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Finale in C minor for organ
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Finale in C minor for organ
Partitions à imprimer
14 partitions trouvées
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1
Miniature Suite for Organ
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Orgue
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Contemporain
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Healey Willan
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Miniature Suite for Organ
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Biretta Books
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SheetMusicPlus
Organ - SKU: A0.879601 Composed by Healey Willan. 20th Century. Score. 16 pages. Biretta Books #3517975. Published by Biretta Books (A0.879601). ...
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Organ - SKU: A0.879601 Composed by Healey Willan. 20th Century. Score. 16 pages. Biretta Books #3517975. Published by Biretta Books (A0.879601). Healey Willan has gifted organists with six reputable organ works in his composition of his Miniature Suite for Organ. With good counterpoint, well-formed melodies, and superb harmonisations, Willan's Miniature Suite for Organ provides organists repertoire which is always useful, beautiful, and never tires. The organist's library is incomplete without Willan's Miniature Suite for Organ. Movements included are:1) Prelude, in E flat2) Scherzo, in B minor3) Communion, in C4) Trio, in D minor5) Intermezzo, in G6) Finale, in E flatiretta Books in Chicago works in cooperation with the Estate of Healey Willan and the Healey Willan Society to promote the legacy of the Dean of Canadian Composers-Healey Willan.
$12.95
Finale in C minor for organ
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Orgue
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INTERMÉDIAIRE
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Classique
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Santino Cara
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Finale in C minor for organ
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Santino Cara
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SheetMusicPlus
By Santino Cara. For Organ. Sacred, Classical Period. Intermediate. Sheet Music Single. Santino Cara #CS114. Published by Santino Cara ...
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By Santino Cara. For Organ. Sacred, Classical Period. Intermediate. Sheet Music Single. Santino Cara #CS114. Published by Santino Cara
$5.10
Resurrection, Theme from Finale, "Organ Symphony" for carillon
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Camille Saint-Saëns
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Mary Jo Disler
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Resurrection, Theme from Final
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MJD Editions
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SheetMusicPlus
Carillon,Instrumental Solo - Level 4 - SKU: A0.1477625 Composed by Camille Saint-Saëns (1835-1921). Arranged by Mary Jo Disler. 19th Century,Classical,...
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Carillon,Instrumental Solo - Level 4 - SKU: A0.1477625 Composed by Camille Saint-Saëns (1835-1921). Arranged by Mary Jo Disler. 19th Century,Classical,Easter,Religious. Individual part. 5 pages. MJD Editions #1055000. Published by MJD Editions (A0.1477625). The Finale of Symphony No. 3 in C minor by Saint-Saëns morphs Dies Irae - a dark, foreboding chant in C minor - into a stunning C major concluding hymn theme. This version is centered on the hymn, includes various original reharmonizations. It is perfect for carillon bells, inspiring for performer & listeners in concert, at memorial services or special events. (The YouTube version is the entire Finale of the Symphony.).
$3.99
Concerto grosso in C minor op. 6 no. 8
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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George Frideric Handel
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Adrian Gagiu
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2
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Concerto grosso in C minor op.
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1151669 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 37 pages. Adria...
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String Quartet String Quartet - Level 4 - SKU: A0.1151669 Composed by George Frideric Handel. Arranged by Adrian Gagiu. Baroque,Chamber. 37 pages. Adrian Gagiu #751864. Published by Adrian Gagiu (A0.1151669). Handel’s great set of 12 Concerti grossi (= Grand Concertos, in the first edition) op. 6 are somehow a bit related in spirit, through their power and diversity, with Beethoven’s string quartets. Therefore, here they are arranged for the more ‘abstract’ and ‘timeless’ medium of the string quartet, allowing also for an addition to the repertoire of the respective ensembles. Articulation, tempo and dynamics indications were specified or added where needed, and all the trills were indicated to start with the upper auxiliary note, not only according to the Baroque performance practice but also fitting to the melodic contour. Concerto grosso in C minor, op. 6 no. 8: 1. Allemande (Andante) – serious and dramatic; 2. Grave-Andante allegro – a somber transition, then agitated and experimental; 3. Adagio-Siciliana (Andante) – a brief, beautiful and simple introduction, then complex and expressive; 4. Allegro – dance-like and crisp. Total duration 13 min 30 sec. The mp3 audio clip is the finale (Allegro). Performing Rights Organization: SOCAN.
