizet. Dean, Winton The Master musicians series. London: Dent. Arthur Bliss.
Craggs, Stewart R. Arthur Bliss: A Source Book. Aldershot, England: Scolar Press. Foreman, Lewis Arthur Bliss, catalogue of the complete works. Sevenoaks: Novello.
Luigi Boccherini. Thematic, bibliographical, and critical catalogue of the works of Luigi Boccherini. London: Oxford University Press. Joseph Bodin de Boismortier. Musique et patrimoine en Languedoc-Roussillon.
Montpellier: Presses du Languedoc. Johannes Brahms. McCorkle, Margit L. Frank Bridge. Hindmarsh, Paul London: Faber Music in association with Faber and Faber. Sebastien de Brossard. Duron, Jean Domaine musicologique. II, Publications du Centre de musique baroque de Versailles. Anton Bruckner. Auer, Max Anton Bruckner; sein Leben und Werk. Grasberger, Renate Tutzing: Hans Schneider. The Werkverzeichnis Anton Bruckner did not include any unfinished compositions an exception was made for the Ninth Symphony or lost works.
Lost works, sketches, etc. Some other, still unclassified works were identified as WAB deest. Gaetano Brunetti. Madrid: Aedom. Ferruccio Busoni.
Thematisch-chronologisches Verzeichnis der musikalischen Werke von Ferruccio B. Studien zur Musikgeschichte des Regensburg: G. Busoni's works are also seen with KiV numbers. Dieterich Buxtehude. Jacobs, Charles — Brooklyn, N.
Ferdinando Carulli. Torta, Mario — Catalogo tematico delle opere di Ferdinando Carulli. Musicalia Lucca. Lucca: Libreria musicale italiana. Marc-Antoine Charpentier. Hitchcock, H. Wiley Paris: Picard. Documenta Chopiniana. Brown, Maurice J. London, New York: St. Martin's Press. Jeremiah Clarke. Taylor, Thomas F. Thematic catalog of the works of Jeremiah Clarke. Detroit studies in music bibliography. Detroit: Information Coordinators. Muzio Clementi. Tyson, Alan Thematic catalogue of the works of Muzio Clementi.
Cessac, Catherine Paris: Fayard. Arcangelo Corelli. Marx, Hans Joachim Historisch-kritische Gesamtausgabe der musikalischen Werke. Peter Cornelius. Peter Cornelius, Verzeichnis seiner musikalischen und literarischen Werke. Mainzer Studien zur Musikwissenschaft. Cauchie, Maurice Monaco: Lyrebird Press. Johann Baptist Cramer.
Milligan, Thomas B. Johann Baptist Cramer : a thematic catalogue of his works. Franz Danzi. Pechstaedt, Volkmar von Claude Debussy. Centre de documentation Claude Debussy Publications. Michel Richard Delalande.
Dufourcq, Norbert La Vie musicale en France sous les rois Bourbons. Sawkins, Lionel; Nightingale, John A thematic catalogue of the works of Michel-Richard de Lalande Oxford: Oxford University Press. Carl Ditters von Dittersdorf. Grave, Margaret Carl Ditters von Dittersdorf: Six Symphonies.
The Symphony — B. Krebs, Carl Lane, Jay D. The concertos of Carl Ditters von Dittersdorf Ph. New Haven: Yale University. Yeon, Sang-Chun Studien und Materialien zur Musikwissenschaft. Hildesheim: Georg Olms. Kiszely-Papp, Deborah Erno dohnanyi: a thematic catalogue. Thematic Cataloges. Gaetano Donizetti. Inzaghi, Luigi Catalogo generale Donizetti.
London: The Donizetti Society. John Dowland. Poulton, Diana; Lam, Basil The collected lute music of John Dowland 3rd ed. London: Faber Music. Jan Ladislav Dussek. Craw, H. Allen A biography and thematic catalog of the works of J.
Dussek, Los Angeles: University of Southern California. Herbert, Peter J. Burghauser, Jarmil; Clapham, John Berlin: N. Trufitt, Ian T. Benton, Rita Fontes Artis Musicae. Joseph Eybler. Herrmann, Hildegard Thematisches Verzeichnis der Werke von Joseph Eybler.
Musikwissenschaftliche Schriften. Manuel de Falla. Gallego, Antonio Madrid: Ministerio de Cultura. Giles Farnaby. Marloww, Richard Musica Britannica. London: Stainer and Bell. Johann Friedrich Fasch. Dokumente und Materialien zur Musikgeschichte des Bezirkes Magdeburg. Magdeburg: Rat des Bezirkes. Alfonso Ferrabosco. Charteris, Richard Alfonso Ferrabosco the Elder , a thematic catalogue of his music. Friedrich Ernst Fesca.
