| First Repertoire For Solo
Guitar. Book 1 (WYNBERG
SIMON) Guitar Classical guitar Faber Music Limited
Wynberg Simon (Editor). Par WYNBERG SIMON. Toutes les Compositions dans cet ouvr...(+)
Wynberg Simon (Editor). Par WYNBERG SIMON. Toutes les Compositions dans cet ouvrage ont été écrits à l'origine pour guitare. Il y a la musique couvrant la plus large gamme de stylistique offrant le répertoire qui intéressera les adultes ainsi que les plus jeunes guitaristes. Parmi les pièces ont été publiées pour la première fois depuis le XVIIIe et XIXe siècles, d'autres sont inédits. Notes sur la pratique de la performance sont inclus dans tout le livre pour tenter d'aider les élèves à développer une prise de conscience du style musical./ Recueil / Guitare
12.50 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| 14 Motetten (BRUCKNER
ANTON / DOSS THOMAS (Arr) Concert band Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
406.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 5 Tantum Ergo (BRUCKNER
ANTON / DOSS THOMAS (Arr) Concert band Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
152.60 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Operaria Sopran 2 Soprano voice [Sheet music + CD] Breitkopf & Härtel
lyric. The OperAria repertoire collection for all voice genres that was successf...(+)
lyric. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Lyrique
39.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Great Unaccompanied
Motets. SATB (Cps)
(BRUCKNER ANTON) Choral SATB SATB [Sheet music] - Easy Faber Music Limited
Par BRUCKNER ANTON. The a cappella classics 'Christus Factus Est' and 'Locus Ist...(+)
Par BRUCKNER ANTON. The a cappella classics 'Christus Factus Est' and 'Locus Iste' are central to this collection featuring the best of Bruckner's outstanding output for unaccompanied choir. These pieces are among the most enduring choral masterworks of the 19th century. Simon Halsey's performing edition includes an informative introduction, keyboard reductions for rehearsal and English translations of the Latin texts for reference. / Niveau : Assez Facile / Date parution : 1997-05-15/ Répertoire / SATB
7.40 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Operaria Bass 3 Low voice [Sheet music + CD] Breitkopf & Härtel
The OperAria repertoire anthology was much applauded when it came on stage with ...(+)
The OperAria repertoire anthology was much applauded when it came on stage with three baritone volumes in 2015. The successful baritone debut was followed in 2017/18 by the appearance of the four soprano volumes, also conquering hearts in no time. Now, another performance: The curtain rises on the bass volumes, the foundation of the vocal family for heavier, darker voices, though nevertheless brilliant and full of radiance. The protagonists have such well-known names as Bartolo, Don Basilio, Colline, Don Pasquale, Falstaff, Figaro, Kecal, Osmin, Sarastro. Other heroes less often in the limelight, such as Dulcamara, Sancho Pansa, Phanuel, and Sir Morosus, can certainly also count on much applause. 'It is my aim to give students a modern, systematically structured, well-informed vocal coach that meets the demands of present-day stage practice. And, of course, a cohesive repertoire and logical presentation of audition arias for every vocal genre. ' (Peter Anton Ling) OperAria is the ideal ?vocal coach? for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. OperAria ? repertoire anthology of opera arias according to vocal criteria (range, tessitura, specifics, type of aria) with due regard to practical aspects of musical and theatrical nature (style, era, role type, national provenance) with comments on the arias information on the composer, the librettist, the work, the range and of versions or casting a short synopsis of the contents illuminating the basic dramatic constellation in the context of the opera?s plot an evaluation from the singer?s point of view with ?phonetic assistant? and ?text assistant? aria texts in the original language spoken by native speakers as an audio file (mp3) aria texts in German and English translations as a text file (pdf) available for download / Date parution : 2019-09-06/ Recueil / Basse Dramatique
39.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
Violoncelle - 2 Ex.
Minimum (DVORAK ANTONIN) Violoncelle (Partie
Séparée) Barenreiter
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” o...(+)
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Violoncelle (Partie Séparée)
5.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
(DVORAK ANTONIN) Orchestra [Sheet music] Barenreiter
Op 45 No. 3. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 4...(+)
Op 45 No. 3. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 45 in 1878, launching his so-called 'Slavonic period'. When they were issued by the publisher Simrock the following year, these three self-contained orchestral pieces in D major, G minor and A-flat major were gathered together into a single opus.
The 'Slavonic Rhapsodies' are now available in separate scholarly-critical editions and editor Robert Simon has taken the original print as the principal source, which was authorised by the composer.
