La Ronde Des Lutins

A Violin solo with Piano Accompaniment composed by Antonio Bazzini.. Kalmus Editions are primarily reprints of Urtext Editions, reasonably priced and readily available. They are a must for students, teachers, and performers.

A Violin solo with Piano Accompaniment composed by Antonio Bazzini.

(LKM Music). This great bravura piece uses many of the innovations the composer learned from his teacher, Niccolo Paganini--ricochet and flying staccato bowings, double harmonics, left hand pizzicato, and repetition of the same pitch on all four strings. This work remained one of Jascha Heifetz' favorite encores. He recorded it in 1917 and again in 1937. His bowings, fingerings and his suggestions regarding interpretation are integral part of this edition.

An exploration of fantastic soundworlds in nineteenth-century France, providing a fresh aesthetic and compositional context for Berlioz and others.

This innovative study of nineteenth-century cellists and cello playing shows how simple concepts of posture, technique and expression changed over time, while acknowledging that many different practices co-existed. By placing an awareness of this diversity at the centre of an historical narrative, George Kennaway has produced a unique cultural history of performance practices. In addition to drawing upon an unusually wide range of source materials - from instructional methods to poetry, novels and film - Kennaway acknowledges the instability and ambiguity of the data that supports historically informed performance. By examining nineteenth-century assumptions about the very nature of the cello itself, he demonstrates new ways of thinking about historical performance today. Kennaway’s treatment of tone quality and projection, and of posture, bow-strokes and fingering, is informed by his practical insights as a professional cellist and teacher. Vibrato and portamento are examined in the context of an increasing divergence between theory and practice, as seen in printed sources and heard in early cello recordings. Kennaway also explores differing nineteenth-century views of the cello’s gendered identity and the relevance of these cultural tropes to contemporary performance. By accepting the diversity and ambiguity of nineteenth-century sources, and by resisting oversimplified solutions, Kennaway has produced a nuanced performing history that will challenge and engage musicologists and performers alike.

This impressive compilation offers a nearly complete listing of sound recordings made by American minority artists prior to mid-1942. Organized by national group or language, the seven-volume set cites primary and secondary titles, composers, participating artists, instrumentation, date and place of recording, master and release numbers, and reissues in all formats. Because of its clear arrangements and indexes, it will be a unique and valuable tool for music and ethnic historians, folklorists, and others.