SKU: LO.30-3718L
UPC: 000308154894.
String Quartet Score and Parts for 10/5333L Marty Parks uses the beloved COVENTRY CAROL as the basis for his original lyric: Your humble birth, Your matchless worth; Jesus, God with us. No earthly crown, no great renown; Jesus, God with us. Redeemer King, of whom angels sing; Jesus, God with us. Equally inspiring with piano accompaniment or the optional string quartet, this is a stunning addition to Christmas worship or concert repertoire.
SKU: HL.14026541
ISBN 9788759874226. 9.5x14.25x0.058 inches. Danish.
String Quartet No.1 - 'Quartetto Breve' (1952) by Per Norgard. Programme note: The spectrum of sound, the gesticulation - in short, the very nature of the strings - has always had a central place in my output, demonstrated by the numbers of string quartets, concertos with string soloist, chamber and solo works. The interest dates back to my school years, when I was fortunate to be able to compose for a cello-playing schoolmate and to accompany him on the piano. I discovered then the innumerable nuances of sound and playing varieties offered by just one bow, four strings and five fingers.. My first string quartet - Quartetto Breve - has a firm root in the Nordictradition and is strongly inspired by Jean Sibelius (1865-1957) and my teacher Vagn Holmboe (1909-96). Per Norgard (1998) .
SKU: HL.49045441
ISBN 9790001161794. UPC: 841886028593. 9.25x12.0x0.082 inches. German - English - French.
Ferdinand Kuchler is regarded as one of the great violin teachers of the 20th century, not least because of his violin method. His Concertino in G major Op. 11 still is a popular entry-level piece of concert literature even in today's violin lessons.Apart from the edition in the original instrumentation for violin and piano (SE 1001), this arrangement follows the title 'Concertino' and allows for early playing with string accompaniment - with string quartet and double-bass ad libitum or scored for multiple parts with string orchestra. Further individual orchestral parts are available for download at www.notafina.de. As an alternative to the viola part, a part for a third violin is notated as well.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons.
SKU: ST.Y296
ISBN 9790220223525.
Nature and landscape have been the dominant themes of much of Rhian Samuel's vocal music of the last ten years, projected chiefly through the poetry of Anne Stevenson, and in her most recent song-settings, the writings of the Pakistan-born Texas-based poet Zulfikar Ghose. His poem 'Conspiracy of the Clouds' describes how, the clouds having chosen to become invisible, 'Even the astronauts on the space shuttle / looked down on a cloudless America' as hurricanes ravage Louisiana and storms engulf Nebraska. An intriguing conceit in the tradition of magic realism, the text is presented as a scena lasting around 16 minutes, with interpolations from 'Haze' by the nineteenth-century New England transcendentalist Henry David Thoreau. Thus modern fable and romantic nature-description are juxtaposed, and their interaction becomes the source of musical contrasts too. Thoreau's words are assigned predominantly to the vocalist's highest register, those of Ghose to her lower tessitura; and the suggestive and dramatic accompaniment builds tension steadily to the final ironic response of an incredulous American public: not one of awe and wonder, but the question 'Why weren't we told about it?
SKU: HL.49007921
ISBN 9790001111911. 9.0x12.0x0.238 inches.
In these lieder, Robert Schumann seems to mirror his life full of crises. The composition coincides with the first signs of his illness. The picture of the drowning Ophelia evoked in the first chant conjures up the image of his suicide attempt three years later. Aribert Reimann's transcription seems to be opposed to Schumann's endeavours to make stronger use of 'the development of the accompanying instrument, the piano'. On the other hand, the complete integration of the vocal part in the musical setting of the string quartet confirms Schumann's assessment that the singing voice alone cannot 'express everything; apart from the expression of the whole, even subtle nuances of the poem shall become apparent'. These transcriptions show Reimann's sense of timbre and his many years of experience as a lied accompanist.
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