| The Swing Era - 1936-1947 Fake Book [Fake Book] Hal Leonard
Fake Book (Includes melody line and chords). Size 9x12 inches. 248 pages. Publis...(+)
Fake Book (Includes melody line and chords). Size 9x12 inches. 248 pages. Published by Hal Leonard.
(2)$22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The 1970s Lyrics only [Sheet music] Hal Leonard
Paperback Lyrics Series. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75...(+)
Paperback Lyrics Series. By Various. Paperback Lyrics. Softcover. Size 4.25x6.75 inches. 256 pages. Published by Hal Leonard.
(1)$7.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Standards Real Book - C Edition
Melody line, Lyrics and Chords [Fake Book] - Intermediate Sher Music Company
By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go...(+)
By Various. Almost 600 pages of world-famous Sher Music transcriptions! Don't go to the gig without it!. Various. Fake Book. Published by Sher Music Company.
(16)$47.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Standards Real Book - Eb Edition Eb Instruments [Fake Book] Sher Music Company
Fakebook (spiral bound) for Eb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound) for Eb instrument and voice. With vocal melody, lyrics, chord names, black and white photos and introductory text. 574 pages. Published by Sher Music Company.
$47.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Standards Real Book - Bb Edition Bb Instruments [Fake Book] Sher Music Company
Fakebook (spiral bound) for Bb instrument and voice. With vocal melody, lyrics, ...(+)
Fakebook (spiral bound) for Bb instrument and voice. With vocal melody, lyrics, chord names, black and white photos and introductory text. 574 pages. Published by Sher Music Company.
(2)$47.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mahalo Piha Choral SATB Pavane Publishing
Composed by Queen Lili'uokalani. Arranged by Justin Ka'upu. Pavane...(+)
Composed by Queen
Lili'uokalani. Arranged by
Justin Ka'upu. Pavane Choral.
Octavo. 12 pages. Duration 235
seconds. Pavane Publishing
#P1739. Published by Pavane
Publishing
$2.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Solar Flare Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5 SKU: CF.CPS219 Composed by Tyler Arcari. Concert Band (CPS). Set of Score and Parts. With Standard notation. 16+4+8+16+4+4+8+4+4+8+8+8+4+4+4+4+6+6+2+6+8+2+3+2+4+10+28+4 pages. Duration 4 minutes, 6 seconds. Carl Fischer Music #CPS219. Published by Carl Fischer Music (CF.CPS219). ISBN 9781491152454. UPC: 680160909957. Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8†space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^†accent on the final note is one meant to be played heavy, and not short. $95.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Solar Flare Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cym...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Clarinet 1, Clarinet 2, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Horn 1, Horn 2, Horn 3, Horn 4, Mallet Percussion 1, Mallet Percussion 2, Marimba, Oboe, Percussion 1, Percussion 2 and more. - Grade 3.5 SKU: CF.CPS219F Composed by Tyler Arcari. Concert Band (CPS). Full score. With Standard notation. 28 pages. Carl Fischer Music #CPS219F. Published by Carl Fischer Music (CF.CPS219F). ISBN 9781491153130. UPC: 680160910632. Solar Flare, by Tyler Arcari, depicts the huge explosion on the Sun that appears as a sudden bright flash. The piece incorporates a whirlwind of mixed meters to?depict this phenomenon. Arcari showcases his fresh, exciting, and well-scored compositional style in this piece. Solar Flare makes for? an excellent concert opener. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 6972 should be treated as a transitional fanfare to the new material at m. 73. Measures 99115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a ateaching 7/8a space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69a72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99a115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the a^a accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work. About the Work: Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a teaching 7/8 space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69-72 should be treated as a transitional fanfare to the new material at m. 73. Measures 99-115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the ^ accent on the final note is one meant to be played heavy, and not short. A solar flare is a huge explosion on the sun that appears as a sudden increase in brightness or flash. Sometimes these explosions push large amounts of energy and even parts of the sun flying out into space. These events can be so powerful that they cause events on Earth such as auroras, as well as more serious issues like disrupting radio and electronic instruments. To our naked eye, these dangerous explosions are beautiful and quiet. The celestial is a fascinating place, hopefully captured in some small part by this work.About the Work:Solar Flare began as a piece with two goals: to write a space piece in 7/8 and to write a “teaching 7/8†space piece. The piece uses a 2-2-3 pattern, so using this in pre-performance warm-ups might be beneficial. The piece is loosely based on a minor second descending to a minor third. This motif is used at the onset of the piece in the mallet percussion and then again in the woodwinds. The melody presents itself at m. 19 in the clarinets. This melodic material is varied and traded throughout the instrument groups until m.67. Measures 69–72 should be treated as a transitional fanfare to the new material at m. 73.Measures 99–115 to the end of the piece feature a style similar to the beginning that helps to transition to m. 115, which is the climax of the work. An ostinato pattern (2-2-3) is presented with fragments of the melody appearing in the alto voices. This momentum culminates in a large, abrasive area at m. 125 where the suspension-resolution in the brass and horn melodic fragment need to be the focus. This momentum continuously grows until the last note where we resolve finally. Care should be taken that the “^†accent on the final note is one meant to be played heavy, and not short. $14.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Lyric Library: Pop/Rock Ballads Lyrics only Hal Leonard
Complete Lyrics for 200 Songs. Performed by Various. Lyric Library. Size 6x9 inc...(+)
Complete Lyrics for 200 Songs. Performed by Various. Lyric Library. Size 6x9 inches. 220 pages. Published by Hal Leonard.
$14.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Choral Works For Mixed Voices EMB (Editio Musica Budapest)
Mixed Voices a cappella SKU: BT.EMBZ6725 Extended and revised paperbac...(+)
Mixed Voices a cappella SKU: BT.EMBZ6725 Extended and revised paperback edition. Composed by Zoltan Kodaly. Hymns & Chorals. Book Only. Composed 1972. 404 pages. Editio Musica Budapest #EMBZ6725. Published by Editio Musica Budapest (BT.EMBZ6725). Hungarian. Zoltán Kodály s unaccompanied mixed choruses first appeared in print in 1943 as a collected volume published by the association Magyar Kórus. This collection contained twenty-five works. In 1951, the volume was released again in the author s edition, being expanded with eight new compositions, but without Els áldozás (First Communion). Reprint editions of this collection had been distributed by Editio Musica Budapest until 1972, when a commemorative extended edition of the mixed choruses was issued, edited by Lajos Bárdos. Until now, reprints of this collection with forty-five compositions have been circulated. Péter Erdei carefully compared the printed edition with themanuscripts of the works preserved at the Kodály Archives. As a result of his work, in 2011 we emended a number of misprints, including those that had been inherited since the earliest print. Seventy-five years after the first release, the time has come for Kodály s collected choral works for mixed voices to appear in a completely new, expanded edition. Our collection contains six compositions that were not included in earlier editions: Jövel, Szentlélek eristen (Come, Holy Spirit), Miatyánk (The Lord s Prayer), Miserere, Salló Pista, Semmit ne bánkódjál (Do Not Grieve), ejesztend t köszönt (A Christmas Carol). In addition, two versions - both equally authentic - are published of the work known under the title of Naphimnusz (Canticle of the Sun), due to earlier editions the new release comes with lyrics in Hebrew and English (Adoration), as well as Dénes Szed s Hungarian translation (Napének [Hymn of the Sun]). This is the most complete and most authentic edition of Kodály s mixed choruses to date it is printed in a slightly larger format than previous editions, and it contains new easily-legible music scores and an informative epilogue.
