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marco marco
VIOLA
Orchestra
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Pavane (BETTA MARCO)
Orchestra
[Score]
Ricordi
Per Orchestra (2008). Par BETTA MARCO. Langue: English(UK)/Deutsch/Français/Ned...
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Per Orchestra (2008). Par BETTA MARCO. Langue: English(UK)/Deutsch/Français/Nederlands / Musique contemporaine / Date parution : 1905-07-03/ Répertoire / Orchestre
64.08 EUR - Sold by LMI-partitions
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Metabolai (STROPPA MARCO)
Orchestra
[Score]
Ricordi
Per Orchestra - Partitura. Par STROPPA MARCO. / Musique contemporaine / Date ...
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Per Orchestra - Partitura. Par STROPPA MARCO. / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Orchestre
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Du Corps... (PEREZ-RAMIREZ MARCO-ANTONIO)
Orchestra
[Sheet music]
Jobert
Par PEREZ-RAMIREZ MARCO-ANTONIO. Le titre de cette nouvelle pièce s'est imposé...
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Par PEREZ-RAMIREZ MARCO-ANTONIO. Le titre de cette nouvelle pièce s'est imposé tout naturellement au moment où je lisais cette phrase d'Antonin Artaud 'Du corps, par le corps, depuis le corps, avec le corps et jusqu'au corps'. J'avais déjà commencé à écrire cette pièce pour orchestre, je cherchais des aspérités, des volumes antagonistes, des sons âpres, rauques, une forme sans concession, des accélérations et ralentissements du matériau, je voulais dévier, dériver, m'enfoncer, repartir, déraper, foncer, revenir... J'éprouvais des sensations tactiles très fortes au moment de l'écriture, des sensations de contact direct, immédiat, physique. J'essayais de laisser une trace dans l'espace. Un peu comme dans les tableaux d'Antoni Tapiès avec ces graffitis ou éraflures, '...comme si une mémoire avait pu reprendre corps à partir de ces surfaces graveleuses...' (Jorge Semprun). Aujourd'hui plus j'avance dans mon travail et plus cette idée du corps, devient présente dans ma musique. Ecrire de la musique est devenu une expérience du corps tout entier. Un corps qui est pensée, connaissance et sensations. Tout ce que j'écris passe par mon corps. Je mime, chantonne, ronronne ma musique. Je me lève, me rassois, tourne autour de ma table pour calmer ma main et ma tête qui parfois vont trop vite. Par ce contact direct, physique, j'essaye que ma musique garde en mémoire le geste qui la fait naître. Au-delà de cette 'physicalité', les réflexions sur le corps m'ont permis de faire le lien avec ces idées chères à Bergson sur le Temps, la durée réelle, sur l'Instinct et l'Intuition. Toutes ces notions se croisent dans mon esprit, se mélangent dans ma musique, et plus particulièrement dans cette nouvelle pièce. Du Corps... est dédiée à René Koering, car c'est après avoir entendu le final, extrêmement étrange, de son 3e quatuor à cordes que j'ai eu envie d'écrire les premières mesures de cette pièce. Marco-Antonio Perez-Raminez / contemporain / Répertoire / Orchestre
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Il Canto, for Orchestra (PODDA MARCO)
Orchestra
Da Vinci Publishing
Par PODDA MARCO. / Date parution : 2022-11-29/ Répertoire / Orchestre
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Requiem (PODDA MARCO)
Orchestra
Da Vinci Publishing
Par PODDA MARCO. / Date parution : 2022-11-29/ Répertoire / Orchestre
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Maria Montessori (BETTA MARCO)
Orchestra
[Score]
Ricordi
Musica Per L'Omonimo Sceneggiato Televisivo. Par BETTA MARCO. Musica Per L'Omoni...
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Musica Per L'Omonimo Sceneggiato Televisivo. Par BETTA MARCO. Musica Per L'Omonimo Sceneggiato Televisivo / Musique contemporaine / Date parution : 1905-06-30/ Répertoire / Orchestre
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Achachilas
Orchestra
Jobert
Les Achachilas sont les esprits protecteurs, ancêtres, du peuple Aymara. Ils so...
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Les Achachilas sont les esprits protecteurs, ancêtres, du peuple Aymara. Ils sont représentés sur terre par les montagnes et monts qui entourent ces peuples.Après la naissance de ma fille, j'ai senti le besoin de regarder de plus près la terre de mes ancêtres. Ce travail de mémoire a guidé toute cette oeuvre.Cette pièce 'est une succession d'états dont chacun annonce ce qui suit et contient ce qui précède. ...Tandis que je les éprouvais, ils étaient si solidement organisés, si profondément animés d'une vie commune, que je n'aurais su dire où l'un quelconque d'entre eux finit, où l'autre commence. En réalité, aucun d'eux ne commence ni ne finit mais tous ces prolongent les uns dans les autres'. La pensée et le mouvant Bergson.Ce présent qui dure, ce passé qui fait corps avec le présent, correspondent à un non-développement, à un non-déterminisme - chaque acte est un 'jaillissement ininterrompu de création', dans lequel il n'y a jamais deux moments identiques.Dans mon travail, l'oeuvre n'est jamais préconstruite, il n'y a pas d'esquisses préparatoires, et reste par conséquent totalement imprévisible. Composer devient alors une véritable aventure, totalement libre.Seule la mémoire, conscience du passé qui fait corps avec le présent, donne cohérence à ma musique.Cette oeuvre est dédiée à ma fille Millaray, en espérant que ces Achachilas se penchent sur elle.Marco-Antonio Perez-Raminez / Orchestre
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Britta Byström: Invisible Cities: Orchestra: Score
Orchestra
-
Intermediate/advanced
Wilhelm Hansen
Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Prog...
