| The Musician's Ultimate Joke Book [Sheet music] Symphony Publishing
Over 500 One-Liners, Quips, Jokes and Tall Tales. By Kevin Mitchell. Book (not s...(+)
Over 500 One-Liners, Quips, Jokes and Tall Tales. By Kevin Mitchell. Book (not sheet music). Softcover. 122 pages. Published by Symphony Publishing.
$12.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: PR.114420410 Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Set of Score and Parts. 30+10+8+10+12+10+10+10 pages. Duration 20 minutes. Theodore Presser Company #114-42041. Published by Theodore Presser Company (PR.114420410). UPC: 680160687015. In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch. In one of the dedicatory poems to his verse play “The Shadowy Waters†(1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?â€How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?†into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,†to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch. $50.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: PR.11442041L Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Large Score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041L. Published by Theodore Presser Company (PR.11442041L). UPC: 680160687039. In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch. In one of the dedicatory poems to his verse play “The Shadowy Waters†(1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?â€How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?†into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,†to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch. $44.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space [Score] Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: PR.11442041S Chamber Concerto for Guitar and Ensemble. Composed by George Rochberg. Full score. 30 pages. Duration 20 minutes. Theodore Presser Company #114-42041S. Published by Theodore Presser Company (PR.11442041S). UPC: 680160687022. In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch. In one of the dedicatory poems to his verse play “The Shadowy Waters†(1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?â€How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?†into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,†to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch. $29.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Six Sonatas Potenza Music
Bass trombone or tuba and piano SKU: P2.80062 Composed by Johann Galliard...(+)
Bass trombone or tuba and piano SKU: P2.80062 Composed by Johann Galliard. Arranged by Micah Everett. Solo music, 18th century. Published by Potenza Music (P2.80062). These settings of the Galliard bassoon sonatas grew out of a perceived need for more intermediate-early advanced solo literature for the bass trombone, as well as more settings of Baroque-period works for that instrument. While the sonatas are playable on the bass trombone in their original keys (whether at pitch or down one octave), by setting them in lower keys I have endeavored to make them useful for developing tone quality and technique in the valve register, while not going so low that clarity and facility might be compromised (as can be the case when playing in the original keys down one octave). The new keys I have chosen for each of the sonatas are closely related to the original ones, in every case down a perfect fourth or perfect fifth, so something of the sound of the original keys is maintained. Other than the key changes I have made very few adjustments to the intervals in the solo or left hand keyboard parts; in the places where I have done the most editing I have provided cues for the original intervals and/or rhythms so that the player can choose whether to perform the simplified part I have provided or something closer to the original. The new keys (as well as copyright considerations) necessitated that I provide entirely new figured bass realizations for the accompanist's right hand. These are entirely my own, though in the early stages of this project I did consult with Professor Stacy Rodgers, my colleague and collaborator at the University of Mississippi. I have provided more than a simple harmonic accompaniment in my realization; each movement has a number of short melodic passages to provide interest in the keyboard part for both performer and listener. Still, I have been purposefully reserved in writing these parts, and in no case should the keyboardist feel obligated to strictly adhere to the part as I have written it. I have left the figured bass in the score so that the performer can modify and/or build upon what I have provided, particularly in the repeats (as Professor Rodgers did when playing and recording one of the sonatas with me). I have labeled the accompaniment part simply as keyboard with the understanding that these sonatas were originally intended for performance with harpsichord (assisted by cello or bassoon) or organ, though I am sure that the vast majority of performances of these arrangements will have piano as the accompanying instrument. My keyboard part has thus been written with that instrument in mind. If performing with harpsichord assisted by cello or bassoon those players will need to make adjustments in places where the bass lines extend below the ranges of their instruments. While I am confident that my right hand part is a faithful realization of the harmonic structure indicated by the composer, no attempt has been made either in my keyboard realization or in my light editing of the solo part to adhere to present scholarly conventions regarding the interpretation of early music. I have constructed these arrangements to meet the needs of twenty-first-century student (and professional) bass trombonists, and thus I have provided the interpretive markings which I believe will yield the most pleasing performances on that instrument. That said, I have sought to be modest in my indications of tempo, dynamics, articulation, and ornamentation, as these sonatas will admit varying interpretations in those respects. Performers and teachers are welcome and encouraged to experiment in order to find the interpretations which they think most effective. Although I originally created these arrangements with the bass trombone in mind, I am sure that they will work equally well on tuba. Due to range considerations similar to those I mentioned above for the bass trombone, they might be particularly better-suited to performance on the F or E-flat tubas than previous editions of these sonatas. I am looking forward to using these arrangements with my students on both instruments, and hope that others will find them useful, as well. $29.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Wolf-temperiertes Klavier Piano solo - Advanced EMB (Editio Musica Budapest)
24 pieces for piano. Composed by Peter Wolf. Contemporary Music. EMB. Classic...(+)
24 pieces for piano.
