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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
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EUPHONIUM
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FLUTE TRAVERSI…
FORMATION MUSI…
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Orchestre à Cordes
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2 partitions trouvées
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Sechs Bagatellen, op.126
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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Peter Le Tissier
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Sechs Bagatellen, op.126
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Peter Le Tissier
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1111957 Composed by Ludwig van Beethoven. Arranged by Peter Le Tissier. Chamber,Classical,Instructional. Score and ...
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String Orchestra - Level 4 - SKU: A0.1111957 Composed by Ludwig van Beethoven. Arranged by Peter Le Tissier. Chamber,Classical,Instructional. Score and Parts. 52 pages. Peter Le Tissier #714134. Published by Peter Le Tissier (A0.1111957). Before tackling the final Piano Sonata I thought I'd take a little break from the 'serious' orchestrations and present this interpretation of Beethoven's charming set of Bagatelles, op. 126. Postdating (as far as I'm aware) the 9th Symphony, and certainly all the major piano works, these Bagatelles stand apart from the earlier sets, elevated beyond their status in spite of Beethoven's own 'kleinigkeiten' demonym for them. In particular, the final movement is in this version an extraordinary expansion on the previous 5, quoting as it does the infinity of the finale of the Op. 111 Piano sonata.
$15.00
'Re-Creation'
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Orchestre à Cordes
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Contemporain
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Craig Michael Davis
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'Re-Creation'
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Jack Harrison Inc.
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SheetMusicPlus
String Orchestra - SKU: A0.1022594 Composed by Craig Michael Davis. 20th Century,Contemporary. Score and parts. 11 pages. Jack Harrison Inc. #50957. Pub...
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String Orchestra - SKU: A0.1022594 Composed by Craig Michael Davis. 20th Century,Contemporary. Score and parts. 11 pages. Jack Harrison Inc. #50957. Published by Jack Harrison Inc. (A0.1022594). 'Re-Creation' Program Notes What is time, and where did it come from? These two questions consumed my thought process while writing Re-Creation. Upon completing the piece, I was no closer to answering those questions, but what I could answer became clear: could I write a piece in which time ceases to exist? In order to do this, I decided early on to throw out conventional notation that tends to restrict most performers. As my thought process evolved, I began contemplating the idea of juxtaposing the continuum of timelessness against the traditional view of time. Not only did this free me from the confines of a specific time, it opened up the entire spectrum of time, creating the possibility of infinity and the eternal existence of the continuity of time that invariably existed from the earliest sketches of this piece. The early sketches of this piece were written in my coastal Californian studio during the summer months of 2014, and because of this, Re-Creation represents not only a freedom of time, but also a sound world unique to California’s breathtaking coast. However, the impetus for this piece was the opening chapters of the book of Genesis, portraying the creation of the world in seven days. In this respect, the usage of three and seven play and important roll in the overall structure of this piece. Re-Creation was also inspired by a vacation I had taken a year before where I drove up the coast, stopping in small towns periodically, to collect poems from local authors. One collection of poems from Jeanie Greensfelder entitled, Biting the Apple, caught my attention. Reading through the poems, I began to realize that each poem was unique in that it marked a special time and place in the authors life, ultimately providing the reader with an autobiographical time capsule. The arch of the author’s life was thus on display for the world to read inevitably transforming her life, rather than her work, into the work of art. My hope for The Creation is that it portrays a snapshot of the Californian coast in which it was written, so that it can have a life of it’s own, free from the confines of it’s author and any concert hall it is performed in.
$15.00
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