To complement these editions, Barenreiter now publishes study scores to each 'Slavonic Rhapsody'. / Date parution : 2019-06-20/ Répertoire / Orchestre
18.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In G
Minor Op. 45 #2 (DVORAK
ANTONIN) Orchestra [Sheet music] Barenreiter
Op. 45 Nr. 2. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” o...(+)
Op. 45 Nr. 2. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source.
- A work that initiated Dvorák's so-called 'Slavonic period”
- New Urtext edition incorporating every known source
- Foreword (Eng/Cz/Ger) and Critical Commentary (Eng) by the editor/ Répertoire / Orchestre
47.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
Violon 1 - 3 Ex. Minimum
(DVORAK ANTONIN) Violin Barenreiter
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” o...(+)
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Violon 1 (Partie Séparée)
5.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In G
Minor Op. 45/2 (DVORAK
ANTONIN) Orchestra [Sheet music] Barenreiter
Op 45 No. 2. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 4...(+)
Op 45 No. 2. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 45 in 1878, launching his so-called 'Slavonic period'. When they were issued by the publisher Simrock the following year, these three self-contained orchestral pieces in D major, G minor and A-flat major were gathered together into a single opus.
The 'Slavonic Rhapsodies' are now available in separate scholarly-critical editions and editor Robert Simon has taken the original print as the principal source, which was authorised by the composer.
To complement these editions, Barenreiter now publishes study scores to each 'Slavonic Rhapsody'. / Date parution : 2019-06-20/ Répertoire / Orchestre
18.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
(DVORAK ANTONIN) Orchestra Barenreiter
Score. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 i...(+)
Score. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Orchestre
47.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
Violon 2 - 3 Ex. Minimum
(DVORAK ANTONIN) Violin Barenreiter
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” o...(+)
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Violon 2 (Partie Séparée)
5.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
(DVORAK ANTONIN) Contrebasse (Partie
séparée) [Sheet music] Barenreiter
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” o...(+)
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Contrebasse (Partie séparée)
5.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3
(DVORAK ANTONIN) Set d'Instruments à Vent [Sheet music] Barenreiter
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” o...(+)
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies” op. 45 in 1878, initiating his so-called 'Slavonic period”. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies” are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Set d'Instruments à Vent
73.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In A
Flat Major Op. 45/3 Alto
- 2 Ex. Minimum (DVORAK
ANTONIN) Viola Barenreiter
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies? op....(+)
Op. 45 No. 3. Par DVORAK ANTONIN. Dvorák composed his 'Slavonic Rhapsodies? op. 45 in 1878, initiating his so-called 'Slavonic period?. They were issued by the publisher Simrock the following year as three independent orchestral pieces (in D major, G minor and A-flat major) appearing under the same opus number.
Now the 'Slavonic Rhapsodies? are being issued separately in scholarly-critical editions. The editor Robert Simon has taken Dvorák's authorised first edition as his principal source./ Répertoire / Alto
5.00 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Slavonic Rhapsody In D
Major Op. 45/1 (DVORAK
ANTONIN) Orchestra [Sheet music] Barenreiter
Op 45 No. 1. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 4...(+)
Op 45 No. 1. Par DVORAK ANTONIN. Dvorak composed the 'Slavonic Rhapsodies' op. 45 in 1878, launching his so-called 'Slavonic period'. When they were issued by the publisher Simrock the following year, these three self-contained orchestral pieces in D major, G minor and A-flat major were gathered together into a single opus.
The 'Slavonic Rhapsodies' are now available in separate scholarly-critical editions and editor Robert Simon has taken the original print as the principal source, which was authorised by the composer.
To complement these editions, Barenreiter now publishes study scores to each 'Slavonic Rhapsody'. / Date parution : 2019-06-20/ Répertoire / Orchestre
18.30 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| The Really Big Really
Easy Piano Songbook
Easy Piano - Easy Amsco Wise Publications
The Really Big Really Easy Piano Songbook combines a huge selection of songs fro...(+)
The Really Big Really Easy Piano Songbook combines a huge selection of songs from the entire Easy Piano series. Ranging from Mozart to Justin Bieber, this songbook is sure to satiate any beginner pianist and expand their repertoire ten-fold!Includes songs from: Ludwig Van Beethoven, Coldplay, Bill Withers, John Legend, Elvis Presley, Franz Schubert, Taylor Swift, Simon and Garfunkel, David Bowie, Adele and many more! / Piano
48.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Einaudi, Ludovico :
Intouchables (Bande
Originale) Piano, Vocal and Guitar [Sheet music] - Intermediate Amsco Wise Publications
Intouchables a été le film le plus vu en France en 2011. Il cumule plu...(+)
Intouchables a été le film le plus vu en France en 2011. Il cumule plus de 19 millions d'entrées et est le troisième film dans l'histoire du box office français.
