Posts Tagged 'sheet music'

Beethoven’s Violin Sonatas: Setting the New Performance Standard

Ludwig van Beethoven

Ludwig van Beethoven’s ten violin sonatas are among the most famous works of chamber music history and represent, together with Mozart’s works for this instrument duo, the core of violin repertoire from the Viennese Classicist period.

Though composed in a short span in Beethoven’s creative life (nine of the ten were written between 1798 and 1803, with the final one appearing in 1812), these sonatas bear all the marks of Beethoven’s compositional innovation: the breaking of formal tradition, a vast emotional scope, skillful musical manipulation, and, of course, the trademark urgency and power.

The new Bärenreiter edition of the violin sonatas — or, as more appropriately titled by Beethoven himself, sonatas for the pianoforte and violin — offers a revolutionary editorial approach to the music that does more than simply hand down the text.

These new volumes, edited by historical performing practice expert Dr. Clive Brown, present an approach to performance that is quite different from what most of today’s musicians are accustomed to. This approach not only falls much more in line with what Beethoven would have expected, but also imbues the music with a renewed vigor and offers musicians an incredible array of opportunities for creativity.

“This is the highest quality of academic scholarship, but it is not only that: this edition has enabled me to bring these sonatas to life in a way that has not been possible before – this is historical research in the service of living and breathing music!”

Viktoria Mullova, Violinist

Here violinist Viktoria Mullova and pianist Alasdair Beatson demonstrate some of their most illuminating discoveries from the “Spring” Sonata (Op. 24) and show us why they’re excited to work with these new editions:

The Editorial Approach

Dr. Brown’s new editions of the Beethoven violin sonatas combine a traditional scholarly Urtext approach with a wealth of information on historical performing practice informed by the thorough study of recordings and editions made by 19th-century musicians, many of whom had direct contact with Beethoven himself or with others that did.

These historical sources reveal a striking discrepancy between performance and notation. Composers in Beethoven’s era, including Beethoven himself, simply did not write down a large swath of the expressive gestures that they would have expected musicians to make, including rhythmic and tempo flexibility, piano arpeggiation and asynchrony, portamento, cadenzas, and ornamental, rather than continuous, vibrato effects.

By not including these details in the text, composers created a space bursting with potential for the creative performer to exploit in what could and, most importantly, would be wildly distinctive and thrillingly emotional performances. In many respects, it was a creative freedom much more akin to jazz than to today’s renditions of classical music.

“I’m alerting people to the fact that we’re actually missing the point if we play the music exactly as it stands on the page. It’s not expressive in the way that they would have expected it to be.”

Dr. Clive Brown, Editor

In the 20th century, all that changed. Between the spread of recording, which captured and then propagated singular interpretive viewpoints, and the Modernist revolution, which sought literal adherence to the text, classical music performance lost its improvisational spirit in favor of technical correctness, leaving performance after performance of any individual piece to be, for all intents and purposes, much the same and even redundant.

In this edition, Dr. Brown provides a traditional Urtext violin part, plus a second edited violin part featuring suggestions for fingerings and bowings that might help the musician explore the text as a 19th-century musician would have. The edition also clarifies some notational conventions employed by Beethoven that went out of use since his time and were ignored or misunderstood in later editions, including the most recent Urtexts.

Dr. Brown’s edits and annotations are, it must be pointed out, intended only as suggestions to invite serious engagement with the soundscape of Beethoven’s musical era. They are not meant to be performed as written time and time again, but rather to serve as guides as we experiment with the music on our own.

“That’s what I would love to see classical musicians getting back to: not being so frightened of making mistakes. In order to be really bold in performance, you have to be prepared to make a mistake.”

Dr. Clive Brown, Editor

Here Dr. Brown himself introduces this performance approach to us and explains how it helps us connect with the emotional essence of Beethoven’s music. He also discusses the importance of tempo in Beethoven’s music, gives us some stylistic examples of the expressive potential that we can begin to experiment with as we revisit Beethoven, and shares some anecdotes that bring Beethoven and his contemporaries to life:

For further information about Dr. Brown’s approach to Beethoven and a more detailed analysis of historical sources, please refer to the introductory text, “Reading between the Lines of Beethoven’s Notation,” included in the edition and the detailed Performing Practice Commentary available in full here:

About the Editor: Dr. Clive Brown

Clive Brown was a member of the Faculty of Music at Oxford University from 1980 to 1991 and is now Emeritus Professor of Applied Musicology at the University of Leeds and Guest Professor at the Universität für Musik und darstellende Kunst (University of the Arts), Vienna. He has published numerous articles on historical performing practice and, as a violinist, pursues practice-led research.

Sheet Music Plus Now Has 2 Million Titles for Sale Worldwide: Here Are Our Favorites

We now have more than 2 MILLION titles for sale worldwide!

Focusing on our mission to make the world’s music more playable, we’ve doubled our catalog in the last five years by forging critical relationships with sheet music publishers, creating pathways to sell and ship editions worldwide and aggressively expanding into digital sheet music available for instant download and printing.

