English version
PARTITIONS GRATUITES
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
0
Partitions
Numériques
12
Librairie
Musicale
226
Matériel
de Musique
112
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
12
PIANO & CLAVIERS
Piano seul
9
Piano Facile
5
Piano, Voix et Guitare
3
Piano, Voix
2
Orgue
1
GUITARES
Guitare notes et tablatures
3
Ukulele
3
Ligne De Mélodie, (Paroles) et Accords
1
VOIX
Chorale SATB
10
Chorale 3 parties
2
Chorale SSAA
1
Voix Soprano, Piano
1
Chorale 2 parties
1
Voix Mezzo-Soprano, Piano
1
Chorale SSATTB
1
Instrumentations suivantes
Retracter
VENTS
Quatuor de Flûtes : 4 flûtes
1
Ensemble de Flûtes
1
Flûte traversière et Piano
1
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Trombone
1
Tuba
1
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
2
Violoncelle
1
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
18
Orchestre
4
Jazz combo
2
Ensemble de Percussions
1
Batterie
1
AUTRES
Vous avez sélectionné:
Brutal
Partitions à imprimer
12 partitions trouvées
<
1
On That Cross (Piano part ONLY)
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard …
(+)
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182872 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 1 pages. Stuart Brown Music #782621. Published by Stuart Brown Music (A0.1182872). The accompanying score and a choral bundle are also available from this website.The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$1.99
1.81 €
#
Stuart Richard Brown
#
Stuart Richard Brown
#
On That Cross
#
Stuart Brown Music
#
SheetMusicPlus
On That Cross (choir pack + piano part + licence)
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard …
(+)
Choral Choir,Choral - Level 2 - Digital Download SKU: A0.1182870 By Stuart Richard Brown. By Stuart Richard Brown. Arranged by Stuart Richard Brown. Christian,Easter,Praise & Worship,Religious,Sacred. 14 pages. Stuart Brown Music #782619. Published by Stuart Brown Music (A0.1182870). The composer writes: 'On That Cross' is a powerful reflection on the crucifixion of Jesus Christ. I came up with the lyrics at around 3am in the morning of 3rd December 2014 sitting at a desk in room 703 of the De Syloia Hotel in Hanoi, Vietnam. Often I find that my periods of working abroad give me the space to think of things in new ways. This song is a good example of that.One look at the first page of the score of 'On That Cross' is all you need to realize that this is not a case of a choir singing with a piano accompaniment. I put the piano part above the choir in order to dispel that misconception. So if it's not that, what is it? I wanted to demonstrate that it is possible to approach a subject from two completely different points of view, without either point of view being compromised by the other, and yet the result can nevertheless be a beautiful synergy. That is what the pianist and the choir are doing here. Each is meditating upon the cross of Christ, but from two totally unrelated points of view and yet somehow combining in a way that is almost hypnotically beautifully. There is little obvious relationship between the choir's and the piano's music; and yet each is reconciled to the other ... and there's a very good reason why I wanted the music to speak of such reconciliation.In late 2014 people in Iraq were being beheaded, crucified and generally killed in the most brutal and sadistic manner possible. Their only ‘crime’ was to dare to call themselves Christians. You can say what you like but in my book nobody has the right to tell anybody else what they should believe, much less murder them on religious grounds. The thing that incensed me almost to the point of incandescence was that the perpetrators of this unspeakable evil dared to justify their actions by claiming that they were acting on behalf of their god. So in such frame of mind I started to write the lyrics to 'On That Cross'.The first words that came into my mind were “Oh men who dare to call on gods to justify your hatred – of this be sure …†and I wanted to follow that with threats of eternal damnation, torture in hellfire and so on. Except that the words that flowed out of my fingers onto my computer screen were not like that at all. “Of this be sure – I love you still, my cross your salvation from all the sin of man.â€It doesn’t get much more powerful than that. I may be incapable of loving the people of ISIS, ISIL, DAESH or whatever one calls them, but my God isn’t. He created them, he sent his Son to die for them … and he is even now ready to save them, as he is you and me. That’s grace.A small group of us sang this at a Good Friday united service in 2016. We sang it unannounced, at the end of the service, when one would have expected people to start getting up from their seats and leaving the church. Nobody did. Not one single person moved while we sang..
