SKU: HL.14000815
8.25x12.0x0.075 inches.
SKU: HL.14000814
SKU: HL.1498857
UPC: 196288219101. 6.75x10.5x0.036 inches.
The pieces contained in Arensky's Three Quartets, Opus 57 are quaint and accessible. These editions contain transliterations of the Russian (along with pronunciation guide), and an English translation which intentionally is more to the essence of the original poetry and a truer translation, rather than forcing a rhyme scheme at the expense of the integrity of the original text. The expressive imagery, with colorful depictions of nature and the stars, is heightened by the lyric solo cello. From soaring lines reflecting the mountains in “Serenada,” to the use of the cello's upper register in “To the Extinguished Stars,” to the running sixteenth notes mimicking “The Boiling Hot Spring,” the cello does not play a mere accompaniment role. The pieces can be performed together or individually, a cappella in the absence of a cellist. However, employing the solo cello gives the performer and the listener the full visual and aural range of the expressive quality of these choral gems.
SKU: BT.F-95077
English-German-French.
Anton Arensky studied composition under Rimsky-Korsakov and subsequently taught Scriabin, Rachmaninov and Gretchaninov. This edition contains his twelve preludes, Op. 63, first published in 1903.
SKU: AP.42203
UPC: 038081486048. English.
Transcribed from the notorious Russian composer, Anton Stepanovich Arensky, this overture to his ballet suite is reminiscent of his predominantly romantic and classical repertoire. Scored with vivid colors and timbres for concert band, this charming work will be well received as a concert or contest work. (6:30).
SKU: PL.9413
The Lord's Prayer is one of the few sacred works composed by Anton Arensky, and is part of his Four Sacred Choruses, Opus 40, from the Liturgy of St. John Chrysostom. Arensky, a contemporary and student of Rimsky-Korsakov, uses subtle harmonic colorations to adorn the text in this homophonic prayer. The range for all voices is moderate to low, and, as in much of Russian liturgical music, the bass line forms the foundation of the piece, often descending to a low C.
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