SKU: CA.1632710
ISBN 9790007113063. Language: all languages.
The study in synchronicity, se sont penches dessus first achieved its final scoring after many changes. It was first composed as music to a choreography by Gabriel Hernandez: Le (!). eh ? Zovotrimaserovmeravmerouvian (dmzn !) ; se sont penches dessus, which is based on the letters of a fragment translated into French that appears in James Joyce's Finnegan's Wake. The short, static piece has existed in three versions: 1. - sspd , electronic music (normal version, a glissando from one chord of four sounds to another, employed in the electronics of No. 3) 2. - sspd sature, electronic music (intentionally distorted version of No. 1) 3. - se sont penches dessus for violin, alto flute and electronics, in which the flutist had to sing one tone of a diad It turns out that a version for two equal string instruments can better render the harmony of the piece (a tone sung simultaneously with a tone that is played on the flute yields a ring-modulated mixture of sound which is too indistinct), and thus the duo version for 2 violins was composed. A collaboration with the Kairos Quartet, Berlin, (le second tour du noye, 3rd String Quartet) led me to smuggle a viola and cello into the piece as background, in order to glue the abrupt harmonic changes discretely together. The Duo and the Quartet are definitive and equally valid versions, both of which are available separately: Duo (Carus 16.327/10), Quartet (Carus 16.327). se sont penches dessus is now literally the transposition of the translated quotation from James Joyce, in which the letters of the text se sont penches dessus establish the basic structure of the piece (the rhythmic standstill denotes the vowels of the 4 words), the letters of Zovotrimaserovmeravmerouvian indicate the fine rhythmic structure and the manner of playing (e.g., sul ponticello). Walter Feldmann. Score available separately - see item CA.1632700.
SKU: AP.36-52711566
ISBN 9781628769692. UPC: 746241285935. English.
The third volume in this series includes advanced-intermediate level duets compatible for violin, viola and cello, and the arrangements are also appropriate for gigs. This volume is true chamber music playing, as it uses higher positions, treble clef for viola, tenor clef for cello, and double stops in all parts.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: AP.36-52711561
ISBN 9781628762952. UPC: 660355014598. English.
The second volume in this series includes intermediate level duets compatible for violin, viola, cello and bass. Learn dotted rhythms and 6/8 meter, chromatic fingerings, facility with pizzicato, varying types of bow strokes, and double stops as students are introduced to shifting with familiar classic tunes. This volume is a technique builder and works best with the more treble of the two instruments on the top line.
SKU: AP.36-52711551
ISBN 9781628761047. UPC: 660355018626. English.
This collection includes beginning level duets compatible for violin, viola, cello, and bass. Learn simple rhythms, basic bow skills, and solid intonation with familiar children's and classic tunes. The arrangements work best with the more treble of the two instruments on top line. The violin and viola books remain in first position.
SKU: BT.PMC1332
SKU: HL.49004661
ISBN 9790001048880. UPC: 884088215927. 9.25x12.0x0.084 inches.
The easy violin duos by Johann Sebastian Bach, arranged by Gustav Lenzewski, have always been very popular. Wolfgang Birtel has re-edited the collection, adopting the entire arrangement except for a few movements and adding further well-known pieces by Bach. The level of difficulty ranges from very easy to advanced. The original fingering and bowing have all been maintained; numerous articulation marks, however, have been deleted as they do no longer correspond to the modern way of playing Baroque music. The ideal edition for music lessons or music-making at home.
SKU: BT.EMBZ14482
English.
This work collects together basic musical gestures, and while not aiming at completeness, the twelve movements nevertheless form a loose cycle. They are compositional studies, insofar as they explore the ultimate limits of musical density, but also instrumental studies in the traditional sense: each individual movement sets a precisely defined technical and intellectual task for the performer. (Jessica Collewijn) Das Stück vereinigt musikalische Grundgesten in sich, wobei die zwölf Sätze - wenn auch ohne Anspruch auf Vollständigkeit - einen lockeren Zyklus bilden. Es handelt sich um kompositorische Etüden, wenn man nach den äußersten Grenzen musikalischer Knappheit forscht, aber auch um instrumentale Etüden im üblichen Sinne, denn jeder einzelne Satz weist dem Interpreten eine genau umrissene technische und intellektuelle Aufgabe zu. (Jessica Collewijn).
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