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Vous avez sélectionné:
Whisper Not
Orchestre à Cordes
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Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Orchestre à Cordes
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Contemporain
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Orchestra - SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419...
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String Orchestra - SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419. Published by Musik Fabrik Music Publishing (A0.532834). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$25.95
Carson Cooman: Concerto for Portatif Organ and Strings, score only
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Orchestre à Cordes
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AVANCÉ
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Carson Cooman
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Carson Cooman: Concerto for Po
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.533700 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 38 pages. Musik Fabrik Music Pub...
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String Orchestra - Level 5 - SKU: A0.533700 Composed by Carson Cooman. Baroque,Contemporary,Standards. Score and parts. 38 pages. Musik Fabrik Music Publishing #3038895. Published by Musik Fabrik Music Publishing (A0.533700). Concerto for Portatif Organ and Strings (2006) was commissioned by the HarvardBaroque Chamber Orchestra and its director, Robert Mealy. The work is dedicatedto organist Nancy Granert, for whom the solo part was written. The work wascommissioned in celebration of the von Clemm Chamber Organ at The MemorialChurch, Harvard University, built in 2006 by Klop Organ Builders.As with many of my works, relationships between old and new musical concepts areexplored. In this piece, musical aspects of the Baroque organ concerto tradition(and Baroque style string playing) co-exist with more contemporary musicalelements. In particular, the directness of expression found in many Baroqueconcertante works is present throughout. Musical material is shared between themovements in a motivic fashion.The title of the first movement, Bricolage, is defined as “something made or puttogether using whatever materials happen to be available.†Thus, the musicalmaterial for the movement is of varying characters; these elements are assembledtogether in ways that allow them to comment on and inform each other. Some ofthese musical elements include: a traditional “overture†texture, a Basse deTrompette texture (with an organ reed stop in the left hand) common in FrenchBaroque organ music, and the French keyboard toccata style.The second movement, Elegia, is dark and searching in tone. It begins with arageful roar before quieting down to introduce its basic musical material – a simple“lament†theme in a folk-inflected style. This material is used for further explorations,building to passionate climaxes. Finally, the opening music returns, but this timewith a whisper. The movement winds down to a sad conclusion.After the soul-searching of the second movement, the third movement, Rondeau, issprightly and energetic. The basic material is a set of Baroque and Classical-stylefigurations (with a few American gospel inflections thrown in), firmly grounded in Gmajor. After minor diversions, the original material continues to return and ends thework with unfettered joy.This item is the score only. The score and complete parts are available for sale as another item.
$25.95
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