$20.00
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Bagatelle after sketches by Beethoven
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Piano seul
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INTERMÉDIAIRE
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Classique
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Ludwig van Beethoven
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Adrian Gagiu
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Bagatelle after sketches by Be
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Adrian Gagiu
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SheetMusicPlus
Piano Solo - Level 3 - SKU: A0.1357534 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. 19th Century,Chamber,Classical,Romantic Period. Score...
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Piano Solo - Level 3 - SKU: A0.1357534 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. 19th Century,Chamber,Classical,Romantic Period. Score. 3 pages. Adrian Gagiu #942081. Published by Adrian Gagiu (A0.1357534). A piece in C minor for fortepiano, entirely based on five sketches by Beethoven: Biam. 349b (1802-1803), Biam. 280 (c. 1800), Biam. 349a (1802-1803), Biam. 467 (1808), and Biam. 472 (1808). Its interest lies in the combination and adjustment of the respective fragments, to result in a fluent piece in late Classical style. The sketches were expanded to exploit a bit their passing ideas (the double bars in the score indicate the end of the original material). A mysterious introduction in C minor (Largo, Biam. 349b) is continued by modulations reminding of the Introduzione to the Finale of Beethoven’s Op. 53 and linking it to the vivacious central section, with triplets (first, Allegro assai, in B major as a possible reading of Biam. 280, which was originally written down without a key signature). This is continued by a section in A major (Biam. 349a) and then in D minor, in triple time (Biam. 467). After a sudden stop, the mysterious introduction in C minor returns abbreviated, ending discretely in C major. Composed for the contest at the Centro Ricerche Musicali (C.R.M.) LVBEETHOVEN Italy. Duration 2 min. 20 sec. Performing Rights Organization: SOCAN. The mp3 sample is a recording made on a Graf fortepiano sampled by Modartt's Pianoteq.
$2.25
Winter - 1st Movement from "The Four Seasons" (Vivaldi/John Wick) - Lead sheet (key of G minor)
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Classique
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Antonio Vivaldi
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Stephen Bulat
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Winter - 1st Movement from &qu
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Stephen Bulat Publishing
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Ten...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - SKU: A0.858721 Composed by Antonio Vivaldi. Arranged by Stephen Bulat. Baroque,Concert,Easter,Sacred,Wedding. Score and parts. 5 pages. Stephen Bulat Publishing #6071459. Published by Stephen Bulat Publishing (A0.858721). The first movement from Winter, taken from Vivaldi's masterpiece, The Four Seasons. Also, recently used in the finale showdown in the film John Wick: Chapter 3 - Parabellum.This is the sheet music for the entire first movement. A very detailed and laid out lead sheet with all essential music notes, musical cues and rehearsal markings throughout. Layout is in a larger style font than lead sheets in a typical fakebook yet still condensed to fit on only 4 pages. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (e.g. violin, flute)Please click on the publisher to view this song in other keys as well as to purchase it in the Classical Wedding Fake Book.Classical Wedding Fake Book (C Instruments): https://www.sheetmusicplus.com/title/21758919 - Item Number: S0.776313Classical Wedding Fake Book (Bb Instruments): https://www.sheetmusicplus.com/title/21758922- Item Number: S0.776329Classical Wedding Fake Book (Eb Instruments): https://www.sheetmusicplus.com/title/21758923- Item Number: S0.776333Classical Wedding Fake Book - Band Leader Gig Pack (C, Bb & Eb Instruments): https://www.sheetmusicplus.com/title/21758924 - Item Number: S0.776337SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289 Stephen Bulat (H0.873589-SC000010569Online: http://stephenbulat.com
$2.99
Winter - 1st Movement from "The Four Seasons" (Vivaldi/John Wick) - Lead sheet (key of D minor)
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Classique
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Antonio Vivaldi
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Stephen Bulat