Frei-Hauenschild, Markus Joseph Fiala. Puchheim: Engel. John Field. Hopkinson, Cecil A bibliographical thematic catalogue of the works of John Field, London: The author. Mohr, Wilhelm Caesar Franck. Mainz: Schott. Frederick the Great. Philipp Spitta. Neschke, Karla Schriftenreihe zur mitteldeutschen Musikgeschichte. Oschersleben: Ziethen. Johann Joseph Fux.
Johann Josef Fux. Hochradner, Thomas Band I. Wien: Hollitzer. Giovanni Gabrieli. Giovanni Gabrieli ca. Baldassare Galuppi. Rossi, Franco Florian Leopold Gassmann. Hill, George R. A thematic catalog of the instrumental music of Florian Leopold Gassmann. Music indexes and bibliographies.
Hackensack, N. Francesco Geminiani. Hogwood, Christopher. Francesco Geminiani Thematic Catalogue. Orlando Gibbons. John Harper. Mauro Giuliani. Heck, Thomas F. Christoph Willibald Gluck. Here and there, as in the interaction between the two players in Spirales a degree of aleatory technique is briefly incorporated, as an extension of the generally free and fluid polyphony of the composer's expressive voice.
These works are cyclical and share a sense of journeying through a somber landscape of the mind. The concerto is based on an unfilmed Fellini screenplay, and is described by the composer as functioning like an opera without words with the cello representing the main character in the story. Full of shadowy reminiscence, the music passes through many contrasting episodes invoking diverse musical styles various dances, etc.
These relatively early works by a composer now one of the UK's senior musical figures demonstrate his mastery of orchestral technique in a variety of forms. The Fantasia makes ingenious use of the antiphonal interplay of material divided between two mirror-image orchestral groups - not only in incisive hocketing rhythmic interplay, but also by dividing thematic material between spatially separated groups of instruments, producing a variety of mysterious aural illusions and intriguing sonorities.
The concerto is the earliest work here, one of the first large-scale pieces of Bainbridge's mature style, organic and continuously evolving in texture often very subtle and transparent, displaying a post Second-Viennese concern for meticulously delineated tone-color and in the varied relationships between the soloist and various instrumental groupings within the orchestra. The little Concertante is the most tonal, and instantly appealing work here, a lively toccata for oboe and accompanying ensemble.
The concerto, premiered at the Proms in , propelled MacRae into public recognition. A substantial four-movement work, it progresses from an introductory first movement, in which material is presented and developed in a constant state of flux, via a sustained and eloquent elegiac and dark-hued slow movement in memory of Xenakis, whose own music is briefly recalled in a passage of massive, densely orchestrated block chords and an agitated, febrile scherzo, to a finale which allows the rhapsodic nature of the solo instrument free rein, almost functioning as a concertante tone poem in its own right.
Scenes sets a horrific episode from Dante's 'Inferno' in melancholy music that, like the elegiac sections of the concerto, is full of expressive nuance and emotional charge. Less obviously based on tonal centres than the concerto, the work shares with it a sense of lyrical line in the writing for the soloist. Stirling Choruses purely orchestral suggests something of the turbulent history of the composer's native Scotland in an agitated tone poem full of distant rumors of war and the glowering presence of the castle that dominates an historically important part of the Scottish landscape.
Motus is a high-energy work for small ensemble, with each instrument initially treated as a soloist, and then combining in richer sonorities as the piece progresses. A noted song composer, and a highly accomplished pianist, a strong melodic element is always present, blending impassioned high Romanticism with the world of the cabaret ballad - and a tendency to indulge in the sheer pleasure of an incisive and brilliant piano part. Vigorous cross-rhythmic devices, syncopations and hocketing of a part between instruments adds to the dynamism of these scores - both the sextet and the Divertimento have sections of breathless propulsive energy based on these techniques.
Music from Copland House. Koch International Classics U. Actually, most of the music here is tonal but this release is mainly for Henze collectors. Ensemble Villa Musica. Auerbach, as recently on BIS, must again share a disc with Shostakovich but this time, connections between them are more evident. In eight short movements, all but one bearing Latin motto phrases, all but two slow five adagios and two andantes , Auerbach seems to be dealing with emotional and psychological struggle.
No Russian texts-English translations. Zoriana Kushpler mezzo , Petersen Quartet. HUBER b. Seifenoper "soap opera" is an ironic commentary on dramatic conventions, cast in the form of a piece of avant-garde, instrumental music theatre.