Composed by Peter Wolf.
Contemporary Music. EMB.
Classical. Softcover.
Composed 2019. 128 pages.
Editio Musica Budapest
#EMBZ15087. Published by
Editio Musica Budapest
$39.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 1-2-3 Fingerstyle Guitar DVD Guitar notes and tablatures [DVD] EMedia
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced fl...(+)
For Guitar. 1-2-3 Fingerstyle Guitar is designed for intermediate to advanced flat-pick players who are ready to throw down that pick for a while to finally get a handle on fingerstyle. That's the secret ingredient of this study program -- its a beginning fingerstyle. DVD. Published by eMedia Music
$24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| latée, Io RCT 53 und RCT 45 (Versions 1749 and 1745) Orchestra [Score] Barenreiter
Symphonies. Composed by Jean- Philippe Rameau (1683-1764). Edited by Thomas Sou...(+)
Symphonies. Composed by Jean-
Philippe Rameau (1683-1764).
Edited by Thomas Soury. This
edition: urtext edition.
Paperback. Score, anthology.
Baerenreiter Verlag
#BA08895_00. Published by
Baerenreiter Verlag
$79.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Mendelssohns Möwen (2012) Cello - Advanced Barenreiter
Violoncello - Level 5 SKU: BA.BA11043 A Song without Words for Violonc...(+)
Violoncello - Level 5 SKU: BA.BA11043 A Song without Words for Violoncello Solo. Composed by Manfred Trojahn. Stapled. Performance score. Composed 2012. 4 pages. Duration 10 minutes. Baerenreiter Verlag #BA11043_00. Published by Baerenreiter Verlag (BA.BA11043). ISBN 9790006543229. 33.5 x 25.5 cm inches. Manfred Trojahn on the origin and title of his impressive virtuoso solo work: Admittedly I do not know if he had seagulls, but since Mendelssohn was born in Hamburg, he will not have gone through life without at least the impression of the cry of seagulls. Nor do I know if seagulls played any part in his life in Rome. I myself was astonished when, one or two years ago in the Villa Massimo, I was, not exactly annoyed but disturbed by the strong rhythmical cry of seagulls. I was just about to write a bassoon solo when the seagulls started. Then the idea came to me that precisely this sequence of notes could serve as the basis of the work. And the sequence for the bassoon solo is, in turn, the basis of the piece for violoncello - this is how titles are born... Of course the violoncello meanders with virtuosic ease from the seagull motif to the 'elf-like' skittering brought to music by Mendelssohn and used time and again in his compositions, finally becoming a cabaletta. Now, cabalettas are not very representative of Mendelssohn, but as I was composing I definitely wanted to put a cabaletta in this passage. I am sure Mendelssohn and I will easily agree on this, especially since later justice is done to him in the rapid passages and, of course in the tonal cadenza at the very end, which is more indicative of his time than of mine ... isn't it?
