“Now Winter Nights” by British composer and baritone Roderick Williams uses an evocative poem by Thomas Campion as its text, helping him to pinpoint the excitement of Christmas he felt as a child and still holds onto.
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.
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.
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
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.
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?”
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. InJazz 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.
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.
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.
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?
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?”
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.
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.”
Guest post by Morgan Roberts, Director of Production, Sales & Marketing for Jubilate Music Group
Jubilate Music Groupis 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:
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!