Diese Ausgabe entstand unter der Mitwirkung von Lajos Bárdos. $30.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Choral Works For Mixed Voices EMB (Editio Musica Budapest)
Mixed Voices SKU: BT.EMBZ6725A Extended and Revised Cloth Bound Editio...(+)
Mixed Voices SKU: BT.EMBZ6725A Extended and Revised Cloth Bound Edition. By Péter Erdei. By Zoltan Kodaly. Hymns & Chorals. Book Hardcover. Composed 2018. 404 pages. Editio Musica Budapest #EMBZ6725A. Published by Editio Musica Budapest (BT.EMBZ6725A). Hungarian. Zoltán Kodály s unaccompanied mixed choruses first appeared in print in 1943 as a collected volume published by the association Magyar Kórus. This collection contained twenty-five works. In 1951, the volume was released again in the author s edition, being expanded with eight new compositions, but without Els áldozás (First Communion). Reprint editions of this collection had been distributed by Editio Musica Budapest until 1972, when a commemorative extended edition of the mixed choruses was issued, edited by Lajos Bárdos. Until now, reprints of this collection with forty-five compositions have been circulated. Péter Erdei carefully compared the printed edition with themanuscripts of the works preserved at the Kodály Archives. As a result of his work, in 2011 we emended a number of misprints, including those that had been inherited since the earliest print. Seventy-five years after the first release, the time has come for Kodály s collected choral works for mixed voices to appear in a completely new, expanded edition. Our collection contains six compositions that were not included in earlier editions: Jövel, Szentlélek eristen (Come, Holy Spirit), Miatyánk (The Lord s Prayer), Miserere, Salló Pista, Semmit ne bánkódjál (Do Not Grieve), ejesztend t köszönt (A Christmas Carol). In addition, two versions - both equally authentic - are published of the work known under the title of Naphimnusz (Canticle of the Sun), due to earlier editions the new release comes with lyrics in Hebrew and English (Adoration), as well as Dénes Szed s Hungarian translation (Napének [Hymn of the Sun]). This is the most complete and most authentic edition of Kodály s mixed choruses to date it is printed in a slightly larger format than previous editions, and it contains new easily-legible music scores and an informative epilogue. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| bel Canto Breitkopf & Härtel
Oboe(s) solo SKU: BR.EB-9240 For Solo Oboe. Composed by Jorg Birke...(+)
Oboe(s) solo SKU: BR.EB-9240 For Solo Oboe. Composed by Jorg Birkenkotter. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Music post-1945; New music (post-2000). Score. Composed 2013/14. 16 pages. Duration 13'30. Breitkopf and Haertel #EB 9240. Published by Breitkopf and Haertel (BR.EB-9240). ISBN 9790004185407. 9 x 12 inches. Belcanto is a term for the Italian art of singing which took its development from the richly ornamented solo vocalism of the early 17th century (nobile maniera di cantare) and dominated European operatic singing until the first half of the 19th century. Complete control over the voice meant not only legato and messa di voce, but also appoggiatura and portamento, as well as virtuoso ornamentation by means of coloratura (canto fiorito). This development towards utmost virtuosity, emulating instrumental playing techniques, led to a mannered, artificial style on the one hand, but on the other also emphasized the physical aspects of interpretation (castrati were considered the ideal belcanto singers). And today? In his essay The Grain of the Voice, Roland Barthes writes: The grain is the body in the voice as it sings, the hand as it writes and the limb as it performs. Initially, he refers to the friction between language and voice in singing, but then transfers his thoughts to the physicality of instrumental music. In this spirit, I went in search of beautiful singing, a beauty which perhaps results in the very place where the grain, the roughness, meaning also physical resistance, are not smoothed over. The oboe seemed very suitable to me for singing with such a physical expressivity, as a very unruly instrument! The backbone of my piece is one single, quasi endless melodic line, consisting of intervals that are constantly pulled apart and contracted again (breathing). Many different actions attach themselves to these notes: coloratura, trills, chords (multiphonics), double flageolets. However, there are not only sound types, but also impulses, repetitions, rhythmic figures and other elements: composed elements of belcanto. In the opera tradition described above, these were improvised ornaments or additions; here they become composed figures which originate with the notes of the melody, but also pull on them, bend them, and charge them with physicality. (Jorg Birkenkotter). $36.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Everything For The Church Soloist Piano solo [Sheet music] Hope Publishing Company Print Music Collection
(Piano Collection).