$16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Humble Heart String Orchestra [Score] - Easy Excelcia Music Publishing
Orchestra string orchestra - Grade 2.5 SKU: XC.ISO2201FS Composed by Larr...(+)
Orchestra string orchestra - Grade 2.5 SKU: XC.ISO2201FS Composed by Larry Clark. Ballad. Intermezzo. Score. Excelcia Music Publishing #ISO2201FS. Published by Excelcia Music Publishing (XC.ISO2201FS). 12 x 9 inches. Anyone who has met Larry knows how humble he is, and while he would never admit it, this piece perfectly reflects the care and consideration he takes with the musical educaiton of young musicians. A wonderfully beautiful work for String Orchestra. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Humble Heart String Orchestra - Easy Excelcia Music Publishing
Orchestra string orchestra - Grade 2 SKU: XC.ISO2201 Composed by Larry Cl...(+)
Orchestra string orchestra - Grade 2 SKU: XC.ISO2201 Composed by Larry Clark. Ballad. Intermezzo. Ballad. Set of parts. Excelcia Music Publishing #ISO2201. Published by Excelcia Music Publishing (XC.ISO2201). 12 x 9 inches. Anyone who has met Larry knows how humble he is, and while he would never admit it, this piece perfectly reflects the care and consideration he takes with the musical educaiton of young musicians. A wonderfully beautiful work for String Orchestra. $55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Best of Metallica for Ukulele Ukulele [Sheet music] Cherry Lane
(Ukulele/Vocal with Tab). By Metallica. Arranged by Steve Gorenberg. Ukulele. So...(+)
(Ukulele/Vocal with Tab). By Metallica. Arranged by Steve Gorenberg. Ukulele. Softcover. Guitar tablature. 108 pages. Published by Cherry Lane Music
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Duo Violin [Score and Parts] Subito Music
Violin & Viola SKU: SU.29120130 For Violin & Viola. Composed by To...(+)
Violin & Viola SKU: SU.29120130 For Violin & Viola. Composed by Todd Mason. Strings, Violin, Strings, Viola. Score & Parts. Subito Music Corporation #29120130. Published by Subito Music Corporation (SU.29120130). Premiered at Brigham Young University and comissioned by Duo Novae, Los Angeles composer Todd Mason wrote his Duo for Violin & Viola in 2023. Mason says: The Duo was a chance to explore the wide range of textures, harmonic worlds and emotions of just one violin & one viola. This piece spans many energy states with a kind of Bartókian chromaticism mixed with a bit of an East Indian feel in some sections. The work is in one-movement and keeps driving forward from the first notes to the end! This piece was recently admitted into the prestigious William Primrose International Archive at Brigham Young University.Violin & Viola Duration: 8' Composed: 2023 Published by: Todd Mason. $23.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Piano solo Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pages. Duration 21 minutes. Theodore Presser Company #116-41861SP. Published by Theodore Presser Company (PR.11641861SP). UPC: 680160685202. What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement. $47.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Crucible (Die Hexenjagd) Opera [Vocal Score] Galaxy Music Corporation
An Opera in 4 Acts. Composed by Robert Ward. Full Length Opera. 20th Century and...(+)
An Opera in 4 Acts. Composed by Robert Ward. Full Length Opera. 20th Century and Opera. Vocal score. With translations and plot synopsis. 288 pages. Galaxy Music Corporation #7.0028. Published by Galaxy Music Corporation
(3)$53.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Glorious Hill Men's Voices Choral TTBB [Score] Schott
4 male voices (CtenTTBar) (TTBB Choir) SKU: HL.49003214 For four male ...(+)
4 male voices (CtenTTBar) (TTBB Choir) SKU: HL.49003214 For four male voices. Composed by Gavin Bryars. Sheet music. Edition Schott. Classical. Score. Composed 1988. 16 pages. Duration 15'. Schott Music #ED12461. Published by Schott Music (HL.49003214). ISBN 9790220117282. UPC: 888680784249. 8.25x11.75x0.052 inches. Latin. Glorious Hill may be performed by a male choir.Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate.Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices.The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace.Gavin Bryars. $8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Louange a l'eternite de Jesus Choral SSAATTBB [Score] Carus Verlag
Composed by Olivier Messiaen (1908-1992). Arranged by Clytus Gottwald. For 19 vo...(+)
Composed by Olivier Messiaen (1908-1992). Arranged by Clytus Gottwald. For 19 voices - SSSSAAAAATTTTTBBBBB. Contemporary choral music. Full score. Language: French. Composed 1992. 12 pages. Duration 8 minutes. Published by Carus Verlag
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| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2 Piano solo [Score] - Intermediate Musik Fabrik
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy and Robert Orledge. Rediscoverd Debussy. Christmas. Score. Musik Fabrik #MFCD017B. Published by Musik Fabrik (FA.MFCD017B). 8.27 x 11.69 inches. Contains Le Roi Lear: Prelude,Premiere Fanfare, and La Mort de Cordelia,Toomai des elephants, Rodrigue et Chimene: Prelude a l'acte 1p. Le Martyre de Saint Sebastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelleas et Melisande in 1893-1902 and the ballet Jeux for Diaghilev's Ballets Russes in 1912-13). Of the rest, many were never started musically (like Siddartha and Orphee-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902-03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908-17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912-13; or Le Martyre de Saint Sebastien and La Boite a joujoux by his 'angel of corrections' ['l'ange des Corrections'] Andre Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy's 'compulsive achievement' could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure's 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to 'write a ballet for him that he would sign' on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andre Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy's lost potential masterpieces from his existing sketches and drafts--then orchestrating them in Debussy's style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher. $48.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1 Piano solo [Score] Musik Fabrik
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A. Published
by Musik Fabrik
$48.69 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Sonata No. 11, B-Flat Major Piano solo G. Henle
Op. 22 'Grand Sonata' Piano Solo. Composed by Ludwig van Beethoven...(+)
Op. 22 'Grand Sonata' Piano
Solo. Composed by Ludwig van
Beethoven (1770-1827). Edited
by Murray Perahia and Norbert
Gertsch. Henle Music Folios.