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Winter - 1st Movement from &qu
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Stephen Bulat Publishing
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Ten...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - SKU: A0.858719 Composed by Antonio Vivaldi. Arranged by Stephen Bulat. Baroque,Concert,Easter,Sacred,Wedding. Score and parts. 5 pages. Stephen Bulat Publishing #6071451. Published by Stephen Bulat Publishing (A0.858719). The first movement from Winter, taken from Vivaldi's masterpiece, The Four Seasons. Also, recently used in the finale showdown in the film John Wick: Chapter 3 - Parabellum.This is the sheet music for the entire first movement. A very detailed and laid out lead sheet with all essential music notes, musical cues and rehearsal markings throughout. Layout is in a larger style font than lead sheets in a typical fakebook yet still condensed to fit on only 4 pages. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (e.g. violin, flute)Please click on the publisher to view this song in other keys as well as to purchase it in the Classical Wedding Fake Book.Classical Wedding Fake Book (C Instruments): https://www.sheetmusicplus.com/title/21758919 - Item Number: S0.776313Classical Wedding Fake Book (Bb Instruments): https://www.sheetmusicplus.com/title/21758922- Item Number: S0.776329Classical Wedding Fake Book (Eb Instruments): https://www.sheetmusicplus.com/title/21758923- Item Number: S0.776333Classical Wedding Fake Book - Band Leader Gig Pack (C, Bb & Eb Instruments): https://www.sheetmusicplus.com/title/21758924 - Item Number: S0.776337SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289 Stephen Bulat (H0.873589-SC000010569Online: http://stephenbulat.com
$2.99
Winter - 1st Movement from "The Four Seasons" (Vivaldi/John Wick) - Lead sheet (key of E minor)
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Classique
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Antonio Vivaldi
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Stephen Bulat
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Winter - 1st Movement from &qu
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Stephen Bulat Publishing
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SheetMusicPlus
Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Ten...
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Large Ensemble Alto Recorder,Alto Saxophone,Banjo,Bassoon,Clarinet,English Horn,Flute,Guitar,Harpsichord,Oboe,Organ,Piano,Soprano Recorder,Soprano Saxophone,Tenor Recorder,Tenor Saxophone,Trumpet,Ukulele,Viola,Violin,Voice - SKU: A0.858720 Composed by Antonio Vivaldi. Arranged by Stephen Bulat. Baroque,Concert,Easter,Sacred,Wedding. Score and parts. 5 pages. Stephen Bulat Publishing #6071457. Published by Stephen Bulat Publishing (A0.858720). The first movement from Winter, taken from Vivaldi's masterpiece, The Four Seasons. Also, recently used in the finale showdown in the film John Wick: Chapter 3 - Parabellum.This is the sheet music for the entire first movement. A very detailed and laid out lead sheet with all essential music notes, musical cues and rehearsal markings throughout. Layout is in a larger style font than lead sheets in a typical fakebook yet still condensed to fit on only 4 pages. This format can be used for guitar sheet music, for piano sheet music, as instrumental sheet music, vocal sheet music or as accompaniment to a soloist (e.g. violin, flute)Please click on the publisher to view this song in other keys as well as to purchase it in the Classical Wedding Fake Book.Classical Wedding Fake Book (C Instruments): https://www.sheetmusicplus.com/title/21758919 - Item Number: S0.776313Classical Wedding Fake Book (Bb Instruments): https://www.sheetmusicplus.com/title/21758922- Item Number: S0.776329Classical Wedding Fake Book (Eb Instruments): https://www.sheetmusicplus.com/title/21758923- Item Number: S0.776333Classical Wedding Fake Book - Band Leader Gig Pack (C, Bb & Eb Instruments): https://www.sheetmusicplus.com/title/21758924 - Item Number: S0.776337SMPPress publisher page: https://www.sheetmusicplus.com/publishers/stephen-bulat-sheet-music/3007289 Stephen Bulat (H0.873589-SC000010569Online: http://stephenbulat.com
$2.99
Piano Sonata No. 5, op. 81
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Piano seul
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Piano Sonata No. 5, op. 81
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Adrian Gagiu
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SheetMusicPlus
Instrumental Solo - Level 5 - SKU: A0.1091262 Composed by Adrian Gagiu. Classical,Contemporary. Individual part. 28 pages. Adrian Gagiu #695427. Publish...