Published by Hope
Publishing Company
$79.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| Metallica ? The Complete Lyrics ? 3rd Edition Lyrics only Cherry Lane
SKU: HL.299371 By Metallica. Book. Heavy Metal, Rock Reference. Softcover...(+)
SKU: HL.299371 By Metallica. Book. Heavy Metal, Rock Reference. Softcover. 152 pages. Published by Cherry Lane Music (HL.299371). ISBN 9781540060259. UPC: 888680956189. 6.0x9.0x0.332 inches. Metallica's success can be directly attributed to their passionate, no-compromise attitude, which comes through loud and clear in the words they sing. Now fans can have the complete lyrics to all of their favorite songs with this updated 3rd edition featuring 106 songs. $19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| We Are Convinced Choral SATB [Octavo] Hope Publishing Company
Composed by Mark Hayes. Arranged by Mark Hayes. For SATB choir. Faith. Octavo. 1...(+)
Composed by Mark Hayes. Arranged by Mark Hayes. For SATB choir. Faith. Octavo. 12 pages. Published by Hope Publishing Company
$2.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 business days | | |
| 250 Rock'n'roll All Hits Music Sales | | |
| Souvenirs Cello, Piano - Intermediate Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musique de scène pour « Le Voyageur sans bagages ». Composed by Francis Poulenc. Classical. Book and Part(s). Composed 2016. 5 pages. Editions Salabert #SLB 00595900. Published by Editions Salabert (BT.SLB-00595900). INSSTR inches. French. A previously unreleased piece by Francis Poulenc, published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe, secretary of the Association des amis de Francis Poulenc [Association of the Friends ofFrancis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage], which had been premiered in 1937 with music by Darius Milhaud, was reprised on 1 April 1944 at the Thé tre de la Michodière; Francis Poulenc was asked to compose new stage music. Theentire unpublished score lay undiscovered until Bérengère de l’Épine, a librarian at the Bibliothèque Historique de la Ville de Paris, announced the existence of a manuscript in the Association de la Régie Thé trale collection.Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs, all written for a small instrumental ensemble including oboe, clarinet, cello and piano. However, at the end of the manuscript, the composer echoes the second song Lent [Slow] and creates another version for cello and piano; curiously, the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for cello and piano, that we have publishedhere, as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey, accompanied by Jean-François Heisser, in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP), during thesymposium for the fiftieth anniversary of Poulenc’s death.Given in a dramatic context, some elements allow us to get an idea of the character of the piece, which Benoît Seringe, Poulenc’s beneficiary, judiciously chose to name Souvenirs.The main character of Anouilh’s play, Gaston, is suffering from amnesia at the end of World War One. Several families try to claim him; they want him to be their missing relative. The Renaud family prove to be particularly stubborn, but Gaston doesnot recognize himself in the child and young man they depict: a ruthless and violent person. In Act 1 Scene 3, left alone for a moment, overwhelmed by the story of the “old Gaston†that is gradually coming to light, and outraged by the desire ofthose around him to appropriate him (to the detriment of the person he would like to be from now on), he whispers these words: “You all have proof, photographs that look like me, memories as clear as day… I’ve listened to you all and it’s slowlycausing a hybrid person to rise up in me; a person in which there is a piece of each of your sons and nothing of me.†Poulenc chose to place the second piece from his stage music score as these words are spoken.He borrowed part of the material, as he often did, from an earlier composition. In this particular case, the beginning is a recycled version of the “slow and melancholic†section from L’Histoire de Babar , composed between 1940 and 1945, andpremiered in 1946 (unless it is Babar that reuses the musical idea from Voyageur ).The eponymous elephant decides to leave in search of the great forest. He embraces the old lady, promises her he will return and reassures her that he will never forget her. Left alone, the old lady, feeling sad and pensive, wonders when she’ll seeher friend Babar again. The situation is similar to that in Voyageur sans bagage: solitude, sadness, a distressing and introspective time, fear of oblivion, the presence of memories…