Classical. Softcover. 28
pages. G. Henle #HN1515.
Published by G. Henle
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| Fairy Tales, Op. 132 [Märchenerzählungen] - Intermediate Schott
Score and Parts Chamber Ensemble; Piano Accompaniment (Score & Parts) - intermed...(+)
Score and Parts Chamber Ensemble; Piano Accompaniment (Score & Parts) - intermediate to advanced SKU: HL.49046031 For Viola, Clarinet, and Piano. Composed by Robert Schumann. Edited by Elisa Novara. This edition: Saddle stitching. Sheet music. Ensemble. Stucke nach Robert Schumann. Classical. Softcover. Op. 132. 44 pages. Schott Music #ED22751. Published by Schott Music (HL.49046031). ISBN 9790001165297. UPC: 841886031678. 9.0x12.0x0.213 inches. The Fairy-Tale Narratives (Märchenerzählungen) for B-flat Clarinet (ad libitum Violin), Viola and Piano, Op. 132, belong to the few Schumann works that were composed, revised and published in a short time: composed in Düsseldorf, at beginning of October 1853, the new composition was already offered for publication to the Breitkopf & Härtel publishing house on 3 November and printed in February1854. Composition and publication of the Märchenerzählungen were accompanied, though, by difficult times, the final days before the composer was admitted to the psychiatric clinic in Endenich. The work's reception lies in the shadow of the last creative period: The pieces were associated with his life's darker phases and were very little played. The Märchenerzählungen transmit Schumann's single work for this unusual piano trio with viola and clarinet. The only well-known earlier example in this setting at that time is Mozart's “Kegelstatt†Trio K 498 (composed in 1786). Schumann was certainly already acquainted with the work from his Leipzig years - it was played in one of the “quartet sessions†in 1829. This edition is based on a new edition of all Schumann works, Volume II / 3. $23.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Two Symphonic Interludes Concert band [Score and Parts] - Intermediate Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-010 Composed by Harrie...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-010 Composed by Harrie Janssen. Set (Score & Parts). Gobelin Music Publications #GOB 000915-010. Published by Gobelin Music Publications (BT.GOB-000915-010). Based on the poems by German poet Carl Hauptmann (late Romanticism) and the English poet William Wordsworth (early Romanticism).
Carl Hauptmann was in poor health as a child, but highly intelligent. He studied philosophy, psychology and biology. In the latter he was admitted to the degree of doctor. His marriage provided financial independence, so that he could focus on his studies. Hauptmann wrote various novels, plays, poetry and scientific works.
Night
Twilight floats above the valley's night mists are hanging, there's a whispering brook. Now the covering veil is lifting quite: come and look! See the magicland before our gaze: tall as dreams the silver mountains stand, crossed by silent silver paths shining from a secret land. Noble, pure, the dreaming country sleeps. By the path the shadow black and hogh of a beach. a wisp of a white smoke creeps to the dark'ning sky. Where the valley is the darkest hued countless little lights shine silently. O my soul! Drink of solitude!
Carl Hauptmann
Wordsworth 'introduced' a new type of poetry, based on the speech of the common man. This was his answer to the poetry of the classicism which was bound by rigid rules. His definition of poetry was: the spontaneous overflow of powerful feelings from emotions recollected in tranquility.
My heart leaps up when I behold a rainbow in the sky
My heart leaps up when I behold A rainbow in the sky: So was it when my life began. So is it now I am a man. So be it when I shall grow old, Or let me die! The Child is father of the Man. And I could wish my days to be Bound each to each by natural piety.
William Wordsworth
In a truly poetic manner Harrie Janssen has transformed the contemplative thoughts of the poets into two compositions for Concert Band.