Une sélection de 10 titres extraits de la bande originale du succès phénoménal Intouchables.
Ce splendide recueil inclut:
- 5 morceaux pour piano de Ludovico Einaudi
- des chansons interprétées par Thierry Callier, Georges Benson et Nina Simone.
Arrangement pour piano, chant et guitare (accords), intégralité des textes. / Musiques de films
26.00 EUR - Sold by Note4Piano Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 3 Letzte Motetten Concert Band/Harmonie [Score] Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
50.90 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| 3 Letzte Motetten Concert Band/Harmonie [Score and Parts] Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
195.80 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Corale Di
Sant'Antonio (2
Trompettes, 2 Trombones) Brass Quartet [Sheet music] - Intermediate Martin, Robert
Arr. Simone Maffioletti. Par HAENDEL GEORG FRIEDRICH. 2'00 / Niveau : Cycle 3 ...(+)
Arr. Simone Maffioletti. Par HAENDEL GEORG FRIEDRICH. 2'00 / Niveau : Cycle 3 / Musique de Chambre / Répertoire / Quatuor de Cuivres
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| Time Et Again (MURAIL
TRISTAN) Français Orchestra [Sheet music] Lemoine, Henry
Par MURAIL TRISTAN. Time and Again tente de rompre, partiellement, avec l'esthé...(+)
Par MURAIL TRISTAN. Time and Again tente de rompre, partiellement, avec l'esthétique qui domine dans mes oeuvres précédentes, une esthétique de la continuité où la forme est structurée par des processus se déroulant en un flot presque ininterrompu. Ici, la forme musicale cherche à créer une architecture du temps plus complexe, qui joue de flash-backs, prémonitions, boucles..., comme si l'on se trouvait dans une sorte de machine à remonter le temps.
Pour néanmoins préserver une sorte de continuité sous-jacente, j'ai d'abord imaginé une structure 'linéaire' pour la pièce, comportant des évolutions progressives et logiques, et j'ai parfois réalisé des fragments de cette pièce virtuelle, puis, un peu comme un cinéaste, j'ai 'monté' la structure de la pièce, en coupant, dupliquant, insérant, collant.
A peu près aux deux tiers de la pièce, le temps s'inverse et s'écoule deux fois plus vite - on repasse, plus symboliquement que textuellement, par toutes les étapes des deux premiers tiers, avec parfois des superpositions, des inserts ou des raccourcis.
L'orchestration n'est pas tout à fait conventionnelle - les vents et la percussion sont en nombre habituel, mais les cordes sont réduites à environ la moitié de l'effectif normal. J'ai cherché ainsi une qualité particulière du son des cordes moins volumineux, mais plus intense. Les cordes jouent le plus souvent des parties individuelles. Leur emploi principal consiste à colorer ou distordre les sons joués par les autres instruments, ou à construire des spectres sonores complexes.
L'orchestre est enrichi par un synthétiseur (un Yamaha DX7) qui a deux principales fonctions. Grâce à son aptitude à synthétiser des sons par modulation de fréquence, il peut émettre directement des spectres riches identiques à ceux que j'utilise dans mon écriture orchestrale. La composition de cette pièce a donc impliqué d'abord la programmation des sons sur le synthétiseur (un seul son peut produire une texture très riche et n'est souvent utilisé qu'une seule fois). Dans d'autres cas, je l'utilise comme un complément de la section des percussions et du piano, le synthétiseur ayant la tâche d'émettre les sons non tempérés.
Time and Again est une commande du 'John Feeney Charitable Trust' pour le City of Birmigham Symphony Orchestra, et a été créé à Birmingham le 21 janvier 1986 par cet orchestre, sous la direction de Simon Rattle. La pièce était destinée à être jouée en première partie de la Turangalila Symphonie d'Olivier Messiaen, pour une série de concerts en Angleterre. Cela explique qu'un auditeur attentif trouvera peut-être quelques allusions à cette symphonie dans Time and Again...