We started Sheet Music Plus in 1997 with a commitment to serve musicians like ourselves with a full spectrum of sheet music, fast delivery and music experts filling our ranks in every department.

We’d like to celebrate this milestone by introducing ourselves (in alphabetical order!) and sharing some of our favorite items with you.

AMY, General Manager

Amy, General Manager, Sheet Music Plus

 

 

I have fond memories of playing through the duets in the Album of Flute Duets with my amazing flute teacher, Patty Lazzara.  Making music together with others has brought me joy throughout my life.

Album of Flute DuetsFlute Music by French ComposersJazz & Blues Play-Along Solos for FluteTwenty-Four (24) Flute Concert Studies

Continue reading ‘Sheet Music Plus Now Has 2 Million Titles for Sale Worldwide: Here Are Our Favorites’

Piano Music of Africa and the African Diaspora: The Best-Selling Anthology by William Chapman Nyaho

William Chapman Nyaho

While teaching at the University of Louisiana at Lafayette from 1991 to 2002, Ghanaian American pianist William Chapman Nyaho was struck by the utter lack of available piano scores by composers of African descent. To the extent that he could find any at all, they were mostly out of print or in manuscript form.

Shortly thereafter Nyaho found himself wandering the exhibition hall at an MTNA conference. He asked publisher after publisher for music by Florence Price. Publisher after publisher responded, “Who’s that?” Nyaho told them that she was an African-American composer and was told time and time again, “We only have Scott Joplin,” with the excuse being that there didn’t seem to be any demand for Price’s music. Nyaho replied, “The chicken or the egg: which comes first?”

Continue reading ‘Piano Music of Africa and the African Diaspora: The Best-Selling Anthology by William Chapman Nyaho’

Frank Sikora’s Jazz Harmony: The Best-Selling Practical Approach to Jazz Now Available in English

“There is no truth in theory – only in music!”

Frank Sikora

That’s Frank Sikora‘s creed.

Frank Sikora is also in charge of the theory department and the Master’s program in Jazz Composition & Arrangement at the University of the Arts Bern and is the author of a best-selling and widely acclaimed jazz theory book, Neue Jazz-Harmonielehre, that is now available in English: Jazz Harmony: Think – Listen – Play – A Practical Approach.

While this coincidence might seem puzzling or even contradictory at first, it is exactly what lends Sikora’s approach the nuance and balance to successfully bridge the gap between theory and practice. In Jazz Harmony: Think – Listen – Play – A Practical Approach, Sikora sets out to mold musicians who can adapt to anything, regardless of how novel and unexpected it may be. To achieve this, he establishes a close relationship between theory, the ear and our instrument, forging a dialogue between theory and spontaneity that helps musicians connect with music both intuitively and analytically.

Continue reading ‘Frank Sikora’s Jazz Harmony: The Best-Selling Practical Approach to Jazz Now Available in English’

New Instrumental Play-Along Series for Young Musicians from Editions Marc Reift

Editions Marc Reift, founded in 1983 by noted trombonist and conductor Marc Reift and offering a wide selection of music for bands, orchestras and solo instrumentalists, has two series of repertoire books with accompaniment CDs that are designed for young musicians.

Melodies for Beginners (Level 1)

The new Melodies for Beginners collection from Editions Marc Reift allows young beginners to build up a small repertoire of short, simple pieces. Arranged into several volumes for both solo instrumentalists and small ensembles, these Level 1 books are useful for small concerts or auditions.

Continue reading ‘New Instrumental Play-Along Series for Young Musicians from Editions Marc Reift’

Let’s Begin to Ring Again! Hope Publishing Handbell Choir Selections: Fall 2020

A message from Brenda E. Austin, Handbell Editor at Hope Publishing

Hello friends!

Brenda E. Austin

Have you noticed how grumpy many people are today? I sure have. I believe with all of my heart, that is in part because no one has been to the symphony, seen a broadway show, sang in their church choir or rang in a handbell festival in months and months. Our souls are crying out to be part of a musical experience again.

There are so many challenges facing us today. We need to keep the safety of our communities as our top priority. With that being said, I believe that we also need to consider our spiritual and emotional health as well. Where and when it is possible to do so safely, let’s begin to ring again. It may look different from what we “normally” do. But, what would it look like to ring today? Ringers wearing masks, each ringer at their own table or music stand at a safe distance from one another, no shared equipment. Perhaps ringing outside?? What are the possibilities?

Wishing you well!

Ring with 6: Year-Round

Arr. Martha Lynn Thompson

Martha Lynn Thompson adds another set of six settings to her highly successful series of Ring with 6 collections. Each arrangement uses 14-22 bells and is easily playable by six ringers. Three pieces have optional handchimes. A “Bells Used Chart” for each piece provides suggested assignments. No four-in-hand ringing is required but, because some ringers have more than two bells, it is necessary to have a table or a place to put the additional bells. Three of the hymns are suitable for general occasions, one is appropriate for either Palm Sunday or Advent, and rounding out the collection is Natalie Sleeth’s beautiful “Were You There on That Christmas Night?”