Two Symphonic Interludes is gebaseerd op gedichten van de Duitse dichter Carl Hauptmann (laat Romantiek) en de Engelse dichter William Wordsworth (vroeg Romantiek).
Carl Hauptmann had als kind een zeer zwakke gezondheidmaar was zeer intelligent. Hij studeerde Filosofie, Psychologie en Biologie. In het laatste vak promoveerde hij. Het huwelijk zorgde voor financiele onafhankelijkheid zodat hij zich kon richten op zijn verdere studie. Hauptmannschreef enkele romans, toneelstukken, poëzie en wetenschappelijke werken.
NIGHT - Carl Hauptmann
Twilight floats above the valley's night mists are hanging, there's a whispering brook. Now thecovering veil is lifting quite: come and look! See the magic land before our gaze: tall as dreams the silver mountains stand, crossed by silent silver paths shining from a secret land. Noble, pure, thedreaming country sleeps. By the path the shadow black and hogh of a beech. a wisp of a white smoke creeps to the dark'ning sky. Where the valley is the darkest hued countless little lights shine silently. O mysoul! Drink of solitude!
Wordsworth 'introduceerde' een nieuw soort poëzie, gebaseerd op de taal van de gewone man. Het was een reactie op de aan strenge regels gebonden poëzie van het Classicisme. Zijn definitievan poëzie luidde: 'the spontaneous overflow of powerful feelings from emotions recollected in tranquility'.
My heart leaps up when I behold a rainbow in the sky - William Wordsworth
My heart leaps up whenI behold A rainbow in the sky: So was it when my life began. So is it now I am a man. So be it when I shall grow old, Or let me die! The Child is father of the Man. And I could wish my days to be
$229.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Two Symphonic Interludes Concert band [Score] - Intermediate Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-140 Composed by Harrie...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000915-140 Composed by Harrie Janssen. Score Only. Gobelin Music Publications #GOB 000915-140. Published by Gobelin Music Publications (BT.GOB-000915-140). Based on the poems by German poet Carl Hauptmann (late Romanticism) and the English poet William Wordsworth (early Romanticism).
Carl Hauptmann was in poor health as a child, but highly intelligent. He studied philosophy, psychology and biology. In the latter he was admitted to the degree of doctor. His marriage provided financial independence, so that he could focus on his studies. Hauptmann wrote various novels, plays, poetry and scientific works.
Night
Twilight floats above the valley's night mists are hanging, there's a whispering brook. Now the covering veil is lifting quite: come and look! See the magicland before our gaze: tall as dreams the silver mountains stand, crossed by silent silver paths shining from a secret land. Noble, pure, the dreaming country sleeps. By the path the shadow black and hogh of a beach. a wisp of a white smoke creeps to the dark'ning sky. Where the valley is the darkest hued countless little lights shine silently. O my soul! Drink of solitude!
Carl Hauptmann
Wordsworth 'introduced' a new type of poetry, based on the speech of the common man. This was his answer to the poetry of the classicism which was bound by rigid rules. His definition of poetry was: the spontaneous overflow of powerful feelings from emotions recollected in tranquility.
My heart leaps up when I behold a rainbow in the sky
My heart leaps up when I behold A rainbow in the sky: So was it when my life began. So is it now I am a man. So be it when I shall grow old, Or let me die! The Child is father of the Man. And I could wish my days to be Bound each to each by natural piety.
William Wordsworth
In a truly poetic manner Harrie Janssen has transformed the contemplative thoughts of the poets into two compositions for Concert Band.
Two Symphonic Interludes is gebaseerd op gedichten van de Duitse dichter Carl Hauptmann (laat Romantiek) en de Engelse dichter William Wordsworth (vroeg Romantiek).
Carl Hauptmann had als kind een zeer zwakke gezondheidmaar was zeer intelligent. Hij studeerde Filosofie, Psychologie en Biologie. In het laatste vak promoveerde hij. Het huwelijk zorgde voor financiele onafhankelijkheid zodat hij zich kon richten op zijn verdere studie. Hauptmannschreef enkele romans, toneelstukken, poëzie en wetenschappelijke werken.