$16.00
14.55 €
#
Stuart Richard Brown
#
Stuart Richard Brown
#
On That Cross
#
Stuart Brown Music
#
SheetMusicPlus
Totem
Marimba,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.1343608 By Fran…
(+)
Marimba,Multi-Percussion,Piano - Level 5 - Digital Download SKU: A0.1343608 By Francois Du Bois. By Francois Du Bois. 21st Century,Contemporary,Contest,Festival,Multicultural,Rock,World. 35 pages. D-Project Co., Ltd. #929131. Published by D-Project Co., Ltd. (A0.1343608). Totem is a collaborative composition by Francois Du Bois and Ludovic Selmi, created for the Anniversary of the Cité internationale des arts of Paris. The piece features a notable collaboration with the renowned metal barrel drum group, Les Tanbours de Bronx. It delivers a powerful and dynamic experience, as the brutal sound of the drum blends seamlessly with the marimba, piano, and other instruments in the ensemble. The arrangement is designed for performance with standard percussion instruments.
$24.00
21.83 €
#
Francois Du Bois
#
Totem
#
D-Project Co., Ltd.
#
SheetMusicPlus
Elegía a los Inocentes Caídos
Large Ensemble Choir - Level 5 - Digital Download SKU: A0.1008991 Composed by Willi…
(+)
Large Ensemble Choir - Level 5 - Digital Download SKU: A0.1008991 Composed by William Ortiz. 20th Century,Christian,Contemporary. Score and parts. 79 pages. William Ortiz #5969875. Published by William Ortiz (A0.1008991). ElegÃa a los Inocentes CaÃdos, which translates to Elegy for the Fallen Innocent, is a work for Chorus and Orchestra in memorial of the massacre that took place on Palm Sunday, 1937 in Ponce, Puerto Rico.A peaceful civilian march turned into a police shooting in which 19 civilians and 2 policemen were killed, and more than 200 civilians were wounded. Most of the dead were reportedly shot in their backs. The march had been organized by the Puerto Rican Nationalist Party to commemorate the abolition of slavery in Puerto Rico and to protest the U.S. government's imprisonment of the party's leader Pedro Albizu Campos.A free twelve-tone matrix is the musical language and style used that reflects the brutal violence of this historic occurrence. The biblical text, from Ecclesiastes, also conveys and addresses the helplessness, the anguish, the outrage, and the injustices that, unfortunately, still keep occurring during our times.
$38.50
35.02 €
#
William Ortiz
#
Elegía a los Inocentes Caídos
#
William Ortiz
#
SheetMusicPlus
Seven Serapés for Six Pianos (Parts only)
Level 5 - Digital Download SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Cent…
(+)
Level 5 - Digital Download SKU: A0.1124743 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 98 pages. Studio at the Post #725501. Published by Studio at the Post (A0.1124743). Parts only (see A725494 for Score). Duration: 22 – 24 minutes, Six Parts between 12 – 16 pp. Description: Each of the SerapeÌs has a programmatic subtitle that gives the listener a hint as to how to listen. SerapeÌs Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. SerapeÌ No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. SerapeÌ No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal SerapeÌ No. 5, L.A. Smog, is rude. This SerapeÌ starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, SerapeÌ No. 6 is the most peaceful and static SerapeÌ. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.
