| Easy Keytainment 2 Band 2 Keyboard Schott
Following on from the successful Keytainment (ED 21233), now it's getting really...(+)
Following on from the successful Keytainment (ED 21233), now it's getting really easy. This songbook for keyboard players contains a large selection of easy-to-play arrangements from various music genres. There really is something for everybody! Includes: Dexter (theme song) - I'm Always Here (Baywatch theme) - and many more / Clavier
23.86 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Poul Ruders: Listening
Earth - A Symphonic Drama
for Orchestra: Orchestra:
Score Orchestra [Sheet music] Wilhelm Hansen
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchest...(+)
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical
102.99 GBP - Sold by Musicroom UK | |
| Bonis Mel - Oeuvres Pour
Piano Vol.1 - Femmes De
Legende Furore
Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour pia...(+)
Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Phœbé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. „Femmes de légende“ A collection we have called “Femmes de légende” contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, “Mélisande”, was published separately by Alphonse Leduc in 1898. In 1909, a collection called “Trois pièces pour piano” (Three pieces for the piano), dedicated to the composer Paul Locard and which included “Phœbé”, “Viviane” and “Salomé”, was published by Leduc. In 1913, “Mélisande” was added to the four last pieces for a final collection called “Cinq pièces”. “Omphale” appeared in a Berlin edition “Signale für die musikalische Welt” in 1910. As to “Ophélie”, it was never published in Mel Bonis’ lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. “Ophélie” was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy’s famous opera, Mel Bonis’ piano piece “Mélisande” was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande’s hair as described by Pelleas: “your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.” This piece enjoyed quite a success in Mel Bonis’ lifetime. She noted of it “my favourite” in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare’s “Othello” inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare’s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais – each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the “salon” about it, typical of its time, evoking the fairy’s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy’s power. This piece is easily approachable. Phœbé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer’s part. “Omphale” was awarded a prize for composition by the Berlin magazine “Signale für die musikalische Welt” in 1910.
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| Drei Präludien zu
Grafiken von Herbert
Sandberg (SCHWAEN KURT) Piano solo [Sheet music] Peters
for Piano. Par SCHWAEN KURT. Drei Präludien zu Grafiken von Herbert Sandberg (K...(+)
for Piano. Par SCHWAEN KURT. Drei Präludien zu Grafiken von Herbert Sandberg (KSV 271) by Kurt Schwaen is an 8-minute work for solo piano. The three Preludes were inspired by Herbert Sandberg\'s graphic cycle Der Weg (\'The Way\'), which deals with fascism. Kurt Schwaen was an extremely prolific composer whose style could be classified between Bartók, Stravinsky and Hindemith. The Three Preludes for Piano are also oriented towards this neo-classical attitude and, despite the use of new compositional techniques, always remain catchy and easy to receive. The premiere took place on 5 May 1965 in the Kupferstichkabinett of the Berlin State Museums on the occasion of the exhibition opening of Herbert Sandberg\'s graphic cycle Der Weg. The performer was Wilhelm Gonnermann. This edition (EP 5418) is the piano edition of this work. / Date parution : 2022-09-07/ Répertoire / Piano
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| Tilo Medek: Meine Kleine
Nostalgie: Piano:
Instrumental Work Piano solo [Sheet music] Chester
Seven Character Pieces For Piano-Tito Medek (1940-2006) was a German composer. H...(+)
Seven Character Pieces For Piano-Tito Medek (1940-2006) was a German composer. He studied in East Berlin before moving to West Germany in 1977. His considerable output encompasses almost every genre and has won many international awards. His style is varies from the avant-garde to the neo-tonal but always with a clear structure and thorough understanding of the instruments for which he is writing.Meine Kleine Nostalgie (My Little Nostalgia) was written in 1974-5 but not performed until 1977 just before the composer left East Germany. It is a collection of seven ?Character Pieces? written for solo Piano. Each piece has a descriptive title that elucidates on the character thecomposer was trying to recreate.