Continue reading ‘Let’s Begin to Ring Again! Hope Publishing Handbell Choir Selections: Fall 2020′

Helping Singers Learn at Home! Hope Publishing Choral Selections with Rehearsal Tracks: Fall 2020

A message from Joel Raney, Composer & Choral Editor at Hope Publishing

Joel Raney
Joel Raney

I know that these days many of us are searching for ways to keep our singers engaged without gathering. Here we feature several of our most popular titles that have part-dominant rehearsal tracks available for soprano, alto, tenor, and bass, as well as stereo accompaniment tracks. Whether you’re doing a virtual choir or some sort of limited socially distant singing, these tools are a terrific way to help singers learn new music at home on their own.

Stay strong and safe!

In Christ Alone with Cornerstone

Arr. Joel Raney
SATB Octavo
Instrumental Parts
Performance/Accompaniment CD
Voice-Dominant CD

Listen & follow along with the score

Originally, this appeared in Joel Raney and Lloyd Larson’s best-selling Lenten cantata, Hope in the Shadows. This medley pairs the popular Keith Getty song with the praise chorus “Cornerstone” and “When I Survey the Wondrous Cross.”

Continue reading ‘Helping Singers Learn at Home! Hope Publishing Choral Selections with Rehearsal Tracks: Fall 2020’

Publisher Focus: Jubilate Music Group

Guest post by Morgan Roberts, Director of Production, Sales & Marketing for Jubilate Music Group

Jubilate Music Group is the culmination of many years of various developments in the lives of several individuals and the music print industry. These developments led to the consolidation of three separate and distinct music publishing catalogs, each with its own individual history: Alfred Sacred, Jubilate Music, and H.W. Gray. The result is Jubilate Music Group, an eclectic stylistic blend of sacred and secular choral, vocal, handbell, and instrumental publications for adults and children.

Alfred Sacred – Jubilate Music – H.W. Gray

As a result of the consolidation and acquisitions described in this blog, Jubilate Music Group also contains the sacred compositions from the historic Belwin-Mills and Gordon V. Thompson catalogs plus the entire Brodt Music Publications and Good Life Publications catalogs. From Handel, Hopson, and Hayes to Puccini, Penderecki, and Purifoy…Jubilate Music Group catalogs contain a combined 150+ years of rich music publishing history. When considered retrospectively, the changes and developments that came together to ultimately create Jubilate Music Group make its birth true to the meaning of its name:

“A song of joy and triumph”

Continue reading ‘Publisher Focus: Jubilate Music Group’

How to Play the Electric Guitar: Songs, Techniques, Effects, and other Beginner Fundamentals

Guest post by JBostian

Music making is more accessible than it has ever been. In fact, there has been a significant rise in searches for music creation software and instrument sales in the last couple of months.

Anyone from beginners to virtuosos can now make a record of their own from the comfort of their homes. Now, what if you don’t know how to play an instrument? As we’ve already tackled in our article on learning how to play guitar, you can learn how to play all on your own through diligent practice.

If you’ve already read that article and are looking to add a little more oomph to your guitar playing, then you may want to consider the electric guitar. To help you out, we’ve put together a quick guide on how to play this instrument. Read on if you want to learn more about the basics, effects pedals, and easy songs you can start playing!

Continue reading ‘How to Play the Electric Guitar: Songs, Techniques, Effects, and other Beginner Fundamentals’

Edition Peters: A Commitment to Bold New Sounds

EditionPetersLogo2020One of the most thrilling parts of working with music is discovering new works and budding composers who are changing not only the way we listen to music and perceive sound, but also how we conceive of the broader world around us and our place in it both today and into the future.

Edition Peters has consistently championed contemporary music throughout its storied history, and with its ever-expanding catalog, Peters continues to be one of the staunchest supporters of the artists who shape the future of our musical landscape. Here Kathryn Knight, President of C.F. Peters New York, illuminates the Peters commitment to new music:

Kathryn KnightPeters has been working with contemporary composers since its inception in Leipzig over two centuries ago, publishing new music by young and emerging composers such as Beethoven, Schumann, Mendelssohn and Grieg… Our commitment to bold new sounds has remained steadfast since that time, signing 20th-century iconoclasts such as John Cage and George Crumb. We know that some of today’s mavericks will be the composers of tomorrow’s classics.

– Kathryn Knight, President, C.F. Peters NY

A Short History of Edition Peters

Edition Peters was founded in 1800 in Leipzig, Germany, and quickly established itself as one of the 19th century’s leading German music publishing houses, building relationships with the most outstanding composers of the era. In the 20th century, Max and Walter Hinrichsen — surviving members of the German Jewish family that owned Edition Peters — fled the Nazi takeover of both their homeland and their family business and established new publishing houses in London and New York, respectively, that would carry on the Peters tradition.

Walter Hinrichsen Meeting With Beethoven Portrait

Walter Hinrichsen, founder of Peters NY, holding a staff meeting under the famous Beethoven portrait by Stieler, now housed at the Beethoven-Haus in Bonn

Continue reading ‘Edition Peters: A Commitment to Bold New Sounds’


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