Ever since its premiere just over a century ago, The Mikado has consistently held the stages as one of the world´s best-loved comic operas. The story tells how Nanki-Poo, son of the Mikado, overcomes all opposition to marry his sweetheart Yum-Yum. On the way he encounters such unforgettable characters as Ko-Ko, the timid tailor unexpectedly promoted to the rank of Lord High Executioner, and Pooh-Bah, Lord High Everything Else, who is so proud that he refuses to lift a finger - except on payment of a small fee...This exquisitely illustrated Easy Piano Picture Book incorporates easy-to-play versions of the most famous songs from the show including Three Little Maids from School, The Moon and I and Tit-Willow.It will delight Gilbert and Sullivan fans of all ages.
Dvorák, AntonínConcerto for Violoncello and Orchestra B minor op. 104Edition no.TP 620ISMN9790006205448This study score is based on the score and complete performance material of Dvorák’s famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny.Like every other major 19th-century cello concerto, Dvorák’s concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák’s autograph were written by the cellist Hanus Wihan but Bärenreiter’s edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together.The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák’s definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts.• Includes Dvorák’s final and definitive version of the solo cello part• Incorporates new discoveries regarding the collaboration between Dvorák and Wihan• With Feuermann’s and Casals’s alternative versions of a passage in the first movement• Detailed Foreword (Eng/Cz/Ger)EditorDel Mar, JonathanLanguage(s) of textEnglish, Czech, GermanProduct formatStudy score, Urtext editionBindingPaperbackPages / FormatXXIII, 118 S. - 22,5 x 16,5 cm
Handel called Britain ´the ringing isle´ because when he moved to London, he heard bells ringing everywhere: great bells in church towers, and handbells in some of the first private houses he visited. The sound of people ´ringing the changes´ is a peculiarly British sound of celebration, and it seems a good starting point for a piece celebrating British musical life. Within The Ringing Isle, Dove incorporates some traditional change-ringing patterns, from ´Grandsire Doubles´, ´Oxford Treble Bob Minor´ and his own version of ´Plain Bob Major´. Handel´s phrase also conjures up an image of a magical island, and so this is how Dove envisaged how it must have been to approach Britain from an ocean voyage.
Playing the recorder has never been so much fun! RecorderWorld is the exciting and creative way to learn the recorder. It is a step-by-step teaching method including over 40 pieces, with both well-known tunes and fun original pieces in a style kids love. Concert pieces provide opportunities for performance straight away and there is plenty of opportunity for group work with duets, rounds and percussion boxes. Explore the world of improvisation and composition though imaginative starting points. ´Fact files´ introduce new information about beats, musical markings and time signatures while ´Clapping Games´ instil a strong sense of rhythm. ´Quick Quizzes´ help revise and reinforce new concepts while lively cartoons and colourful stickers make it so much fun! Book 1 incorporates the notes E, G, A, B, C and D, alongside key skills of musicianship, wider musical knowledge and games galore. This edition of book 1 comes with accompaniment CD, containing groovy accompaniments for all the pieces, including practice and performance tempo versions.
