| The Big and Easy Songbook for Guitar, with Tablature Guitar notes and tablatures FJH
Composed by Phil Groeber. Book. Published by The FJH Music Company Inc (FJ.G1059...(+)
Composed by Phil Groeber. Book. Published by The FJH Music Company Inc (FJ.G1059).
$12.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Neue Studien Musikwissenschaft V.5 Schott
SKU: HL.49007710 Beitrage zu ihrer Gattungsgeschichte. Edited by H...(+)
SKU: HL.49007710 Beitrage zu ihrer Gattungsgeschichte. Edited by Herbert Schneider. This edition: Paperback/Soft Cover. Book. Edition Schott. Classical. 314 pages. Schott Music #ED 8008. Published by Schott Music (HL.49007710). ISBN 9783795717247. German. Der Motette als einer der zentralen musikalischen Gattungen, die durch das Spannungsverhaltnis zwischen ihrer Autonomie und ihrer liturgischen Funktion gekennzeichnet ist, sind die Beitrage dieses Bandes gewidmet.Ausgangspunkt ist eine Problemgeschichte des Motetten-Terminus, in der die Anfange und die Bestimmung der Motette sowie die Wandlungen ihrer Gestalt diskutiert werden. Im Mittelpunkt der ersten beiden der folgenden sechs jeweils als Referat und Korreferat entstandenen Beitrage steht die Selbstandigkeit bzw. Abhangigkeit der italienischen Trecento-Motette von franzosischen Vorbildern. Josquins viel diskutierte Motette Huc me sydereo bildet dann den ausgangspunkt zu einer neuen Interpretation im Zusammenhang mit der Zahlensymbolik und der Ausbildung einer motivisch bestimmten Kompositionstechnik. Auch der Aufsatz uber die Rezeption der Motetten im 19. Jahrhundert bezieht sich auf Kompositionen Josquin des Pres'. Der Motette als Objekt niederlandischer Musikdarstellungen des 16. Jahrhunderts ist ein umfangreicher Beitrag mit zahlreichen unbekannten Abbildungen gewidmet. In zwei Beitragen wird der Fortentwicklung der Motette nach der Stilteilung um 1600 nachgegangen, deren zweiter sich auf den Einfluss des Madrigals auf die Motette konzentriert. Als spezielle Gattung sind die franzosischen Tenebrae-Vertonungen in solistischer Besetzung behandelt, die in der Karwoche musiziert wurden. Die divergierten Typen der Motette des 18. Jahrhunderts (Vivaldi, Fux, Handel, Mozart etc.) und der Einfluss des Konzertsatzes sind Inhalt des Kapitels uber das 18. Jahrhundert, wahrend im letzten Aufsatz der endgultige Niedergang der Motette im 20. Jahrhundert (Strauss, Schonberg, Karminski, J. N. David, Pepping etc.) aufgezeigt wird und die Anzeichen und Grunde dafur dargelegt werden. $73.00 - See more - Buy online | | |
| The 1980s – Super Easy Songbook Easy Piano - Beginner Hal Leonard
Piano/Keyboard SKU: HL.1438561 Composed by Various. Super Easy Songbook. ...(+)
Piano/Keyboard SKU: HL.1438561 Composed by Various. Super Easy Songbook. Classic Rock, Pop, Standards. Softcover. Published by Hal Leonard (HL.1438561). ISBN 9798350123715. UPC: 196288204916. The '80s brought on an electrifying surge of musical innovation, marked by the rise of genres such as synth-pop, hair metal, and the early beginnings of hip-hop. This dynamic period was distinguished by the revolutionary influence of MTV, which changed the way we consume music and turned musicians in visual legends. The decade's spirited vibe made a lasting impact on the music scene, etching its presence into the cultural fabric forever. Grab your hairspray and teasing comb and jump into this new Super Easy songbook, featuring 46 simple arrangements of the decade's best to start playing your favorite songs in no time! Each song is arranged with simple right-hand melody, letter names inside each note, basic left-hand chord diagrams, and no page turns. Songs include: Africa ⢠All Outof Love ⢠Beat It ⢠Danger Zone ⢠Don't Dream It's Over ⢠Ebony and Ivory ⢠Everybody Wants to Rule the World ⢠Flashdance... What a Feeling ⢠Footloose ⢠Girls Just Want to Have Fun ⢠Higher Love ⢠Hurts so Good ⢠Into the Air Tonight ⢠Jump ⢠Owner of a Lonely Heart ⢠Running Up That Hill ⢠Sweet Dreams (Are Made of This) ⢠Total Eclipse of the Heart ⢠You're the Inspiration ⢠and more! $16.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Concerto in A minor MWV O 2 Breitkopf & Härtel