16.99 GBP - Sold by Musicroom UK | |
| Jakob Lenz (RIHM
WOLFGANG) Piano, Voice Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...(+)
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke.
Büchner’s Lenz
is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs.
The musical consequence
An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead.
Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out.
The compositional process
December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz.
Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work.
The musical stage
For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages.
I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations.
Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts.
Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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| Orgelwerke Band I/1
(BUXTEHUDE DIETERICH) Organ [Sheet music]
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is ...(+)
Freie Orgelwerke - BuxWV 136-153, 158. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue
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| Orgelwerke Set Band I
(BUXTEHUDE DIETERICH) Organ [Sheet music] Breitkopf & Härtel
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the r...(+)
Freie Orgelwerke - BuxWV 136-161. Par BUXTEHUDE DIETERICH. This edition is the result of Harald Vogel?s many years of practice as an organist and musicologist. The music text is based on a reevaluation of 17 th - and 18 th -century manuscripts containing the free organ and keyboard works by Buxtehude. They originated during a transitional phase between the traditional letter tablature and the staff notation still in use today. Since many works have survived only in transcriptions for staff notation, the editor was confronted with a high error rate, which he carefully analyzes in the ?Einzelanmerkungen?. During the preparation of the edition, the editor always kept sight of the performance practice, but still, the image of the sources is never distorted (e. g. by superfluous rests, beaming not conforming to the sources and the unhistorical adjustment of time signatures) and stays very close to the compositional notation, the letter tablature. The flexible use of three staves and the differentiated distribution of the voices on the staves allow for an approximation in reading conventions of historical notation with its resulting information about hand division. Grouping the free organ repertoire into works with obbligato pedal and works for manuals, this edition is organized in two volumes. The first subvolume (I/1, EB 9304) contains the Preface and the Preludes, whereas the second subvolume (I/2, EB 9305) contains Toccatas, Ostinato works, alternative versions and a comprehensive Critical Commentary (in German only). Volume II (EB 9306) contains Buxtehude?s free organ and keyboard works (manualiter) with the corresponding texts (Preface and Critical Commentary). Until 1971, Harald Vogel worked on a dissertation (with Georg von Dadelsen, Hamburg) on ?Die Fuge um Bach?. Besides the description of the ?inclusion? of triple measures into the C notation and the irregularities of the ?voice mutation? in the polyphonic structures, this also included a discussion about the justification of the ?inner textual criticism?. With the inner textual criticism, deviations in parallel passages are unified. The North German fugue style, reaching a peak in Buxtehude?s work, is characterized by a constant diversity of details in subject and polyphonic progressions. One of the ?indicators of the fantastic style? is the dissolution of the polyphonic structures at the ends of the fugues, evident in Buxtehude?s work. In this edition, a musical text is presented that avoids the uniformity of detail not conforming to the sources. However, there are many examples of transcription and cursory errors, which are analyzed in a methodical systematic manner. About the editor: As an organist, professor, organ expert, and scholar, Harald Vogel has rendered outstanding services to the interpretation of early music and especially to historical performance practice concerning the organ for decades. He has received numerous awards, including an ECHO Klassik as Instrumentalist of the Year (2012), honorary doctorates from Luleå University of Technology (Sweden, 2008) and Oberlin College (USA, 2014), as well as the Buxtehude Prize of the City of Lübeck (2018). Harald Vogel is the author and editor of numerous scholarly publications and editions. Through his lifelong performance practice, he can look back on an extensive discography, including the complete recording of Buxtehude?s organ works, which he recorded in various locations with historical organ instruments of the North German organ building tradition in Scandinavia, North Germany and the Netherlands. / Date parution : 2022-10-12/ Recueil / Orgue