Bach, Johann SebastianOrgan Works, Volume 6Preludes, Toccatas, Fantasias and Fugues II / Early Versions and Variants to I (Volume 5) and II (Volume 6)EditorKilian, Dietrich / Wollny, PeterJohann Sebastian Bach: Complete Organ Works in revised editionsAny complete scholarly critical edition of the works of Johann Sebastian Bach must incorporate new research findings in the interest of scholars and performers alike. Now all of Bärenreiter’s new performing editions of Bach’s organ works are being revised to reflect the current state of scholarship and to convey maximum fidelity to the sources by being linked to ´´Bach digital”.The present volume is an updated edition of Series IV, Volume 6 of the ´´New Bach Edition” (NBA), prepared by Dietrich Kilian in 1964. The discovery of new sources and a reassessment of existing handwritten copies have brought about changes to the contents of the volume, which now includes the ´´Fantasia in C minor” (BWV 1121), the ´´Fantasia in G major” (BWV 571), the ´´Fugue in G major” (BWV 577) and the C major version of the ´´Toccata and Fugue in E major” (BWV 566). On the other hand, the ´´Prelude in G major” (BWV 568) as well as the alternative versions of the ´´Fugue in C minor” (BWV 574a) and the ´´Prelude in A major” (BWV 536a) have been discarded as presumably spurious.Besides the new compilation and corrections of the musical text, the volume also contains a detailed Foreword by Peter Wollny with observations on each work and the extant sources. Page turns have been re-examined and improved.In collaboration with the Bach Archive Leipzig and its ´´Bach” digital database, links are provided to all the major sources. The website http://links.baerenreiter.com enables readers to access the relevant page in the source simply and conveniently via short URLs. The links stored there are examined for their validity on a regular basis.Contents:BWV 551, 563-566 (version in E major), 569-571, 573-575, 577-579 and 1121 / Early versions and variants to I (Vol. 5) and II (Vol. 6): BWV 532a, 533a, 535a, 543a, 545a, 549a, 566 (version in C major) and 574b• New detailed Foreword (Ger/Eng) by Peter Wollny on the works and their sources• New contents reflecting the current state of source evaluations• Links to sources in ´´Bach digital”• Complete new engraving and revised page-turns·Composer / Author:Bach, Johann SebastianToccata in C BWV 564·Composer / Author:Bach, Johann SebastianFantasia in C BWV 570·Composer / Author:Bach, Johann SebastianFantasia in c BWV 1121früher BWV Anh. 205·Composer / Author:Bach, Johann SebastianFantasia in C BWV 573Fragment·Composer / Author:Bach, Johann SebastianFuga in c BWV 574über ein Thema von Giovanni Maria Bononcini·Composer / Author:Bach, Johann SebastianFuga in c BWV 575·Composer / Author:Bach, Johann SebastianToccata con Fuga in d BWV 565·Composer / Author:Bach, Johann SebastianToccata in E BWV 566·Early Versions and Variants to I (Volume 5) and II (Volume 6):·Composer / Author:Bach, Johann SebastianPraeludium con Fuga in C BWV 545a·Composer / Author:Bach, Johann SebastianToccataFassung in C zu BWV 566·Composer / Author:Bach, Johann SebastianFuga in c BWV 574büber ein Thema von Giovanni Maria Bononcini·Composer / Author:Bach, Johann SebastianFuga in D BWV 532a·Composer / Author:Bach, Johann SebastianPraeludium ô Fantasia in d BWV 549a·Composer / Author:Bach, Johann SebastianPraeludium in e BWV 533a·Composer / Author:Bach, Johann SebastianPraeludium con Fuga in g BWV 535a·Composer / Author:Bach, Johann SebastianPraeludium in a BWV 543a·Composer / Author:Bach, Johann SebastianFantasia in G BWV 571·Composer / Author:Bach, Johann SebastianFuga in G BWV 577·Composer / Author:Bach, Johann SebastianFuga in g BWV 578·Composer / Author:Bach, Johann SebastianPraeludium in a BWV 569·Composer / Author:Bach, Johann SebastianPraeludium con Fuga in a BWV 551·Composer / Author:Bach, Johann SebastianFantasia in h BWV 563·Composer / Author:Bach, Johann SebastianFuga in h BWV 579über ein Thema von Arcangelo Corelli
The 1969 Mercenary Edition is a new product that derives from a collaboration between two of the audio industry´s most established names, Drawmer (UK) and Mercenary Audio (USA). When Ivor Drawmer rose to the challenge of outspoken US producer/engineer ´Fletcher´ of Mercenary Audio to build a special version of the famed Drawmer 1960 (used by Eric Clapton, Madonna, Sheryl Crow, Stevie Wonder, Bryan Adams and thousands of artists around the world) - both sides joined forces and the 1969 Mercenary Edition was born!Main Features: -> 2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse. -> Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost. -> 2 soft-knee tube compressors with variable threshold, attack, release and output gain. -> True stereo link operation with BIG position for retaining bass frequencies. -> Side chain access and side chain listen facility. -> VU metering of gain reduction and output levels. -> Individual +4dB/-10dB inserts / Balanced +4dB XLR input/output connectors.Based on Drawmer´s original 1960 Mic Pre-Amp/Tube Compressor (itself inspired by the classic Fairchild 670), the 1969 offers a host of new features, and more impressively - a completely new sound!Retaining the concept of twin mic pre-amps, the 1969 uses ´Burr-Brown´ op amps for a silkier sound - and a Phase Reverse switch available in Instrument, Mic and Line modes increases versatility. The 1969 employs true Stereo Link operation with channel one´s Threshold, Attack and Release controls becoming master to both channels. Stereo Link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100Hz minimizing undesirable pumping during compression. Output Gain make-up can be independently controlled on each channel. The 1969 Mercenary Edition incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments - true to the original Drawmer 1960 design.