Viola (solo: pno - str) SKU: BR.OB-5331-19 Urtext based on the Leipzig...(+)
Viola (solo: pno - str) SKU: BR.OB-5331-19 Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Christoph Hellmundt. Stapled. Orchester-Bibliothek (Orchestral Library). Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.).EB 8683 is printed in score form; two copies are needed for performance. Solo concerto; Romantic. Part. 8 pages. Duration 35'. Breitkopf and Haertel #OB 5331-19. Published by Breitkopf and Haertel (BR.OB-5331-19). ISBN 9790004333068. 10 x 12.5 inches. Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models such as Hummel, Dussek, etc., it attains an individuality, especially in the central movement, which anticipates the expressive world of Romanticism.
Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.). EB 8683 is printed in score form; two copies are needed for performance. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor MWV O 2 Breitkopf & Härtel
Violin 1 (solo: pno - str) SKU: BR.OB-5331-15 Urtext based on the Leip...(+)
Violin 1 (solo: pno - str) SKU: BR.OB-5331-15 Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Christoph Hellmundt. Stapled. Orchester-Bibliothek (Orchestral Library). Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.).EB 8683 is printed in score form; two copies are needed for performance. Solo concerto; Romantic. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 5331-15. Published by Breitkopf and Haertel (BR.OB-5331-15). ISBN 9790004333044. 10 x 12.5 inches. Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models such as Hummel, Dussek, etc., it attains an individuality, especially in the central movement, which anticipates the expressive world of Romanticism.
Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.). EB 8683 is printed in score form; two copies are needed for performance. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor MWV O 2 Breitkopf & Härtel
Basso (cello/double bass) (solo: pno - str) SKU: BR.OB-5331-26 Urtext ...(+)
Basso (cello/double bass) (solo: pno - str) SKU: BR.OB-5331-26 Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Christoph Hellmundt. Stapled. Orchester-Bibliothek (Orchestral Library). Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.).EB 8683 is printed in score form; two copies are needed for performance. Solo concerto; Romantic. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 5331-26. Published by Breitkopf and Haertel (BR.OB-5331-26). ISBN 9790004333075. 10 x 12.5 inches. Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models such as Hummel, Dussek, etc., it attains an individuality, especially in the central movement, which anticipates the expressive world of Romanticism.
Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.). EB 8683 is printed in score form; two copies are needed for performance. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor MWV O 2 Breitkopf & Härtel
Violin 2 (solo: pno - str) SKU: BR.OB-5331-16 Urtext based on the Leip...(+)
Violin 2 (solo: pno - str) SKU: BR.OB-5331-16 Urtext based on the Leipzig Mendelssohn Complete Edition. Composed by Felix Bartholdy Mendelssohn. Edited by Christoph Hellmundt. Stapled. Orchester-Bibliothek (Orchestral Library). Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.).EB 8683 is printed in score form; two copies are needed for performance. Solo concerto; Romantic. Part. 12 pages. Duration 35'. Breitkopf and Haertel #OB 5331-16. Published by Breitkopf and Haertel (BR.OB-5331-16). ISBN 9790004333051. 10 x 12.5 inches. Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models such as Hummel, Dussek, etc., it attains an individuality, especially in the central movement, which anticipates the expressive world of Romanticism.