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| Love Songs from the
Movies Piano, Vocal and Guitar [Sheet music] - Intermediate Amsco Wise Publications
Nb de Pages : 160
Langue : Anglais
30.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Easiest Keyboard
Collection Top Chart Hits Keyboard [Sheet music] - Easy Amsco Wise Publications
A massive collection containing ninety-four Top Chart Hits in easy-to-play melod...(+)
A massive collection containing ninety-four Top Chart Hits in easy-to-play melody line arrangements for all electronic keyboards. The Easiest Keyboard Collection is the fastest way for beginner and developing keyboard players to play some of the most enjoyable music available. The arrangements for each song include chord symbols and lyrics, plus suggested registration, rhythm and tempo while the easy-to-follow keyboard diagrams show the left-hand chord voicings used. This terrific volume features hits by Britney Spears, Spice Girls, Shania Twain, Ricky Martin and All Saints. / Clavier
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| Best Of 1000 #1 Hits The
Later Years Chord
Songbook Lyrics and Chords [Sheet music] - Intermediate Amsco Wise Publications
Partie de la collection de titres pour célébrer les 1 000 premiers singles UK ...(+)
Partie de la collection de titres pour célébrer les 1 000 premiers singles UK No.1, cette énorme anthologie est emballée avec vos visites très préférés. Plus de 100 ceux de nombre de ces dernières années sont présentés dans cette sélection a ne pas manquer, tous présentée pour vous avec paroles complètes et guide de corde de guitare. Comprend des chansons par The Clash, The Spice Girls, de U2 et de Ricky Martin, pour ne nommer que quelques-uns ! / Chant Et Guitare / 256 pages / Partition
21.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Big Acoustic Guitar Chord
Songbook Love Songs Lyrics and Chords [Sheet music] - Easy Amsco Wise Publications
Une sélection intime et romantique de plus de 100 chansons d'amour, tout arrang...(+)
Une sélection intime et romantique de plus de 100 chansons d'amour, tout arrangé pour guitare et voix. À partir touchante simple Jealous Guy de Roxy Music et Crazy du soyeux Jazz de Patsy Cline pour les ballades de David Gray, Macy Gray et Daniel Bedingfield, vous trouverez ce chant d'amour parfait dans cette collection spéciale. Toutes les chansons ont été présentés avec paroles complètes et un guide de corde de guitare encore complète simple. / Chant Et Guitare / 256 pages / Partition
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| Little Black Book Aussie
Français Lyrics and Chords [Sheet music] - Intermediate ID Music
Non, pas depuis la publication de The Great Songbook australien y a-t-il eu un l...(+)
Non, pas depuis la publication de The Great Songbook australien y a-t-il eu un livre de mammouth compilation de chansons Aussie. Cette collection caractéristiques 200 rock australien classics et contemporains chansons australiennes, dont beaucoup n'ont pas paru dans imprimer avant ! Toutes les chansons ont été organisées dans la clé originale de réels succès enregistrements. Complet avec paroles complètes, symboles de la guitare et graphique d'arrachement chord. Petit et facile pour l'adapter à votre cas de guitare, la couverture de vinyle noir durable signifie vous utiliserez ce livre pendant de nombreuses années. / Chant Et Guitare / 288 pages / Partition
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| The Top 50 Singles Of
All-Time Piano, Vocal and Guitar [Sheet music] - Intermediate Amsco Wise Publications
Ce livre magnifiquement imprimé et présenté, vous offre 50 des meilleurs sing...(+)
Ce livre magnifiquement imprimé et présenté, vous offre 50 des meilleurs singles, capturant ainsi les principales saveurs de la musique pop des quarante dernières années. Entièrement arrangé pour piano et voix, avec grilles d'accord de guitare et paroles.
36.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| It's Easy To Play
Top 50 Hits Vol.3 Piano, Vocal and Guitar [Sheet music] - Easy Amsco Wise Publications
Cinquante grandes chansons arrangées pour piano, avec les paroles et les symbol...(+)
Cinquante grandes chansons arrangées pour piano, avec les paroles et les symboles d'accord. / Piano/Vocal/Guitare (PVG) / 128 pages / Partition
24.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Really Easy Piano Film
Songs Piano, Voice [Sheet music] - Easy Amsco Wise Publications
Variétés Internationale / Partition /
16.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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