Pièce inédite de Francis Poulenc, publiée avec l’autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l’Association des Amis de Francis Poulenc.Le 1er avril 1944, Le Voyageur sans bagage d’Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Thé tre de la Michodière. Francis Poulenc a été sollicité afin d’écrire une nouvelle musique de scène. On ignoraittout de cette partition inédite, jusqu’au jour où Bérengère de l’Épine, conservateur la Bibliothèque historique de la ville de Paris, nous signala l’existence d’un manuscrit dans le fonds de l’Association de la Régie thé trale.Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano.Cependant, la fin de son manuscrit, le compositeur reprend le no 2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n’est pas biffée dans le manuscrit.Poulenc semble nous inviter considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l’édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant lecolloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d’orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP).Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d’intituler Souvenirs.Le personnage principal de la pièce d’Anouilh, Gaston, a été retrouvé amnésique la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces ; maisGaston ne parvient se reconnaître dans l’enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l’acte I, resté seul un moment, écrasé par l’histoire de cet autre lui-même qu’il découvre peu peu, indigné par le désir des personnes qui l’entourent de le ramener elles au détriment de celui qu’il voudrait être désormais, il se murmure ces paroles : « Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis commedes crimes… je vous écoute tous et je sens surgir peu peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi »…C’est sur ces mots que Poulenc a choisi de placer le no 2 de sa partition de musique de scène.Comme il le fait souvent, il emprunte une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section « Lent et mélancolique » de l’Histoire de Babar, composée entre 1940 et 1945, créée en1946 ( moins que ce ne soit Babar qui réutilise l’idée musicale du Voyageur). Le héros-éléphant s’est décidé partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l’a rassurée : jamais il ne l’oubliera.Restée seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire celle du Voyageur sans bagage : solitude, tristesse, instantde trouble et de retour sur soi, crainte de l’oubli, présence des souvenirs…. $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Not Alone Theodore Presser Co.
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to ...(+)
Chamber Music Saxophone Quartet SKU: PR.114417130 & Happy Birthday to Prism. Composed by Chen Yi. Sws each. Contemporary. Set of Score and Parts. With Standard notation. Composed 2014. 24+12+12+12+8 pages. Duration 14 minutes. Theodore Presser Company #114-41713. Published by Theodore Presser Company (PR.114417130). ISBN 9781491110409. UPC: 680160626687. 9x12 inches. A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspired by the ancient Chinese poet Li Bai's poem Drinking Alone under the Moon with the Shadow. The premiere was given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned the work to celebrate its 25th Anniversary NYC Season. From the Program Note by Matthew Levy (The PRISM Quartet), Not Alone (2014) is an interdisciplinary work...but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspective solos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alone for a 2017 release on XAS Records titled Paradigm Lost. But we're excited for a wider community of saxophonists to embrace the work, and share it with their own audiences. Not Alone is published together with Happy Birthday to PRISM, a brief miniature that Chen Yi wrote for the quartet's 20th anniversary celebration in 2004. For advanced performers._________________________Text from the scanned back cover:NOT ALONE for Saxophone QuartetHAPPY BIRTHDAY TO PRISM for Saxophone QuartetNot Alone is a 14-minute saxophone quartet and dance score inspired by the ancient Chinese poet Li Bai’s “Drinking Alone under the Moon with the Shadow.