Mendelssohn composed the Piano Concerto in A minor at the age of 12. Though it clearly betrays the influence of classical models (Hummel, Dussek, etc.). EB 8683 is printed in score form; two copies are needed for performance. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Weapon Dance From The Opera Dozsa Gyorgy For Concert Band Score Concert band [Score] - Intermediate EMB (Editio Musica Budapest)
Concert Band - Grade 4 SKU: HL.50490640 From the opera Dozsa Gyorgy, f...(+)
Concert Band - Grade 4 SKU: HL.50490640 From the opera Dozsa Gyorgy, for concert band. Composed by Ferenc Erkel. EMB. Band Music. Score. 32 pages. Duration 3:30. Editio Musica Budapest #Z14723. Published by Editio Musica Budapest (HL.50490640). ISBN 9790080147238. UPC: 884088666767. 9.0x12.0x0.138 inches. Ferenc Erkel; Jozsef Pecsi. Ferenc Erkel (1810-1893) was a composer, pianist, conductor and teacher, a leading figure in 19th century Hungarian music, creator of Hungarian national opera. In his operas based on Hungarian history (Batori Maria: 1840, Hunyadi Laszlo: 1844, Bank ban: 1861, Dozsa Gyorgy: 1867, etc.), blending elements of the style of Bellini, Meyerbeer and Verdi with verbunkos he created a distinctively Hungarian opera genre. The 'Weapon Dance' is a popular ballet interlude in his opera Dozsa Gyorgy, and in Jozsef Pecsi's transcription youth wind orchestras can now add it to their repertoire.
fl picc, 3 fl, ob1, ob2, cl Eb, 3 cl1 Bb, 3 cl2 Bb, 3 cl3 Bb, (2 cl b Bb), 2 fg, (2 sax a1 Eb), (2 sax a2 Eb), (2 sax t Bb), (sax bar Eb) - 2 flic1 Bb, 2 flic2 Bb, 2 tr1 Bb, 2 tr2 Bb, 2 tr3 Bb, 2 tr4 Bb, tr b Bb, cor1, cor2, cor3, cor4, 2 trb1, 2 trb2, 2 trb3, 2 flic t Bb, 2 euf, 2 tb1, 2 tb2 - timp, (camp, xyl), trgl, tamb mil, ptti, gr c. $14.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Illustrations of German Poetry Opp. 71 and 72 for Harp. Facsimile Edition Harp Ut Orpheus
Harp SKU: UT.HS-200 Composed by Elias Parish Alvars. Edited by Floraleda ...(+)
Harp SKU: UT.HS-200 Composed by Elias Parish Alvars. Edited by Floraleda Sacchi. Saddle stitching. Classical. 16 pages. Ut Orpheus #HS 200. Published by Ut Orpheus (UT.HS-200). ISBN 9790215320161. 9 x 12 inches. Traum am Bache Op. 71; Gretchen’s Gebet vor dem Bilde der Mater Dolorosa $14.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Horn Method Vol. 1 (german) French horn Schott
Horn SKU: HL.49015238 Composed by Michael Hoeltzel. This edition: Paperba...(+)
Horn SKU: HL.49015238 Composed by Michael Hoeltzel. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. 92 pages. Schott Music #ED 6912. Published by Schott Music (HL.49015238). ISBN 9790001073042. 9.0x12.0x0.266 inches. German. In diesem Lehrwerk wird der erklarende Text bewusst in den Vordergrund geruckt. Schuler und Lehrer werden umfassend uber didaktisch-methodische, musikalische und technische Fragen informiert. Die Ubungsstucke und Lieder - jeweils fur Horn in B und F beginnend im kleinsten Tonumfang mit systematischer Einfuhrung der Ventile - sollen den Spass am Hornblasen fordern. Theoretische Abhandlungen uber Ansatz, Atmung etc. sind an den Schluss gestellt, damit die praktischen Anleitungen fur den Anfanger nicht unterbrochen werden. Musikalische Grundkenntnisse werden aus zweierlei Grunden vorausgesetzt: Zum einen erweist es sich haufig, dass Hornschuler bereits in der musikalischen Fruherziehung das Notenlesen gelernt haben und zum anderen, dass bei vielen Horn das zweite Instrument ist, das sie spielen wollen. Im 2. Band findet sich geeignetes Unterrichtsmaterial sowie entsprechende Literatur, womit der gerade den Anfangsschwierigkeiten entwachsene Hornschuler seine Technik auf lockere und spielerische Weise stetig vervollkommnen kann. In allen 12 Tonarten gibt es leichtere und schwierigere Ubungen, die Lehrer und Schuler dem jeweiligen Ausbildungsstand entsprechend auswahlen konnen. $33.00 - See more - Buy online | | |
| Contemporary Fiddle Tunes from the Northeast of Ireland - Intermediate Mel Bay
Fiddle - Beginning - Intermediate SKU: MB.30670 Composed by Rowan Leslie....(+)