A PICTURE IS WORTH A THOUSAND WORDS...Perhaps, but would photographs of our Variable Mu® Limiter Compressor or VOXBOX® have created their successes alone? You have to hear this gear. You have to use this gear. Put your hands on the knobs and crank ´em. Engineers who have already gotten hold of the MASSIVE PASSIVE have told us: Why does it make everything sound so much better?, It´s organic and orgasmic., It´s a f%#king powerhouse., It´s unlike any other EQ., This is IT. The sound I´ve always dreamt of but couldn´t ever get until now.GOT THE PICTURE?Craig ´HUTCH´ Hutchison designed these monsters... The MASSIVE PASSIVE is a two channel, four band equalizer, with additional high pass and low pass filters. Passive refers to the tone shaping part of this clever new EQ design not using any active circuitry. Only metal film resistors, film capacitors and hand-wound inductors sculpt the sound, kinda like a Pultec EQ on hyper-steroids. Super-beefy, hugely-high-headroom Manley all-tube make-up gain amplifiers deliver your tunes into the next realm. Massive.... it´s a fitting word for this beast. You´ll need to experience this.Creating natural, organic, acoustic tone can only be done with an equalizer that treats the signal with natural methods. The Massive Passive uses simple passive components and exploits their natural qualities rather than forcing a complex circuit to meet an arbitrary clinical or scientific goal. Manley knows that recording and mastering equalizers are used by artists for artistic goals and we balanced this design with a little more art than science. The Massive Passive is intended both for the most radical EQ sometimes needed for tracking as well as the most subtle shadings for vocals and mastering. It is designed to be a fundamentally different EQ but incorporates the best strengths of Pultecs, choice console EQs, parametrics and graphics. The difference is that the Massive allows twice as much EQ with half the coloration. It allows huge HF boosts without sibilance problems and unbelievable fatness without mud. This is unique. Being different also gives it some quirks and idiosyncrasies that will spark your creativity and sense of audio adventure. We could attempt to use dozens of superlatives to describe the sounds, but really, you have to experience it yourself. Words cannot do it justice. The astute reader will notice a lack of buzz words and that the Massive Passive is not built around gimmicks, plagiarisms, or conventional techniques. However, it is built to complement our Variable Mu® Limiter Compressor for instance.... This combo could just be the ultimate processing chain. It’s already a Mastering fave. To this end we finally have a new dedicated Mastering Version Massivo available too.The Filters - 5 frequencies Hi Pass and bypass, PLUS 5 frequencies Lo Pass with bypass. We made them extra steep. 36 dB/oct ! Why? When you need to remove the garbage, this does the trick and allows more of the real music to be untouched. The other reason is that it sounds killer when combined with the regular bands. Towards the mids this degree of steepness may be tamed somewhat. We´re going for pure usefulness not well, we guess it´s standard. Thinking drums and guitar stacks, and other tough jobs. These filters are passive too.High Pass Filters = 22, 39, 68, 120, 220, OFFLow Pass Filters = 6K, 7K5, 9K, 12K, 18K, OFFLOW - 22, 33, 47, 68, 100, 150, 220, 330, 470, 680, 1KLM - 82, 120, 180, 270, 390, 560, 820, 1K2, 1K8, 2K7, 3K9HM - 220, 330, 470, 680, 1K, 1K5, 2K2, 3K3, 4K7, 6K8, 10KHI - 560, 820, 1K2, 1K8, 2K7, 3K9, 5K6, 8K2, 12K, 18K, 27K# Each band can be bypassed or set to boost or cut. This provides twice the control resolution over conventional EQs. It also eliminates the problem of a center detent not guaranteeing flat response.# Each band is capable of 20 dB of boost or cut combined with amazing headroom and freedom from clipping. Steep LP and HP filters for maximum effectiveness and achieved passively for minimal coloration. The minimum slope is 18 dB/octave and the 18kHz filter was designed for 60 dB/octave. # Modular design that allows future upgrades and special functions. The Massive Passive is an EQ platform with room to grow.# Transformer balanced floating outputs for ease of installation and a touch of desirable flavor. These too were custom designed for the Massive Passive to accommodate the huge boosts possible.# Manley quality, Manley engineering, and the Manley Sound. Features:•...