NIGHT - Carl Hauptmann
Twilight floats above the valley's night mists are hanging, there's a whispering brook. Now thecovering veil is lifting quite: come and look! See the magic land before our gaze: tall as dreams the silver mountains stand, crossed by silent silver paths shining from a secret land. Noble, pure, thedreaming country sleeps. By the path the shadow black and hogh of a beech. a wisp of a white smoke creeps to the dark'ning sky. Where the valley is the darkest hued countless little lights shine silently. O mysoul! Drink of solitude!
Wordsworth 'introduceerde' een nieuw soort poëzie, gebaseerd op de taal van de gewone man. Het was een reactie op de aan strenge regels gebonden poëzie van het Classicisme. Zijn definitievan poëzie luidde: 'the spontaneous overflow of powerful feelings from emotions recollected in tranquility'.
My heart leaps up when I behold a rainbow in the sky - William Wordsworth
My heart leaps up whenI behold A rainbow in the sky: So was it when my life began. So is it now I am a man. So be it when I shall grow old, Or let me die! The Child is father of the Man. And I could wish my days to be
$42.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Te Deum - Easy Carus Verlag
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide (Tb), Timp, Arpa, 2 Vl, Va, Vc, Cb - Grade 3 SKU: CA.2718712 Composed by Georges Bizet. Edited by Marc Rigaudière. Composed 1858. 8 pages. Duration 20 minutes. Carus Verlag #2718712. Published by Carus Verlag (CA.2718712). ISBN 9790007303549. Latin. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.
In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Te Deum - Easy Carus Verlag
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide (Tb), Timp, Arpa, 2 Vl, Va, Vc, Cb - Grade 3 SKU: CA.2718741 Composed by Georges Bizet. Edited by Marc Rigaudière. Single Part, timpani. Composed 1858. 4 pages. Duration 20 minutes. Carus Verlag #2718741. Published by Carus Verlag (CA.2718741). Latin. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.
In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Te Deum - Easy Carus Verlag
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide (Tb), Timp, Arpa, 2 Vl, Va, Vc, Cb - Grade 3 SKU: CA.2718735 Composed by Georges Bizet. Edited by Marc Rigaudière. Single Part, horn 4. Composed 1858. 4 pages. Duration 20 minutes. Carus Verlag #2718735. Published by Carus Verlag (CA.2718735). Latin. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.
In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Te Deum - Easy Carus Verlag
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide (Tb), Timp, Arpa, 2 Vl, Va, Vc, Cb - Grade 3 SKU: CA.2718709 Composed by Georges Bizet. Edited by Marc Rigaudière. Set of Orchestra Parts. Composed 1858. Duration 20 minutes. Carus Verlag #2718709. Published by Carus Verlag (CA.2718709). ISBN 9790007302191. Latin. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.
In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts. $92.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Te Deum - Easy Carus Verlag
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide (Tb), Timp, Arpa, 2 Vl, Va, Vc, Cb - Grade 3 SKU: CA.2718711 Composed by Georges Bizet. Edited by Marc Rigaudière. Composed 1858. 8 pages. Duration 20 minutes. Carus Verlag #2718711. Published by Carus Verlag (CA.2718711). ISBN 9790007303532. Latin. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.
In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Te Deum - Easy Carus Verlag
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, ...(+)
Orchestra Solo soprano voice, solo tenor voice, SATB chorus (div.), 2 Fl, 2 Ob, 2 Clt, 2 Fg, 4 Cor, 2 Tr, 3 Trb, Oficleide (Tb), Timp, Arpa, 2 Vl, Va, Vc, Cb - Grade 3 SKU: CA.2718731 Composed by Georges Bizet. Edited by Marc Rigaudière. Single Part, trumpets 1 and 2. Composed 1858. 8 pages. Duration 20 minutes. Carus Verlag #2718731. Published by Carus Verlag (CA.2718731). Latin. As an acclaimed opera composer, Georges Bizet admitted that he had no real sensibility for sacred music. His Te Deum is nonetheless a truly fascinating and highly expressive work. From the majestic “Te Deum laudamusâ€, to the skillful choral fugue of “Fiat misericordia tuaâ€, and the opening's powerful recapitulation, the composition shows no trace of the difficulties that beset the young Bizet by his own admission before he finally completed the work in 1858.
In the extensive trilingual preface to this Urtext edition, editor Marc Rigaudière illuminates the circumstances surrounding the composition of the Te Deum, a work which occupies a singular position in Bizet’s œuvre. The edition is based on the composer’s autograph score — the work's only surviving source. For the first time, this work is available with all performance parts. $6.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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