†The expansively-textured sax quartet matches the exploratory and dramatic movements and gestures in the dance. NOT ALONE was commissioned by the Nai-Ni Chen Dance Company which premiered the work in collaboration with the PRISM Quartet. Also included in this publication is Chen Yi’s fascinating take on “Happy Birthday to You,†composed in celebration of Prism’s 25th anniversary season. A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspiredby the ancient Chinese poet Li Bai’s poem “Drinking Alone under the Moon with the Shadow.†The premierewas given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned thework to celebrate its 25th Anniversary NYC Season. Program Note by composer Chen YiThe original inspiration for this work for both the choreographer and the composer came from the Tang Dynasty poem - Alone Under the Moon by Li Bai. The poem describes the poet being alone in a garden. The moon and his shadow became his companions that night. The choreographer brings this idea to modern life in an urban setting. She created a series of “mindscapes†which are the result of the exploration of the different mental and physical states of being alone.Through self-examination, the choreographer raises the question: are we ever really alone? Our physical being may be standing by itself, but what about our introspective self? When we are still, we let our thoughts pass by like flowing water. If we could engage with our shadows, what would it be like?Program Note by Matthew Levy, The PRISM QuartetThe PRISM Quartet has commissioned a great many composers since our founding days in 1984. Chen Yi is among ahandful of our very favorites, and one to whom we’ve returned time and time again. Her music is powerful, expansive,intimate, and draws connections between Eastern and Western, ancient and modern traditions in a voice all her own.Chen Yi has written or adapted four works for the PRISM Quartet. She penned a wonderful miniature called HappyBirth day to PRISM to celebrate the ensemble’s 20th anniversary back in 2004 (Dedication, Innova Recordings).We subsequently commissioned her to compose Septet (2008) for Erhu, Pipa, Percussion, and Saxophone Quartet(2008), premiered and recorded with the New York ensemble Music From China (Antiphony, Innova Recordings 2010).In 2015, the PRISM Quartet performed and recorded (XAS Records) a new version of her saxophone quartet concerto,BA YIN, with the University of Missouri-Kansas City Wind Ensemble under the baton of Steven Davis (originally writtenfor the Rascher Quartet and scored for saxophones and string orchestra.).Finally, Not Alone (2014) is an interdisciplinary work written for the Nai-Ni Chen Dance Company with the PRISMQuartet, but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspectivesolos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alonefor a 2017 release on XAS Records titled Paradigm Lost. But we’re excited for a wider community of saxophonists toembrace the work, and share it with their own audiences.In his liner notes for the recording, WNYC’s John Schaefer writes: “As with much of her music, Chen employs percussiveeffects and glissandi; in Chinese music these are not considered “extended techniques†or special effects, but animportant part of the performer’s arsenal. Here, they help create the twilit mood of the opening moments. The piecesoon becomes more dramatic, suggesting the arrival of the drinker’s companions (real or imagined) and his or herincreasingly garrulous outbursts. Passages of consonance and discord can easily be heard as companionable singingand bouts of drunken argument. The piece bustles along on a kind of restless energy, until, finally, that restlessnesssubsides, giving way to a gently humorous ending where a short falling phrase signals the drinker falling asleep.â€. $39.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Requiem in B flat minor Carus Verlag
Orchestra SATB vocal soli, SSATTB choir, 2 flutes, 2 oboes, 2 clarinets, 2 basso...(+)
Orchestra SATB vocal soli, SSATTB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, 3 trombones, tuba, timpani, 2 violins, viola, cello, contrabass SKU: CA.5006012 Composed by Josef Gabriel Rheinberger. Edited by Wolfgang Hochstein. Requiem Mit Orchester. Requiem, Mourning, death. Single Part, Violin 2. Composed 1867. Op. 60. 16 pages. Duration 54 minutes. Carus Verlag #CV 50.060/12. Published by Carus Verlag (CA.5006012). ISBN 9790007079253. Key: B flat minor. Language: Latin/German. After the premiere of 12 Dec 1870, the poet Paul Heyse wrote to Rheinberger: I do not want to wait until we see each other again, most honoured friend, to say to you how much your work grabbed hold of me, lifted me up, and washed me away on a current of strength and beauty, swelling higher and higher.. $9.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Requiem Soli, Mixted choir and accompaniment Barenreiter