$5.02
4.57 €
#
Igor Korneitchouk
#
Seven Serapés for Six Pianos
#
Studio at the Post
#
SheetMusicPlus
Seven Serapés for Six Pianos - Score Only
Level 5 - Digital Download SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Cent…
(+)
Level 5 - Digital Download SKU: A0.1125661 Composed by Igor Korneitchouk. 20th Century,Chamber,Contemporary. 110 pages. Studio at the Post #725494. Published by Studio at the Post (A0.1125661). Score only (see A725501 for Parts). Duration: 22 – 24 minutes, 217 pp. reduced to 108 pp. Description: Each of the SerapeÌs has a programmatic subtitle that gives the listener a hint as to how to listen. SerapeÌs Nos. 1, 4 and 7 (subtitled Three Brothers) divide up the collection symmetrically as all three share variations of the same set of motivic layers. Nonetheless, despite their common genetic heritage, the three brothers all have radically different personalities. SerapeÌ No. 2 is called Burro for its loping cowboy-swing. Its seemingly infinite upward-spiraling progression through succeeding tonal centers reminds one of the mules on the switchbacks of the Grand Canyon. SerapeÌ No. 3, Starry Night, employs one of Korneitchouk's favorite devices of combing complex order out of chaos. Overlapping melodic patterns in 7/8, 8/8, 9/8, 10/8, 11/8, and 13/8 emerge -- three at a time -- out of constellations of apparently random notes. The brutal SerapeÌ No. 5, L.A. Smog, is rude. This SerapeÌ starts as a sonorous block of jackhammer intensity that later reveals itself to be in a very brisk 5/8 meter. In contrast, SerapeÌ No. 6 is the most peaceful and static SerapeÌ. It includes a musical portrait of the composer's refrigerator turning itself on and off in the dead of night. A drone, which suggests the 60-cycle hum of the refrigerator, anchors the subtle shifting and overlapping harmonies of the piece.
$9.03
8.21 €
#
Igor Korneitchouk
#
Seven Serapés for Six Pianos - Score Only
#
Studio at the Post
#
SheetMusicPlus
Draculissimo
Trumpet, trombone and chamber ensemble - difficult - Digital Download SKU: S9.Q41790
(+)
Trumpet, trombone and chamber ensemble - difficult - Digital Download SKU: S9.Q41790 Concerto grosso for trumpet, tenor trombone and chamber ensemble. Composed by Enjott Schneider. This edition: piano reduction with solo parts. Downloadable, Piano reduction with solo parts. Duration 25 minutes. Schott Music - Digital #Q41790. Published by Schott Music - Digital (S9.Q41790). The concerto takes the historical figure of the brutal impaler Vlad Tzepesch (1431-1476) as its starting point and subsequently develops the myth into an overwrought and gruesome piece of work: 1: “Oderint dum metuant†is a raving Allegro with a Baroque ritornello structure and modern “Draculismsâ€. 2: “Luna su Tirgoviste†is a memoriam for the thousands of impaled victims who came to a violent end in today’s Târgoviste. 3: “Il ballo transilvano†confronts a naive waltz rhythm with aggressive polyrhythmic reinterpretations – in the manner of the stick and the carrot. 4: “Bacio di sangue†is Neo-Baroque horror music which has got out of hand, demanding extreme virtuosity from both soloists and ensemble. Enjott SchneiderBassklar. · Fg. (auch Kfg.) - S. (Crot. · Vibr. · Marimba · Röhrengl. · Trgl. · 2 Beck. · Tamt. · kl. Tr. · 2 Tomt. · gr. Tr. · Chimes· Tempelbl. · Woodbl.) (2 Spieler) - Cemb. - Str. (6 Vl. · 4 Va. I · 4 Va. II · 3 Vc. I · 3 Vc. II · 3 Kb. [Die Streicher können auch solistisch besetzt werden.]).
$39.99
36.37 €
#
Enjott Schneider
#
Draculissimo
#
Schott Music - Digital
#
SheetMusicPlus
The Heart's Assurance
Voice and orchestra or piano - Digital Download SKU: S9.Q3215 Song Cycle. Co…
(+)
Voice and orchestra or piano - Digital Download SKU: S9.Q3215 Song Cycle. Composed by Sir Michael Tippett. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 17 minutes. Schott Music - Digital #Q3215. Published by Schott Music - Digital (S9.Q3215). English.A very personal response to the suicide of his close friend Francesca Allinson just as the Second World War was ending. His grief and remorse found expression in recently published work of young poets who, unlike those of the First World War, had been unable to make a poetry out of the brutalities of war: their best poetry was made out of love. ‘I thought of the song-cycle as having a subtitle: “Love under the shadow of Deathâ€.’ (Michael Tippett).
