Piano

SKU: BT.EMBZ8377

Composed by Gyorgy Kurtag. Educational Tool. Book Only. Composed 1979. 88 pages. Editio Musica Budapest #EMBZ8377. Published by Editio Musica Budapest (BT.EMBZ8377).

English-German-Hungarian.

The idea of composing 'Games' was suggested by children playing spontaneously, children for whom the piano still means a toy. They experiment with it, caress it, attack it and run their fingers over it. They pile up seemingly disconnected sounds, and if this happens to arouse their musical instinct they look consciously for some of the harmonies found by chance and keep repeating them. Thus this series does not provide a tutor, nor does it simply stand as a collection of pieces. It is a possibility for experimenting and not for learning to play the piano.Pleasure in playing, the joy of movement - daring and if need be fast movement over the entire keyboard right from the firstlessons instead of clumsy groping for keys and the counting of rhythms - all these rather vague ideas lay at the outset of the creation of this collection. Playing - is just playing. It requires a great deal of freedom and initiative from the performer. On no account should the written image be taken seriously but the written image must be taken extremely seriously as regards the musical process, the quality of sound and silence. We should trust the picture of the printed notes and let is exert its influence upon us. The graphic picture conveys an idea about the arrangement in time of even the most free pieces. We should make use of all that we know and remember of free declamation, folk-music parlando-rubato, of Gregorian chant and of all that improvisational musical practice has ever brought forth.Let us tackle bravely even the most difficult task without being afraid of making mistakes: we should try to create valid proportions, unity and continuity out of the long and short values - just for our own pleasure! (BMC CD 139).

By Gyorgy Kurtag. Arranged by Jatekok. EMB. Size 9x12 inches. 25 pages. Published by Editio Musica Budapest.

By Gyorgy Kurtag. Arranged by Jatekok. EMB. Size 9x12 inches. Published by Editio Musica Budapest.

Piano

SKU: BT.EMBZ8379

Composed by Gyorgy Kurtag. Contemporary Music. Book Only. Composed 1979. 84 pages. Editio Musica Budapest #EMBZ8379. Published by Editio Musica Budapest (BT.EMBZ8379).

English-German-Hungarian.

The idea of composing 'Games' was suggested by children playing spontaneously, children for whom the piano still means a toy. They experiment with it, caress it, attack it and run their fingers over it. They pile up seemingly disconnected sounds, and if this happens to arouse their musical instinct they look consciously for some of the harmonies found by chance and keep repeating them. Thus this series does not provide a tutor, nor does it simply stand as a collection of pieces. It is a possibility for experimenting and not for learning to play the piano.Pleasure in playing, the joy of movement - daring and if need be fast movement over the entire keyboard right from the firstlessons instead of clumsy groping for keys and the counting of rhythms - all these rather vague ideas lay at the outset of the creation of this collection. Playing - is just playing. It requires a great deal of freedom and initiative from the performer. On no account should the written image be taken seriously but the written image must be taken extremely seriously as regards the musical process, the quality of sound and silence. We should trust the picture of the printed notes and let is exert its influence upon us. The graphic picture conveys an idea about the arrangement in time of even the most free pieces. We should make use of all that we know and remember of free declamation, folk-music parlando-rubato, of Gregorian chant and of all that improvisational musical practice has ever brought forth.Let us tackle bravely even the most difficult task without being afraid of making mistakes: we should try to create valid proportions, unity and continuity out of the long and short values - just for our own pleasure! (BMC CD 139).

Flute

SKU: HL.49045187

For Flute. Composed by Jean Guillou. Edited by Anna Mancini. This edition: Saddle stitching. Sheet music. Woodwind Solo. Classical. Softcover. Composed 2009. Op. 74. 8 pages. Duration 6' 30''. Schott Music #FTR227. Published by Schott Music (HL.49045187).

ISBN 9790001199902. UPC: 841886022546.

In Impulso Jean Guillou regards the flute as a person who appears and asks a short, yet compelling question in front of the public. This question is followed by a statement. And when the question is asked again, it is again followed by this statement, and the whole development of this work happens through increasingly precise paraphrases to which new ideas are added which are presented like a lyrical development and like a constant amplification.All gestures, all attacks or caresses of breath and lips multiply only with the aim of lending more richness and more substance as well as more reason to this initial question and statement. With the weight given to the more eloquent deductions and developments, the discourse comes to an end, while returning, as if in conclusion, again and again to this short and final statement from the beginning.Thus, the impulse and breath of the flute is expressed - eloquent and passionate - between paraphrase, exposition and clarification.

Composed by C. Fox and Norman Gimbel. Arranged by Toshio Mashima. New Sounds for Concert Band. Pop and Rock. Set (Score and Parts). Composed 2008. Hal Leonard #1554-08- 010 DHE. Published by Hal Leonard

Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.114414290

For String Sextet. Composed by Shulamit Ran. Contemporary. Set of Score and Parts. With Standard notation. Composed December 16 2008. 22+8+8+7+8+8+8 pages. Duration 15 minutes. Theodore Presser Company #114-41429. Published by Theodore Presser Company (PR.114414290).

UPC: 680160594030.

Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.
Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players.This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity.  The cell’s “soul”, so naturally combining passion and lyricism, has always touched me in a special way.As sometimes happens, naming the piece was the final act in the process of creation.  Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events.  Of course, the music was written with no such tale (or any tale, for that matter) in mind.  But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes.  Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell…  Love regained, then forever lost…  Orpheus’ lyre intoning his sorrowful yearning…Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing.  The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes.This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.