Fiddle - Beginning - Intermediate SKU: MB.30670 Composed by Rowan Leslie. Perfect binding. Celtic / Irish. Book. 156 pages. Mel Bay Publications, Inc #30670. Published by Mel Bay Publications, Inc (MB.30670). ISBN 9781513465296. 8.75 x 11.75 inches. This unique collection celebrates the contemporary fiddle music of northeast Ireland, much of it for the first time in print. Not surprisingly, given its location and long history of traditional music, the fiddle music of this region shares some characteristics with Scottish music, yet it has its own distinct style. For those who are not familiar with this ruggedly attractive part of Ireland, this book will introduce you to some of its music and musicians. The tunes presented here, collected by County Antrim fiddler, Rowan Leslie, have all been written relatively recently by local musicians. Each tune is offered in two versions?one with the barebones melody and suggested accompaniment chords, and a second with ornamentation, articulation and bowing details. All tune types from northeast Ireland are represented, including jigs and reels, polkas and hornpipes, marches, barn dances and waltzes, plus set dances and slow airs. Moreover, the biographical sketches and backstories provided for each composer and tune demonstrate how the land itself, along with personal experiences and relationships, influence the fiddle music of northeast Ireland. $22.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| La Mer Barenreiter
3 symphonic sketches. Composed by Claude Debussy (1862-1918). Edited by D...(+)
3 symphonic sketches. Composed by Claude Debussy (1862-1918). Edited by Douglas Woodfull-Harris. This edition: urtext edition. Stapled. Barenreiter Urtext. Set of wind parts. 236 pages. Baerenreiter Verlag #BA07880-65. Published by Baerenreiter Verlag (BA.BA07880-65).
$191.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto in E Major Trumpet Carl Fischer
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano,...(+)
Chamber Music Piano, Trumpet SKU: CF.W2682 For Trumpet in E and Piano, S.49. Composed by Johann Hummel. Edited by Elisa Koehler. Set of Score and Parts. With Standard notation. 36+8 pages. Carl Fischer Music #W2682. Published by Carl Fischer Music (CF.W2682). ISBN 9781491144954. UPC: 680160902453. 9 x 12 inches. Key: E major. Edited by Elisa Koehler, Associate Professor and Chair of the Music Department at Goucher College, this new edition of Johann Nepomuk Hummel's Concerto in E Major for trumpet in E and piano presented in its original key. The concerto by Johann Nepomuk Hummel (1778–1837)holds a unique place in the trumpet repertoire. Like theconcerto by Joseph Haydn (1732–1809) it was written forthe Austrian trumpeter Anton Weidinger (1766–1852) andhis newly invented keyed trumpet, performed a few timesby Weidinger, and then forgotten for more than 150 yearsuntil it was revived in the twentieth century. But unlikeHaydn’s concerto in Eb major, Hummel’s Concerto a Trombaprincipale (1803) was written in the key of E major for atrumpet pitched in E, not E≤. This difference of key proved tobe quite a conundrum for trumpeters and music publishersin the twentieth century. The first modern edition, publishedby Fritz Stein in 1957, transposed the concerto down onehalf step into the key of E≤ to make it more playable on atrumpet in Bb, which had become the standard instrumentfor trumpeters by the middle of the twentieth century.Armando Ghitalla made the first recording of the Hummel in1964 in the original key of E (on a C-trumpet) after editinga performing edition in 1959 in the transposed key of E≤ (forBb trumpet) published by Robert King Music. Needless tosay, the trumpet had changed dramatically in terms of design,manufacture, and cultural status between 1803 and 1957, andthe notion of classical solo repertoire for the modern trumpetwas still in its formative stages when the Hummel concertowas reborn.These factors conspired to create confusion regarding thenumerous interpretative challenges involved in performingthe Hummel concerto according to the composer’s originalintentions on modern trumpets. For those seeking the bestscholarly information, a facsimile of Hummel’s originalmanuscript score was published in 2011 with a separatevolume of analytical commentary by Edward H. Tarr,1 whoalso published the first modern edition of the concertoin the original key of E major (Universal Edition, 1972).This present edition—available in both keys: Eb and Emajor—strives to build a bridge between scholarship andperformance traditions in order to provide viable options forboth the purist and the practitioner.Following the revival of the Haydn trumpet concerto, acase could be made that some musicians were influencedby a type of normalcy bias that resulted in performancetraditions that attempted to make the Hummel morelike the Haydn by putting it in the same key, insertingunnecessary cadenzas, and adding trills where they mightnot belong.2 Issues concerning tempo and ornamentationposed additional challenges. As scholarship and performancepractice surrounding the concerto have become betterknown, trumpeters have increasingly sought to performthe concerto in the original key of E major—sometimes onkeyed trumpets—and to reconsider more recent performancetraditions in the transposed key of Eb.Regardless of the key, several factors need to be addressedwhen performing the Hummel concerto. The most notoriousof these is the interpretation of the wavy line (devoid of a “tr†indication), which appears in the second movement(mm. 4–5 and 47–49) and in the finale (mm. 218–221). InHummel’s manuscript score, the wavy line resembles a sinewave with wide, gentle curves, rather than the tight, buzzingappearance of a traditional trill line. Some have argued that itmay indicate intense vibrato or a fluttering tremolo betweenopen and closed fingerings on a keyed trumpet.3 In Hummel’s1828 piano treatise, he wrote that a wavy line without a “trâ€sign indicates uneigentlichen Triller oder den getrillertenNoten [“improper†trills or the notes that are trilled], andrecommends that they be played as main note trills that arenot resolved [ohne Nachschlag].4 Hummel’s piano treatisewas published twenty-five years after he wrote the trumpetconcerto, and his advocacy for main note trills (rather thanupper note trills) was controversial at the time, so trumpetersshould consider all of the available options when formingtheir own interpretation of the wavy line.Unlike Haydn, Hummel did not include any fermatas wherecadenzas could be inserted in his trumpet concerto. The endof the first movement, in particular, includes something likean accompanied cadenza passage (mm. 273–298), a featureHummel also included at the end of the first movement ofhis Piano Concerto No. 5 in Ab Major, Op. 113 (1827). Thethird movement includes a quote (starting at m. 168) fromCherubini’s opera, Les Deux Journées (1802), that diverts therondo form into a coda replete with idiomatic fanfares andvirtuosic figuration.5 Again, no fermata appears to signal acadenza, but the obbligato gymnastics in the solo trumpetpart function like an accompanied cadenza.Other necessary considerations include tempo choicesand ornamentation. Hummel did not include metronomemarkings to quantify his desired tempi for the movements,but clues may be gleaned through the surface evidence(metric pulse, beat values, figuration) and from the stratifiedtempo table that Hummel included in his 1828 piano treatise,where the first movement’s “Allegro con spirito†is interpretedas faster than the “Allegro†(without a modifier) of the finale.6In the realm of ornamentation, Hummel includes severalturns and figures that are open to interpretation. This editionincludes Hummel’s original symbols (turns and figuration)along with suggested realizations to provide musicians withoptions for forming their own interpretation.Finally, trumpeters are encouraged to listen to Mozart pianoconcerti as an interpretive context for Hummel’s trumpetconcerto. Hummel was a noted piano virtuoso at the end ofthe Classical era, and he studied with Mozart in Vienna asa young boy. Hummel also composed his own cadenzas forsome of Mozart’s piano concerti, and the twenty-five-year-oldcomposer imitated Mozart’s orchestral gestures and melodicfiguration in the trumpet concerto (most notably in the secondmovement, which resembles the famous slow movement ofMozart’s Piano Concerto No. 21 in C Major, K. 467). $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Klingende Orgelbuch Vol. 2 Organ Schott
Electric organ SKU: HL.49006590 Bekanntes und Beliebtes aus Klassik, V...(+)