Soloists, Mixed choir (SATB), Orchestra (Soprano solo, Alto solo, Tenor solo, Ba...(+)
Soloists, Mixed choir (SATB), Orchestra (Soprano solo, Alto solo, Tenor solo, Bass solo, Mixed choir (SATB), Orchestra) SKU: BA.BA11310-90 Composed by Wolfgang Amadeus Mozart. Edited by Michael Ostrzyga. This edition: urtext edition. Paperback. New Completion. Vocal Score. Baerenreiter Verlag #BA11310_90. Published by Baerenreiter Verlag (BA.BA11310-90). ISBN 9790006569267. 27 x 19 cm inches. Text Language: Latin. This publication offers a source-critical edition of Mozartâ??s fragmentary â??Requiemâ? as well as an alternative to the traditional SüÃ?mayr version. It makes it possible to perform 1) the fragment, identified in print in both the score and the parts, 2) the authentic sections left incomplete by Mozart, now in a stylistically appropriate orchestration, and 3) those sections missing entirely in the fragment, newly added in Mozartâ??s idiom taking into account historical additions by SüÃ?mayr and Eybler.
When completing the fragment, the editor drew on comprehensive comparative and analytical studies of Mozartâ??s church style and compositional workmanship. The influence of Handel and Bach manifested in his final years, particularly in the â??Requiemâ? fragment, is taken into account in those sections requiring completion or fresh composition.
At two points readers may choose between alternative movements (or sections), since proceeding from SüÃ?mayrâ??s historical version, two divergent options cannot be weighed against each other but each one may well reflect Mozartâ??s intentions: the â??Lacrimosaâ? may end with or without â??Amenâ? fugue, and the â??Sanctusâ? may begin in the customary D major or in D minor. Above all, this makes it possible to retain the B-flat major â??Hosannaâ? from SüÃ?mayrâ??s autograph, a movement which, until now, has not been appreciated as compositionally flawless.
â?¢ Scholarly-critical edition of the â??Requiemâ? fragment â?¢ With performance material for presentation of 1) the fragment, 2) a version with completions of the authentic Mozart sections or 3) a full completion consistent with Mozartâ??s musical idiom â?¢ Missing sections were completed by drawing from other fragmentary sacred works by Mozart â?¢ Added or completed sections incorporate influences from Bach and Handel already detectable in the fragment â?¢ Alternative performance options for the â??Lacrimosaâ?, â??Sanctusâ? and â??Benedictusâ? â?¢ Easy-to-play piano reduction â?¢ Extensive foreword (Ger/Eng) on the workâ??s history, reception and modern completions, with analytical stylistic critique â?¢ Detailed Critical Commentary (Eng), partly available on the Bärenreiter website â?¢ Tried and tested on many occasions, e.g. at Harvard University, the Rheingau Music Festival, the Monadnock Music Festival (New Hampshire), in Salt Lake City (Utah), as well as in radio broadcasts (NDR, SWR, WDR) and CD recordings with Concerto Köln, Chorwerk Ruhr and Florian Helgath (â??Le Disque classique du jourâ? from francemusique.fr and three nominations for Opus Klassik 2021 in the categories â??Ensembleâ?, â??Choral Recordingâ? and â??Editorial Achievementâ?)
You will find a detailed brochure on the new completion of Mozart's Requiem here.
$20.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| THE BOOK for Solo and Duet for piano Piano solo Yamaha
Composed by Yoasobi. Piano Pop Vocal/Liu Xing Gang Qin. Book. Yamaha Music Med...(+)
Composed by Yoasobi. Piano
Pop Vocal/Liu Xing Gang Qin.
Book. Yamaha Music Media
#GTP01097892. Published by
Yamaha Music Media
$15.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Violin - Concerto Orchestra, Violin SATB, Orchestra Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340). ISBN 9788480207591. English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author
Comentarios del Espanol: A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor. $42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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