The music consists of fragmentary gestures interspersed with extended silences, evenly divided between conventionally played instrumental sounds and extended techniques and noise textures of various kinds. The other works employ a similar musical vocabulary to suggest interior monologues, representations of shadowy, ill-defined psychological states - so for example in Don't Fence Me In, meandering instrumental lines are periodically interrupted by episodes of extreme violence.
Traummechanik explicitly evokes the unconnected emotional imagery of dreams through a finely balanced interplay of sonic gestures, and First Play Mozart, for solo flute, takes the listener so far from the sound-world of Mozart's music through the use of breath effects and extended techniques as to demand, by contrast with the title, an altogether new way of listening to Mozart's music.
Ensemble Recherche. Thommessen begins with a literal fragment of Corelli and then deconstructs it, throwing still recognisable fragments of material around - into different registers, high up in harmonics, or presenting them in rhythmic juxtaposition quite unlike the original, resulting in a sincere homage and a lively and attractive work in its own right.
Form also pays tribute to earlier models, but less explicitly. Tightly organised and sometimes expressionistically atonal, more often post-romantically chromatic, the work has throughout a harmonic richness which is beguiling and belies the complexity and diversity of musical antecedents on display.
A student of Morton Feldman, Slettholm writes music that in some respects comes closer to an aural analogy of abstract expressionism than that frequently attributed to his teacher. The works teem with events and changing textures from beginning to end, both static and contemplative and wildly explosive; but there is the sense of having been deposited in an inexplicable though fascinating alien landscape, in which progress in a given direction is impossible, or at least irrelevant, as there are no defined goals laid down by the structural determinants harmonic progression, dynamic contour and rhythmic propulsion of most music.
This five-movement work represents an attempt to portray folklore using the full resources of contemporary compositional techniques; a comprehensive exercise in nationalism in music. Thus we have noise effects and extended techniques and notated birdsong and animal calls, onomatopically representing the sounds of nature. Melodic lines derived from folksong and Hardanger fiddle playing, and rhythmic foot-stamping introduce elements of folk music, an earthy and immediately accessible aspect of the piece which add to its attractiveness and approachability, like humorous representational images in an otherwise complex abstract work of visual art.
A kind of Norwegian analogue of Dante's Divine Comedy in that it consists of visions of the afterlife narrated by an observer who experienced it while still alive; it originated some time in pre-Reformation Catholicism and has been part of folkloric tradition ever since, but was not written down until Nordheim's approach to the origins and nature of the work in his dramatic staged setting is to incorporate elements of folk and church music into a framework that remains in his own highly individual voice.
We hear plainchant, unadorned and then richly, Romantically harmonised; folk-singing and declamatory vocal acting - almost shouting at times - folk instruments the Hardanger fiddle and willow flute alongside the powerful, fluid lava-flows of Nordheim's own orchestral vocabulary, constantly grounded in rich chromatic harmony but overlain with a very modern agglomeration of gliding tones, clusters, imaginative use of percussion and the extended timbres of electronic instruments.
The title refers to the type of system of scientific classification which has been developed throughout history, and suggests less a descriptive attempt to depict 'flowers' in music than to group together things - in this case, 57 piano miniatures - which are somehow related in form - in this case, effectively a kind of variation form, as all the individual sections are based on the same initial cells, which have 'grown' differently according to the chance principles employed.
So there is a sense of organic growth within each piece, and a feeling of unity as the cycle is heard in toto. It probably doesn't hurt that the composer's own instrument is the piano, so the material chosen for assembly by his chosen technique is ripely pregnant with pianistic possibilities.
Herbert Henck piano. A large-scale piece of music theatre in three sections, incorporating texts by de Sade and Huysmans, William S. Burroughs and transcripts of various accounts of Nazi atrocities, from the Nuremburg trials and elsewhere. Within any given section, small cells of material are repeated obsessively, driving the point home with at times a hectoring intensity, as befits the extreme, not to say cynical, nature of the ideas expressed in the chosen texts.
This is not to suggest more than a passing resemblance to conventional minimalism, however, as the cellular material is more often highly dissonant and harmonically complex than not, and rather than progressing through a sequence of readily accessible harmonic progressions, Lang's music relies on the largely atonal interaction of material that may in itself intermittently suggest tonal referents occasionally you will hear fragments that sound like distorted Michael Nyman or Giles Swayne, and free jazz or even rock, but at others the sound world is closer to the Donaueschingen-Darmstadt axis.