Eventide Harmonizer effects processors are considered classics by musicians and audio professionals.One reason is that Eventide doesn´t believe in planned obsolescence. Eventide gear has proven staying power over the decades as evidenced by the thousands of effects processors that remain in use. Eventide introduces a new model only when the state-of-the-art advances to the point that a major leap in performance is possible. That time has come and the Eventide H7600 is that product. The H7600 builds on the rich heritage of Eventide´s world-class H3000/DSP4000/DSP7000 series. With more processing power than its predecessors, the H7600 is the most powerful two-channel effects processor you can buy. More capabilities and better performance- the densest reverbs, lushest choruses, and highest quality pitch change ever. An enhanced user interface adds search capability so that the H7600 is even faster and easier to use - in the studio or on the road. The H7600 Ultra-Harmonizer effects processor brings you one step closer to stereo effects Nirvana.REVERB PARADISE - Award-winning acoustic spacesWorld-class reverb lives and breathes in the H7600. Stereo versions of the reverbs which earned Eventide the coveted Best Reverb Award from Studio Sound magazine are included the H7600. Dozens of new environments ranging from Car Window to mall spaces, big halls, plate reverbs, arenas, rooms, chambers, and even the impossible reverb we call Black Hole are found in the H7600. Whether it´s large or small, real or imagined, there´s a reverb for every musical genre and every post-production requirement.AN ARCHITECTURE YOU CAN BUILD ON - Create your own signature effectsOrdinary processors have a limited number of processing algorithms. Their programs and presets can only be variations of that limited repertoire. In sharp contrast, each of the H7600´s 1100 factory preset-algorithms are created from a wide array of effects building blocks - over 230 in all. In the H7600, each preset is its own unique algorithm. Create your own unique effects from the front panel, or using the included VSIG (Windows) or VSIG-X (Mac OS-X) development tools.COPIOUS SAMPLING WITH TIME COMPRESSION/EXPANSION - Sample, stack, stretch and moreThe H7600 puts a highly flexible 174 seconds mono (87 seconds stereo) sampler at your fingertips. With stereo looping and multiple sampling capabilities, you can stack several samples and independently edit them, pitch shift, and/or time compress or expand them. Tap tempo looping adds to the versatility. From dance remixes to nuts-and-bolts radio and post-production, the H7600 sampler gets the job done.POST-PRODUCTION AND BROADCAST ESSENTIALS - The complex made simpleBroadcast and post-production professionals will find special utility in the H7600´s unique program presets created by sound designer Jay Rose. Instantly conjure up scores of audio environments which would otherwise take forever to achieve. Press a button and it´s This is your captain speaking. Press again and it´s the kid at the fast-food drive-up window. Another press and your words are coming from a computer chip-driven toy, or the TV in the next room, or a cellular phone. Myriads of fantasy or cartoon voices beckoning you to fairylands or to the dark side of the force are at your fingertips. Odds are that you´ve heard some of these Eventide effects on TV, radio, or at the movies in the past week.AND NOW MIDI VIRTUAL RACKS- Stacked effects with instant program changeThe H7600 offers 20 MIDI Virtual Rack preset-algorithms, featuring up to five full-blown effect processors ganged together. Each preset offers 10 different tweaks which can be programmed, stored, and controlled in real time through MIDI. Up to forty-five different parameters can be controlled with one MIDI control message. Individually optimized for guitar, vocals, or percussion, and designed with performance in mind. Single effects blocks are also offered as separated presets so that effect chains can be assembled.ULTRASHIFTER - The apex of pitch manipulationThe H7600 incorporates Eventide´s most advanced formant-maintaining pitch shifter optimized for the human voice. The UltraShifter´s real-time adaptive resynthesis allows for unmatched modification of vocal timbre. So, if you are changing gender or going for something completely bizarre, it´s in there.CHOOSE EVENTIDEEventide has packed so many unique and eminently useful preset-algorithms into the H7600 that this brochure can´t begin to...