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Invisible Cities for Orchestra by Swedish composer Britta Byström (2013). Programme note: Invisible Cities is an orchestral piece inspired by the Italian writer Italo Calvino's novel 'Le città invisible' (1972). The novel consists of many short poetical descriptions of wondrous cities. This is what the explorer Marco Polo reports to Kublai Khan of what he has seen during his travels. Gradually though Kublai Khan begins to suspect that Marco Polo all the time describes one and the same city but in many different ways: Marco Polo's own hometownVenice. This was also my musical idea: to present the same motif in many different ways. The piece has eleven movements just as the novel consists of eleven different kinds of cities. Before every new musical 'city' there is a 'walk' – a little piano line which takes the listener from one city to another. This piano line is a quotation from Witold Lutoslawski'sVenetian Games. There are also other music connected to Venice hidden in my piece: the well-known Barcarolle by Offenbach and some fragments from Carnival in Venice. These references are the 'invisible cities' of my piece the material hidden under the music's surface. Marco Polo explains to Kublai Khan: 'To distinguish the other cities' qualities I must speak of a first city that remains implicit. For me it is Venice.' (c) Britta Byström Britta Byström’s careful ear for musical qualities such as timbre and resonance has resulted in an idiom that could almost be labeled impressionistic. She began composing already as a teenager and later studied composition at Musikhögskolan in Stockholm with Pär Lindgren and Bent Sørensen.
57.50 GBP - Sold by Musicroom UK
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Sempre Avanti - Full Score: Concert Band: Score
Orchestra
[Sheet music]
Schirmer
Score-'Sempre Avanti ' whose title translates as 'Ever Forward' was written for...
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Score-'Sempre Avanti ' whose title translates as 'Ever Forward' was written for the Bloomfield Youth Band and premiered by that ensemble on June 17 2005. 'Sempre Avanti' was the motto of TonyMarcopoto a longtime supporter and fan of the Youth Band and a retired New Jersey Music Educator who taught at Newark's Arts High School for nearly 40 years. Well into his eighties he practiced his Clarinet for an hour each day.Two years before he passed away he suffered a stroke which paralyzed the entire right side of his face. Despite this unfortunate setback Tony never gave up and to everyone's amazement found a way to not only play the Clarinet but to once again resume his normal routine of an hour of practice each day. Tony's 'ever forward' spirit was remarkable and serves as a terrific example for everyone.
10.99 GBP - Sold by Musicroom UK
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L'Equivoco Stravagante (ROSSINI GIOACHINO)
Orchestra
Ricordi
Volume 3 - Sezione Prima -Edizione critica a cura di Marco Beghelli e Stefano Pi...
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Volume 3 - Sezione Prima -Edizione critica a cura di Marco Beghelli e Stefano Piana - 2 voll. + c.c.. Par ROSSINI GIOACHINO. Vol.3 - Sezione Prima -Edizione Critica A Cura Di Marco Beghelli E Stefano Piana - 2 Voll. + C.C. / Opéra-opérette / Répertoire / Orchestre
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Vincenzo Bellini: La straniera – Melodramma in due atti: Orchestra: Score
Orchestra
Ricordi
Edizione critica a cura di Marco Uvietta
283.10 GBP - Sold by Musicroom UK
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Luigi Nono: Prometeo: Orchestra: Score
Orchestra
[Score]
Ricordi
Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Lu...
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Nuova edizione a cura di André Richard e Marco Mazzolini. The new edition of Luigi Nono?s Prometeo serves a twofold objective. First, it proposes to document the musical text as defined through the experience of the performances in which Nono took part. Second, it aims to provide performers and scholars with the necessary information relating to the performance practice of the voices, instruments, and electronics (data, programming schemes, instructions for the implementation of sonic treatments). The technical and performance-related material is preceded by an essay which illustrates the philosophical background of the work, as closely linked to its formal aspects. The edition avails itself of the text of the second, final version of Prometeo, performed for the first time in Milan at the Stabilimento Ansaldo (September-October 1985) and reprised in Frankfurt (Alte Oper, August 1987), Paris (Théâtre National de Chaillot, October 1987) and Berlin (Kammermusiksaal of the Philharmonie, August 1988), with Nono at the Sound Direction. While the purpose of the edition is eminently practical, the specific nature of the work, combined with Nono?s own compositional approach, has made it necessary for the editors to access a number of sources, in order to accurately define the musical text. These include the autograph score supplied to the publisher and the printed copy that Nono used in all of the performances he took part in, the scores and parts used by the performers who worked with the composer, the work protocols of the Experimentalstudio of Freiburg (where Nono realized the live electronics part for Prometeo), the radio broadcast recordings of the performances in which Nono was directly involved. The concept of the edition owes much to André Richard?s extended experience realizing Prometeo, from the premieres of Venice (1984) and Milan (1985) up until 2015. He assumed a variety of roles in his plurennial involvement, from preparing the chorus and vocal soloists to leading the Sound Direction, to the design of the sonic space. As to the notation for the electronics of Prometeo, particular attention was devoted to solving the problem posed by the absence of a reference standard, as well as of specific indications in the autograph score. Based on the work protocols of the Experimentalstudio of Freiburg, the editors have developed a semiographic code that is coherent and expressive enough to avert stylistic ambiguities and, at the same time, open and flexible enough to allow for the exercise of interpretative freedom in a constantly evolving technological context.
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All Over
Orchestra
Jobert
/ Orchestre
28.40 EUR - Sold by LMI-partitions
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Nubes
Orchestra
Jobert
/ Orchestre
43.90 EUR - Sold by LMI-partitions
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