Electric organ SKU: HL.49006590 Bekanntes und Beliebtes aus Klassik, Volks- und Unterhaltungsmusik. Edited by Willi Draths. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. 100 pages. Schott Music #ED 6730. Published by Schott Music (HL.49006590). ISBN 9790001071475. Ausgabe mit Akkordsymbolen, Tastensymbolen fur akkordprogrammierte Orgeln (Easychord, Chordomatic etc.), Fingersatzen, Registrieranweisungen, Registrierschema, Akkordgrifftabelle. $22.99 - See more - Buy online | | |
| Codebreaker. Vocal Score Stainer and Bell
Soprano voice solo, SATB choir and orchestra SKU: ST.D108 Composed by Jam...(+)
Soprano voice solo, SATB choir and orchestra SKU: ST.D108 Composed by James McCarthy. For soprano solo, SATB chorus and orchestra. Libretto by the composer, with words selected and adapted from various writers. James McCarthy's acclaimed cantata dramatically recounts key episodes in the story of Alan Turing, the Second World War codebreake. Vocal Score. Stainer & Bell Ltd. #D108. Published by Stainer & Bell Ltd. (ST.D108). ISBN 9790220225628. James McCarthy's Codebreaker dramatically recounts key episodes in the story of Alan Turing, whose work at Bletchley Park decrypting the naval Enigma codes helped save countless lives during the Second World War, and whose legacy endures in our contemporary digital culture transformed by computer science. Turing is recalled as a brilliant mathematician, pioneer and prophet. Above all, in a score conceived in bold contrasts of pathos and dynamic energy, he is remembered as a suffering individual, an outsider destroyed by the unforgiving public prejudice of his time, yet whose complex and sensitive inner being was inseparable from his genius. On the cusp of a twenty-first century revolution in artificial intelligence, the passionate, accessible and visionary music of Codebreaker urges us all to regret past misunderstandings, be vigilant against lingering bigotries, and simply to hold in reverence Turing's inspiring achievement, while wondering at the cruel betrayal of an ordinary-extraordinary man who was also a profound benefactor to humankind. $20.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Exam Pieces Plus Exercises 2021-2023: Grade 4 - Extended Edition Piano solo Trinity College London
Composed by Various. Classical. Textbook. Trinity College London #TCL020550. ...(+)
Composed by Various.
Classical. Textbook. Trinity
College London #TCL020550.
Published by Trinity College
London
$27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Original Piano Duets - Volume 1 1 Piano, 4 hands - Beginner Schott
1 Piano, 4 Hands; Piano Duet - very easy to easy SKU: HL.49004006 Pian...(+)
1 Piano, 4 Hands; Piano Duet - very easy to easy SKU: HL.49004006 Piano, 4 Hands. Edited by Heinz Schuengeler. Arranged by Heinz Schü and ngeler. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. 56 pages. Schott Music #ED 2892. Published by Schott Music (HL.49004006). ISBN 9790001040204. UPC: 073999762341. 9.0x12.0x0.192 inches. The edition is part of the Trinity syllabus 2007 (grade intermediate recital). $22.99 - See more - Buy online | | |
| Selected Piano Works for Four Hands 1 Piano, 4 hands Dover Publications
Composed by Franz Schubert (1797-1828). For Piano. Duet or Duo; Masterworks; Pia...(+)
Composed by Franz Schubert (1797-1828). For Piano. Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands). Dover Edition. Classical; Masterwork; Romantic. Published by Dover Publications
$22.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| New Etude Collection - Vol. 1 - Beginner Schott
Piano; Piano/Keyboard - very easy to easy SKU: HL.49003714 Intermediat...(+)
Piano; Piano/Keyboard - very easy to easy SKU: HL.49003714 Intermediate Piano. Edited by Willy Rehberg. Arranged by Willy Rehberg. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. 38 pages. Schott Music #ED 2351. Published by Schott Music (HL.49003714). ISBN 9790001037051. $22.99 - See more - Buy online | | |
| Charlie Christian Guitar notes and tablatures Alfred Publishing
Selected Solos from the Father of Modern Jazz Guitar (Guitar TAB). This editio...(+)
Selected Solos from the
Father of Modern Jazz Guitar
(Guitar TAB). This edition:
Guitar TAB Edition.