$13.99
12.73 €
#
Sir Michael Tippett
#
The Heart's Assurance
#
Schott Music - Digital
#
SheetMusicPlus
Suzie's Theme
Guitar Ensemble Guitar - Level 4 - Digital Download SKU: A0.890962 Composed by Juan…
(+)
Guitar Ensemble Guitar - Level 4 - Digital Download SKU: A0.890962 Composed by Juan C. Davila. Contemporary,Film/TV. Score and parts. 11 pages. Juan C. Davila #3099975. Published by Juan C. Davila (A0.890962). This is a composition written for classical guitar trio. I wrote it for a fiction movie that was never completed or released. Suzie was a beautiful young lady in high school who was brutally raped and murdered by her boyfriend. The boyfriend regrets his actions and thinks about Suzie all the time in prison. In Suzie's Theme, the killer is haunted by the happy memories he shared with Suzie and wishing he could take back what he did. .
$2.50
2.27 €
#
Juan C
#
Suzie's Theme
#
Juan C. Davila
#
SheetMusicPlus
Sieben Abgesänge auf eine tote Linde
Soprano, clarinet (in A and B), violin and piano - Digital Download SKU: S9.Q6718
(+)
Soprano, clarinet (in A and B), violin and piano - Digital Download SKU: S9.Q6718 On poems by Diana Kempff. Composed by Joerg Widmann. This edition: score and parts. Downloadable, Score and parts. Duration 18 minutes. Schott Music - Digital #Q6718. Published by Schott Music - Digital (S9.Q6718). German.Es war 1996, als mir Christoph Poppen, der damalige Leiter des Münchener Kammerorchesters, von einem kuriosen Konzert in Münsing (Ammerland) erzählte: während eines seiner Konzerte mit dem Orchester in der dortigen Kirche gab es, für alle hör- und sichtbar, eines der größten Unwetter, das die Region je gesehen hatte. Dabei schlug der Blitz ein in eine Art Wahrzeichen des Ortes, eine mehrere Jahrhunderte alte Linde. Unter den Zuhörern damals: die dort lebende Dichterin und Schriftstellerin Diana Kempff. Sie war unmittelbar erschüttert vom Tod der Linde und schrieb unter diesem Eindruck einige Gedichte. Christoph Poppen wiederum war – wie in vielen anderen Zusammenhängen auch – genialer Vermittler und stellte alsbald den Kontakt zu mir her. Die Idee: am Ort des Geschehens, in der Münsinger Kirche, solle ein Jahr später die Uraufführung einer Art Requiem für diesen Baum, der so vieles „gesehen“ hatte, erklingen. Im Rahmen der Holzhauser Musiktagen mit den Texten von Diana Kempff und meiner (noch zu schreibenden) Musik. Es gab bald eine wunderbare, sehr intensive Begegnung von Diana Kempff und mir, bei der sie etwas für Schriftsteller nicht gerade Typisches tat: sie stellte mir frei, aus den vorliegenden Gedichten nach Belieben lediglich Teile, sogar nur Zeilenfragmente zu verwenden und auch die Reihenfolge nach meinen Bedürfnissen anzuordnen und zu gestalten. Sie begriff sofort (und wünschte!), dass durch die Musik ohnehin etwas Drittes, etwas ganz Anderes entstehen würde. Die Tatsache, dass wir Monate später eine sichtlich bewegte Diana Kempff auf die Bühne holen durfte, freute uns alle besonders. Ihre Lyrik ist Ausdruck einer offenkundig zutiefst gequälten Seele und kommt uns oft wunderlich-versponnen entgegen. Einer zerbrechlichen Zartheit steht eine bisweilen fast brutale Härte unversöhnlich gegenüber. Das Schubert’sche „Fremd bin ich eingezogen“ gilt für sie in besonderer Weise und äußert sich in ihren Versen in einer Nähe zu allem Fremden (trotz des gleichzeitigen manischen Umkreisens des Eigenen und der eigenen Erinnerung), Abseitigen und auch (bei aller gleichzeitigen Skepsis) Übernatürlichen. Dieses geisterhaft-spukige Element versuchte ich durch meine Textauswahl und mit musikalischen Mitteln in diesen nun „Sieben Abgesängen“ zu verdeutlichen. Das erste Stück ist eine karge Studie über das Verrinnen der Zeit, das Nichts; das Zweite beschwört den Regen (den heilbringenden) herbei, der dann später – wenngleich mit entsetzlicher Wirkung – auch kommt. Den dritten Abgesang habe ich „Tanz der toten Seelen“ betitelt; es ist ein