The technique of repetition works in tying this eclectic montage of material together and providing a mnemonic framework and a sense of narrative thread in what could otherwise become bewilderingly abstract; the result is perhaps surprisingly entertaining despite its uncompromising seriousness of purpose and aggressiveness of presentation.
Original language texts. Orpheus begins at the end of the familiar myth, postulating a dialogue between the mythical dismembered musician and the mysterious lyric poetess of actual antiquity. Unlike the largely tonal choral work, the composer here adopts an eclectic combination of styles to evoke the transformative nature of the interaction between the characters, who are given strongly delineated musical identities; Orpheus' outrage at his fate is portrayed in sharply etched music which flirts with atonality, while more lyrical moments evoke operatic traditions of the Renaissance, tonal and formally stylised; in the eloquent vocal lines, melodic lyricism predominates throughout.
Oxingale Records OX U. A piece of music-theatre rather than an opera in any conventional sense, Pnima is a work about the Holocaust and the characters are a young boy and his grandfather, a traumatised Holocaust survivor; the grandfather cannot express his memories of the horror in terms that mean anything to the boy; the boy cannot perceive the nature of the horror, but is nonetheless haunted by it.
There is no narrative, no libretto, no words at all. The 'action' - both musical and onstage - evokes the confused and terrified states of mind of the protagonists. The music is not 'musical', consisting of a nightmare soundscape of extended-technique instrumental playing and vocalisations from offstage singers, the whole augmented through electronic sound projection. The faltering attempts by the two characters to communicate their respective internalised trauma is vividly acted out against a stark, minimalist backdrop, with projected images and lighting effects employed to suggest memories and mental images.
A half-hour interview in English with the composer in which she talks about the inspiration and techniques of the work fills out the disc. Mode DVD U. These works display an appealing combination of total fluency in the compositional techniques of our time in which Schleiermacher specialises as performer with the incorporation of expressive, emotional content, and, where appropriate, a sense of humor - the latter avoiding the excessive seriousness of some schools of contemporary music.
Auto Werk was commissioned by BMW for performance in a new car factory in Leipzig, and Schliermacher's use of sampled mechanical sounds and spatially presented brass ensembles is both witty and effective in producing a kind of hymn to technology; a computer-age reply to Mossolov's Iron Foundry, perhaps. The organ overture was written for the reconsecration of the organ for which Liszt wrote his Prelude and Fugue on BACH, and again, we encounter the contemporary composer in communion with the past in a vocabulary which takes as its starting point Liszt's extreme chromaticism in certain late works, and functions like a bold and impressive contemporary addition to the organ repertory.
The pieces for viola and bass clarinet are by turns playful and emotionally intense, not to say instrumentally challenging. A highly varied program, imaginative and the very opposite of dryly academic. These meditative, deliberately static works make extensive use of gentle, relatively unpitched 'noise' textures to suggest elemental, natural processes and formations. There is a strong connection to visual imagery - light and shadow, graphic textures, inorganic and organic forms in nature.
There is little in the way of musical development, and structurally the works are amorphous, the experience of shifting timbres at the present moment being of paramount importance. Subtle spatial interchange of parts heightens the impression of a journey through a detailed yet randomly organised landscape, and in the two quartets where this is of especial importance the recording technique has been chosen to emphasize these effects, especially in headphone listening.
Klangforum Wien String Quartet. And for those of you collecting this particular Brit Lite series, here's the latest, full of high quality light music with Tomlinson and his student Lord accounting for almost 40 minutes of the well-filled disc's And, because the tradition is still alive and healthy in England, we have a piece from Martelli remember him, Hammer Horror fans? The first attempt in the west to attack Shostakovich's large oeuvre of film music, this Capriccio series is now boxed at a very attractive price.
And, if you're collecting this series, here's the new one, whose minute suite from the film Five Days set in Dresden - about the Soviet collaboration in recovering art treasures from the ruins of the city and, yes, actually giving them back to East Germany in they never would have done it if they'd known how was going to turn out! The adjective "motlely" perfectly fits this brightly-colored collection of oddities, the most unusual of which is the group of excerpts from Moscow Cheremushki the complete, two-disc opera, on Chandos, was offered back in January of - which, in their mixture of lowbrow styles, cunning self-references, jibes at popular music and western musicals, and Russian folk music, fit perfectly with the two suites and the lollipop that Tahiti Trot has become.Shop the world's widest selection of Sikorski Dmitri Shostakovich sheet music, music books, scores and more. You'll find your Sikorski Dmitri Shostakovich music at Sheet Music Plus.