Artist/Personality; Book;
Guitar Personality; Guitar
TAB. Jazz. 104 pages.
Published by Alfred Music
$21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Glad Adoration Handbells - Intermediate/advanced Lorenz Publishing Company
Handbells (3-7 octaves) - Level 4 SKU: LO.20-2064L Composed by Christian ...(+)
Handbells (3-7 octaves) - Level 4 SKU: LO.20-2064L Composed by Christian Guebert. Handbell score. Lorenz Publishing Company #20/2064L. Published by Lorenz Publishing Company (LO.20-2064L). ISBN 9780787763138. Starting and ending with an eighth note peal, this arrangement of LOBE DEN HERREN is alive with energy and interesting harmonies. Christian Guebert’s unique musical language presents a great way to stretch your Level 3 ensemble into more challenging territory. Dynamic contrasts, tower swings, and martellato lifts all add to this colorful arrangement. Glad Adoration is perfect for festivals, concerts, and festive worship services. $6.50 - See more - Buy online | | |
| Prophesies [Score and Parts] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score and Parts. Composed by Mohammed Fairouz. Sws. Score and parts. With Standard notation. 68 pages. Duration 25 minutes. Theodore Presser Company #114-41903. Published by Theodore Presser Company (PR.114419030). ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches. A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication. (See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Best of pianiste No. 1 Piano solo [Sheet music + CD] Beuscher
Composed by Alexandre Sorel. Classical. Score and CD. 111 pages. Paul Beuscher #...(+)
Composed by Alexandre Sorel. Classical. Score and CD. 111 pages. Paul Beuscher #BESTPIA1. Published by Paul Beuscher (LM.BESTPIA1).
$40.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| The Real Easy Book - Volume 3 (Bb edition) Bb Instruments [Fake Book] Sher Music Company
By Various. Edited by Chuck Sher. For Bb instruments. This edition: spiral-bound...(+)
By Various. Edited by Chuck Sher. For Bb instruments. This edition: spiral-bound. Real Easy Books series. Fake book. 186 pages. Published by Sher Music Company
$25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gran Torso String Quartet: 2 violins, viola, cello Breitkopf & Härtel
String Quartet (2vl,va,vc) SKU: BR.KM-2261 Music for String Quartet(+)
String Quartet (2vl,va,vc) SKU: BR.KM-2261 Music for String Quartet. Composed by Helmut Lachenmann. This edition: 2 Violins, Viola, Cello. Chamber music; Folder. Kammermusik-Bibliothek (Chamber Music Library). World premiere: Bremen (pro musica nova), May 6, 1972Have a look into KM 2261. Music post-1945; New music (post-2000). Set of parts. Composed 1971/78/88. 112 pages. Duration 23'. Breitkopf and Haertel #KM 2261. Published by Breitkopf and Haertel (BR.KM-2261). ISBN 9790004501658. 16.5 x 11.5 inches. Gran Torso, for string quartet, was composed in 1971 and revised in 1978. It belongs to a series of works, including Air, Kontrakadenz, Pression and Klangschatten, whose concept of material attempts to free itself from convention. That is, instead of using the sound itself as a point of departure, structural and formal hierarchies are derived from the mechanical and physical conditions present during the process of sound production. It is clear that such a radical break with tradition is not easily achieved: the instrument, the given means, the resonating body itself (as the embodiment of convention) all work against such attempts (with the extended performance techniques representing only the tip of the iceberg of deep-seated contradictions where the bourgeois artist is concerned). Implicit in such a challenge, however, is a claim to aesthetic pregnance: an offer, if one would have it, of uncomprosing beauty.