Zwiefacher, der jedoch durch seine düster-halbseidene „Wiener“ Chromatik alles Liebenswürdig-Oberbayerische längst verloren hat. Das klanglich vielleicht avancierteste und dichteste Stück ist der vierte Abgesang, der ganz aus der Perspektive der Linde selbst erzählt wird. Der fünfte Abgesang zu den Worten „Und wenn der Tod so kommen mag“ ist im Stile einer traurigen Volksweise bewusst schlicht gehalten. Während der sechste Satz in seinem expressionistischen Gestus nicht ungefährlich das Monodram streift, ist es schließlich die Seele (die ausgehauchte, die weiterexistierende?), die wörtlich den letzten Abgesang über die Bäume und die Seelen prägt. Diana Kempffs Gedichte, der Enthusiasmus Christoph Poppens, die phantastischen Uraufführungs-Interpreten, allen voran die Sängerin Juliane Banse, haben mich zur Komposition dieser „Sieben Abgesänge auf eine tote Linde“ angeregt. Die „Sieben Abgesänge“ sind nunmehr auch eine Erinnerung an die erst jüngst verstorbene Diana Kempff. Jörg Widmann, im Juni 2008.
$57.99
52.75 €
#
Joerg Widmann
#
Sieben Abgesänge auf eine tote Linde
#
Schott Music - Digital
#
SheetMusicPlus
Paul Wehage: To You for baritone, tenor saxophone and piano
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Downlo…
(+)
Small Ensemble Medium Voice,Piano Accompaniment,Tenor Saxophone - Level 5 - Digital Download SKU: A0.534375 Composed by Paul Wehage. Concert,Contemporary,Holiday,Love,Standards. Score and parts. 41 pages. Musik Fabrik Music Publishing #3396161. Published by Musik Fabrik Music Publishing (A0.534375). To You for Baritone, Tenor Saxophone and piano is dedicated to the American Baritone Kurt Ollmann, who has done much for the promotion and performance of American music both in the United States and abroad.Whitman’s poem speaks of seeing a stranger and feeling love for this person. In contrast to Poe’s To Helen, which treats a similar subject of a chance meeting of a stranger that the poet loves, Whitman does not idealize his subject but rather pointedly and brutally describes how he sees this person and what feelings (both negative and positive) this contemplation provokes in the poet’s mind In order to reflect this musically, there is an alternation between more introspective and brooding sections which are then followed by more ecstatic outbursts. The piece ends with the poet watching the stranger leave, expressing what the composer felt to be acceptance and release.As in any chamber music with voice, it is important that the two instruments allow the voice to predominate, regardless of the dynamics marked in their parts. The saxophonist should try as much as possible to match colour with the voice,in order to allow the contrapuntal exchanges between the voice and the saxophone to blend evenly. The pianist should play the passages at rehearsal marks E, G and K in a more soloist manner, always taking care not to cover the voice..To YouWhoever you are, I fear you are walking the walks of dreams,I fear these supposed realities are to melt from under your feet and hands,Even now your features, joys, speech, house, trade, manners,troubles, follies, costume, crimes, dissipate away from you,Your true soul and body appear before me.They stand forth out of affairs, out of commerce, shops, work,farms, clothes, the house, buying, selling, eating, drinking,suffering, dying.Whoever you are, now I place my hand upon you, that you be my poem,I whisper with my lips close to your ear.I have loved many women and men, but I love none better than you.O I have been dilatory and dumb,I should have made my way straight to you long ago,I should have blabb'd nothing but you, I should have chanted nothingbut you.I will leave all and come and make the hymns of you,None has understood you, but I understand you,None has done justice to you, you have not done justice to yourself,None but has found you imperfect, I only find no imperfection in you,None but would subordinate