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Instrumental Solo - Level 5 - SKU: A0.1091262 Composed by Adrian Gagiu. Classical,Contemporary. Individual part. 28 pages. Adrian Gagiu #695427. Published by Adrian Gagiu (A0.1091262). Piano sonata in Neoclassical style, developing the themes briefly tried out by Beethoven in the slow introduction to the Finale of his Sonata No. 29 op. 106 (1818). This first movement (Allegro moderato) utilizes the first two of those melodic and textural scraps as the two themes of a sonata form in a mostly delicate, fantasia-like manner, with time signature ambiguity and alternance. The second movement (Allegro) utilizes the next two of those melodic and textural scraps as the two themes of an agitated 'scherzo' in G sharp minor, with allusions to Bach's Prelude in C minor from the second book of 'The Well-Tempered Clavier' and to Beethoven's Bagatelle in G minor, op. 126 no. 2. The Finale (Largo - Allegro ma non troppo) utilizes first the searching sections of that Introduction, as an enigmatic preparation of the big surprise in the Finale proper: a set of nine, mostly powerful variations on a tone row, yet treated not entirely with the twelve-tone technique, but in extended tonality context. Variations 2-5 allude to motifs from the themes of the previous movements. The mp3 is a self-made recording of the first movement using a Graf 1826 fortepiano sampled by Modartt's Pianoteq. Performing Rights Organization: SOCAN. Total duration: 19 min.
$12.99
Suite No. 1
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'...
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Guitar - Advanced - SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à-dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
Once to Every Man
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Orchestre d'harmonie
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FACILE
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T
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Leandro Bizama
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Once to Every Man
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Leandro Bizama Music
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SheetMusicPlus
Concert Band - Level 2 - SKU: A0.933694 Composed by T. J. Williams, J. S. Bach. Arranged by Leandro Bizama. Baroque,Christian,Concert,Sacred. Score and ...
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Concert Band - Level 2 - SKU: A0.933694 Composed by T. J. Williams, J. S. Bach. Arranged by Leandro Bizama. Baroque,Christian,Concert,Sacred. Score and parts. 93 pages. Leandro Bizama Music #3420423. Published by Leandro Bizama Music (A0.933694). A dramatic juxtaposition of the hymn Once to Every Man and Nation with excerpts from the Prelude in C minor by Bach's renown The Well Tempered Clavier. The pipe organ part, which is just as playable on a synthesizer as a real pipe organ, quotes straight from Bach's hand to add to the power of the hymn. With accessible writing but an impressive ensemble sound, this can be an exciting piece in your next program. Suitable for High School, advanced Middle School ensembles, church or community wind ensembles, Once to Every Man introduces the famous writings of Bach's keyboard works to the modern avenue of Concert Band. And just like Bach did in his prelude, this arrangement reaches a stirring finale in the major key, and will quickly be loved by audiences and performers alike.For more info about the arranger visit www.leandrobizama.com
$30.00
String Quartet No. 1, op. 12
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Adrian Gagiu
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String Quartet No. 1, op. 12
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Adrian Gagiu
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.1004707 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 132 pages. Adrian Gagiu ...
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String Quartet String Quartet - Level 4 - SKU: A0.1004707 Composed by Adrian Gagiu. 20th Century,Contemporary. Score and parts. 132 pages. Adrian Gagiu #5038243. Published by Adrian Gagiu (A0.1004707). String Quartet No. 1 in A minor, op. 12 (1999), a cyclic composition in Neo-Classical style, partly influenced by Romanian folk music, Shostakovich and Bartok. Its compositional language, while not avant-garde and not exceedingly difficult, might help students with some aspects of modern music and liberties taken with classical forms. The first movement (Larghetto - Allegro non troppo) presents first dramatically and mysteriously the core motifs and themes of the entire composition, followed by a surprisingly relaxed sonata movement in the relative key of C major. The following Scherzo (Allegro assai), in E major, plays humorously and vigorously with derived motifs, and the third movement (Adagio assai), in F sharp minor, is treated in variations on the Romanian Christmas carol La Vitleem colo jos ('Down at Bethlehem'). The dramatic and expanding sonata form of the fourth movement (Allegro con brio - Larghetto) returns finally to the A minor of the introduction, then dissolving into the transcendent, slow coda. The mp3 audio clip is a recording of the finale. Total duration 26 min. Performing Rights Organization: SOCAN.
$27.95
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Finale in C minor for organ
