SKU: PR.41141105S
UPC: 680160088188. 9.5 x 13 inches.
SKU: FG.55011-903-1
ISBN 9790550119031.
Victoria Yagling's Suite for Cello and String Orchestra (1967) is one of her first successes as a composer. The movement layout of the Suite is fast-slow-fast-slow. The first movement, Toccata, is a perpetual motion with a brisk tempo of 100 per dotted half. The Aria is reminiscent of Rachmaninov's Vocalise melody and Prokofiev's tonal language. This movement is the centerpiece of the Suite. The Humoresque is closely connected in style and motives to the March and Aria movements from Boris Tchaikovsky's Suite for Cello Solo. Mostly homophonic Finale plays with bitonality and contains several circle-of-fifth sequences.This product is is the reduction for violoncello and piano by prof. Yuriy Leonovich. Orchestral material available on hire from the publisher. Stydy score with solo part is available for sale (ISMN 9790550116436).Victoria Yagling (1946?2011) was born in Russia and lived in Finland since 1990. Her long career as a cellist served as an excellent accompaniment to the composition she began at an early age. For 11 years she was a cello student of Mstislav Rostropovich at the Moscow Conservatory and Dmitry Kabalevsky and Tikhon Khrennikov taught her composition.Yagling won the first prize in the Gaspar Cassadò Cello Competition and the following year the second prize in the Moscow Tchaikovsky Competition. Her solo engagements took her to countless countries. She has also taught at several international music courses and master classes and was often a jury member for international cello competitions.Yagling left a profilic oeuvre, and the three cello concertos are her main works. Her other orchestral works include Finnish Notebook, Lyrical Preludes and the Suite for Cello and String Orchestra. She has also composed solo works (e.g. the Suite for Cello Solo No. 1 chosen as an obligatory piece for the 7th Tchaikovsky Competition in Moscow in 1982), chamber works, including two string quartets, and vocal music. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich.
SKU: CF.CM9625
ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.
The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still†provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,†are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still†are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.
SKU: HL.49046015
ISBN 9790001163385. UPC: 841886030114. German.
For soprano solo, baritone solo, oboe, violin, cello and piano. Score and Parts.
SKU: CA.2100700
ISBN 9790007142179. Language: Latin.
The three grands motets, Quam dilecta, In convertendo and Deus noster refugium, which Jean-Philippe Rameau composed from 1713 to 1715 are still relatively unknown today. Yet these masterworks can stand comparison to the best works of Michel-Richard de Lalande. They are testimony to Rameau's great contrapuntal mastery and contain beautiful lyrical passages. Quam dilecta and Deus noster refugium have survived only in later sources which originated in about 1770, after Rameau's death, and the works have been rendered in a scoring which does not correspond to his intentions. The present new edition attempts for the first time to reconstruct them as closely as possible to their original form. The edition of In convertendo is based on Rameau's autograph score from 1751.
SKU: HL.50566000
ISBN 9781705150009. UPC: 196288016724. 9.0x12.0x0.115 inches.
“Musique française†is a series designed for students and teachers as well as professionals. These editions offer masterworks in French music, with performance suggestions and historical and stylistic commentary by noted scholars. The second half of the 19th century saw the growth in popularity of instrumental Romances. These, which one could categorise as morceaux de salon, continued the characteristics of the vocal Romance, which was born in the middle of the Age of Enlightenment and which, at the beginning of the Romantic period, had achieved great success among composers, performers and audience alike.
SKU: HL.50601134
9.0x12.0 inches.
The Romanza for cello and piano by Pier Adolfo Tirindelli (1858-1937), who was particularly noted for his vocal compositions, is a cantabile, expressive piece that is typical of the salon romanza. This critical edition is based on the manuscript kept in the Biblioteca del Conservatorio di Musica Santa Cecilia in Rome. It is hoped that this will contribute to the rediscovery of Tirindelli - one of the greatest Italian composers from the late nineteenth century - and his instrumental chamber music.
SKU: PR.114423720
ISBN 9781491129487. UPC: 680160690404.
POSTCARDS FROM UKRAINE is a charming-yet-fiery suite of six character pieces reflecting the culture and music of Didorenkoâ??s homeland. The work was composed in early 2022 following the invasion. Movements 2 and 3 are inspired by folk music with the piano imitating sounds of the bandura, and the other four movements are free settings of authentic folk melodies.More and more in recent times, I turn to the musical heritage of my native Ukraine for inspiration. Shortly after the start of the war in Spring 2022, my friend and New York pianist Evelyne Luest approached me with a suggestion to compose a piece based on Ukrainian folk music. As I began to research authentic song and dance styles, I was immediately drawn to their soulful melodies and stirring rhythms. Postcards from Ukraine came into being in just under a month.The second of these six pieces is written in the style of duma, a sung epic poem recited by itinerant bards, accompanied on a bandura; strumming on the high piano strings imitates the banduraâ??s sound. In the third piece, an ostinato bass is another impression of bandura playing, while the cello references Carpathian dance tunes. The other four pieces are my interpretations of true Ukrainian folk songs, typically sung a cappella by a womenâ??s choir, from small villages that keep their vocal traditions alive.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