(Helmut Lachenmann, 1978)CDs/LPs:Berner StreichquartettCD col legno 0647 277Berner StreichquartettLP col legno 5504Societa Cameristica ItalianaLP ABT ERZ 1003Arditti String QuartetCD KAIROS, 0012662KAIstadler quartettCD NEOS 10806The JACK QuartetCD mode 267Stadler Quartett, Rg. Caroline SiegersDVD NEOS 51001Bibliography:Alberman, David: Abnormal Playing Techniques in the String Quartets of Helmut Lachenmann, in: Helmut Lachenmann Music with matches, hrsg. von Dan Albertson, Contemporary Music Review 24 (2005), Vol. 1, pp. 39-51.Dulaney, Maxwell: Continuing the Tradition Untraditionally: Helmut Lachenmann's Restructuring of Musical Dialectic through an Analysis of his Three String Quartets, and an Original Composition, Harmonic Concerto, Diss. Brandeis University, MI 2013.Egger, Elisabeth: Kontinuitat, Verdichtung, Synchronizitat. Zu den grossformalen Funktionen des gepressten Bogenstrichs in Helmut Lachenmanns Streichquartetten, in: Musik als Wahrnehmungskunst. Untersuchungen zu Kompositionsmethodik und Horasthetik bei Helmut Lachenmann, hrsg. von Christian Utz und Clemens Gadenstatter (= musik.theorien der gegenwart 2), Saarbrucken: Pfau 2008, pp. 155-171.Hermann, Matthias: Helmut Lachenmann - Gran Torso, in: Analyse Musik XX. Jahrhundert (2). Postserielle Konzepte Klangflachen Aleatorik (= Materialien zur Musiktheorie 4), Saarbrucken: Pfau 2002, pp. 134-152.Hiekel, Jorn Peter: Die Streichquartett Gran Torso und Grido von Helmut Lachenmann, in: Lucerne Festival, Sommer 2005 Neuland, Konzertprogramm 6, pp. 65-69.Houben, Eva-Maria: Helmut Lachenmann: Gran Torso ..., in: dies., Musikalische Praxis als Lebensform (= Musik und Klangkultur 27), Bielefeld: Transcript 2018, S. 208-212Lehmann, Harry: Erhabenheit - Ereignis - Ambivalenz. Zur Asthetik der Neuen Musik, in: Neue Zeitschrift fur Musik 176 (2015), Heft 5, pp. 22-27.Mosch, Ulrich: Kunst als Medium der Ungeborgenheit. Streichquartette und soziale Funktion des Komponierens bei Helmut Lachenmann, in: Positionen 81 (November 2009), pp. 37-39.ders.: Was heisst Interpretation bei Helmut Lachenmanns Streichquartett ,,Gran Torso?, in: Wessen Klange? Uber Autorschaft in neue Musik, hrsg. Von Hermann Danuser und Matthias Kassel (= Veroffentlichungen der Paul Sacher Stiftung 12), Mainz u.a.: Schott 2017, S. 163-186Nonnenmann, Rainer: Werke als Schlussel zu Werken? Zur umstrittenen Kategorie ,,Schlusselwerke der neuen Musik, in: MusikTexte, Heft 147 (November 2015), pp. 35-46.Stork, Astrid: Materialbegriff und Strukturdenken. Untersuchungen zu den Streichquartetten von Helmut Lachenmann, Magisterarbeit Ruhr-Universitat Bochum 1992Tsao, Ming: Helmut Lachenmann's Sound Types, in: Perspectives of New Music 52 (2014), Heft 1, pp. 217-238.Velazquez, Rossana Lara: Composicion y escucha burguesa: Principios de continuidad y ruptura en el cuarteto Gran Torso de Helmut Lachenmann, Diss. Universidad Nacional Autonoma de Mexico 2011.Zenck, Martin: Die mehrfache Codierung der Figur: Ihr defigurativer und torsohafter Modus bei Johann Sebastian Bach, Helmut Lachenmann und Auguste Rodin, in: de figura. Rhetorik Bewegung Gestalt, Text und Bild, hrsg. von Gabriele Brandstetter und Sibylle Peters, Munchen 2003, pp. 265-288.
World premiere: Bremen (pro musica nova), May 6, 1972. $132.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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