you, I only am he who will never consentto subordinate you,I only am he who places over you no master, owner, better, God,beyond what waits intrinsically in yourself.Painters have painted their swarming groups and the centre-figure of all,From the head of the centre-figure spreading a nimbus of gold-color'd light,But I paint myriads of heads, but paint no head without its nimbusof gold-color'd light,From my hand from the brain of every man and woman it streams,effulgently flowing forever.O I could sing such grandeurs and glories about you!You have not known what you are, you have slumber'd upon yourselfall your life,Your eyelids have been the same as closed most of the time,What you have done returns already in mockeries,(Your thrift, knowledge, prayers, if they do not return inmockeries, what is their return?)The mockeries are not you,Underneath them and within them I see you lurk,I pursue you where none else has pursued you,Silence, the desk, the flippant expression, the night, theaccustom'd routine, if these conceal you from others or fromyourself, they do not conceal you from me,The shaved face, the unsteady eye, the impure complexion, if thesebalk others they do not balk me,The pert apparel, the deform'd attitude, drunkenness, greed,premature death, all these I part aside.There is no endowment in man or woman that is not tallied in you,There is no virtue,.
$29.95
27.24 €
#
Paul Wehage
#
Paul Wehage: To You for baritone, tenor saxophone and piano
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Obelisk: A Tribute to Ukraine
B-Flat Clarinet,Cello,Flute,Percussion,Piano,Violin - Level 5 - Digital Download SKU: A…
(+)
B-Flat Clarinet,Cello,Flute,Percussion,Piano,Violin - Level 5 - Digital Download SKU: A0.1283414 Composed by Eugene Astapov. 21st Century,Chamber,Contemporary. 49 pages. EAMUSIC #874599. Published by EAMUSIC (A0.1283414). Obelisk is a work that was built as a response to the atrocious events happening in the war between Russia and Ukraine. As a composer who was born in Ukraine, I felt very deeply for the hardships of the people of my country and this work is a direct emotional response to the images I see and stories I hear. The central part of the work features pre-recorded interviews with some of the Ukrainian civilians telling their harrowing stories of loss, struggles, and fight for survival.  When I was a child, my parents made the difficult decision to leave the country due to the beginning of another war Russia’s Putin started in Chechnya and my parents knew - one day he would be coming for Ukraine. As someone who immigrated to Canada at a young age, I experienced all the difficulties associated with finding new life in a new country. I saw the struggles of my parents and now I see the struggles being experienced by people fleeing Ukraine.  Throughout the work you will hear the sonic accompaniment to the pain and suffering that Ukrainians undergo on daily basis, you will hear their voices and see images of the brutality committed against the people of Ukraine. This is a heavy work to experience, but as an artist I feel it is only appropriate to raise awareness around the issue and show the people the horrors going on in the world.    The title of the work was inspired by the famous monument erected in 2001 to mark the occasion of the 10thanniversary of Ukraine’s Independence from the Soviet Union. At that point it appropriately replaced the monument of Vladimir Lenin. Towering on top of Kyiv’s Independence Square (famously known as Maidan) at 200 feet, this obelisk celebrates the nature of the Ukrainian independent spirit and directly reflects my ideas through this musical composition with the hope that the powerful Ukrainian nation will prevail over its enemy once again.  This PDF includes Score and Parts.
$50.00
45.48 €
#
Eugene Astapov
#
Obelisk: A Tribute to Ukraine
#
EAMUSIC
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