Tristan Murail
Enregistrement:
1 CD Montaigne/Naïve, MN782175
Désintégrations - Gondwana - Time and again
Ensemble L'Itinéraire, Orchestre National de France, Yves Prin (direction) - Orchestre Beethoven Halle de Bonn, Karl Anton Rickenbacher (direction) / contemporain / Date parution : 1985-01-01/ Répertoire / Orchestre
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| Allegro (KROMMER FRANZ) Concert band [Score and Parts] - Intermediate/advanced De Haske Publications
from the Clarinet Concerto in Eb Major, Op. 36. Par KROMMER FRANZ. Le compositeu...(+)
from the Clarinet Concerto in Eb Major, Op. 36. Par KROMMER FRANZ. Le compositeur et violoniste tchèque Frantisek Vincenc Kramar dont le nom fut germanisé en Franz Vinzenz Krommer, est né le 27 novembre 1759 à Kamenice en Moravie occidentale et mort le 8 janvier 1831 à Vienne en Autriche. À l’adolescence, il est initié à l’art du violon et à l’orgue par son oncle Anton Matthias Krommer lui-même organiste et chef de choeur. En 1785, il fait un premier séjour à Vienne avant de rejoindre l’orchestre du Comte de Limburg-Stirum dont la résidence se trouve à Simontornya en Hongrie. Il est engagé d’abord en tant que violon solo de l’orchestre puis plus tard en tant que maître de chapelle. Vers 1790, il obtient le poste de chef de choeurà la cathédrale de Pécs. Il quitte cette fonction en 1793 pour entrer au service du Comte Károlyi puis du Prince Antal Grassalkovich. En 1795, suite au décès du prince hongrois, Franz Krommer revient à Vienne. Après une longue période d’infortune, il entre comme Maître de Chapelle au service du Duc Ignaz Fuchs, en 1806. Quatre ans plus tard, il est nommé au poste de directeur musical du Théâtre Royal et Impérial de Vienne (Wiener Hoftheater). En 1818, succédant à Leopold (Johann Anton) Kozeluch, il devient le dernier Maître de musique de chambre et compositeur de la cour des Habsbourg. Il gardera ses fonctions jusqu’à sa mort en 1831. Franz Krommer était l’un des plus illustres compositeurs tchèques de la Vienne impériale vers la fin du XVIIIe siècle. Sa musique était très appréciée de son vivant et certains le considéraient comme le digne héritier de Joseph Haydn. Son style est indéniablement apparenté à ce dernier mais aussi à celui de Mozart. Franz Krommer a composé de nombreuses symphonies, des concertos (essentiellement pour instruments à vent solistes), des duos pour violons, des quatuors à cordes, de la musique de chambre et des oeuvres sacrées. Le Concerto pour Clarinette Opus 36 de Krommer a été publié pour la première fois en 1803 chez l’éditeur allemand Johann Anton André. / Niveau : 4 / oeuvre solo et Orchestre / Répertoire / Concert Band ou Harmonie
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| Allegro (KROMMER FRANZ) Concert band [Score and Parts] - Intermediate/advanced De Haske Publications
from the Clarinet Concerto in Eb Major, Op. 36. Par KROMMER FRANZ. Le compositeu...(+)
from the Clarinet Concerto in Eb Major, Op. 36. Par KROMMER FRANZ. Le compositeur et violoniste tchèque Frantisek Vincenc Kramar dont le nom fut germanisé en Franz Vinzenz Krommer, est né le 27 novembre 1759 à Kamenice en Moravie occidentale et mort le 8 janvier 1831 à Vienne en Autriche. À l’adolescence, il est initié à l’art du violon et à l’orgue par son oncle Anton Matthias Krommer lui-même organiste et chef de choeur. En 1785, il fait un premier séjour à Vienne avant de rejoindre l’orchestre du Comte de Limburg-Stirum dont la résidence se trouve à Simontornya en Hongrie. Il est engagé d’abord en tant que violon solo de l’orchestre puis plus tard en tant que maître de chapelle. Vers 1790, il obtient le poste de chef de choeurà la cathédrale de Pécs. Il quitte cette fonction en 1793 pour entrer au service du Comte Károlyi puis du Prince Antal Grassalkovich. En 1795, suite au décès du prince hongrois, Franz Krommer revient à Vienne. Après une longue période d’infortune, il entre comme Maître de Chapelle au service du Duc Ignaz Fuchs, en 1806. Quatre ans plus tard, il est nommé au poste de directeur musical du Théâtre Royal et Impérial de Vienne (Wiener Hoftheater). En 1818, succédant à Leopold (Johann Anton) Kozeluch, il devient le dernier Maître de musique de chambre et compositeur de la cour des Habsbourg. Il gardera ses fonctions jusqu’à sa mort en 1831. Franz Krommer était l’un des plus illustres compositeurs tchèques de la Vienne impériale vers la fin du XVIIIe siècle. Sa musique était très appréciée de son vivant et certains le considéraient comme le digne héritier de Joseph Haydn. Son style est indéniablement apparenté à ce dernier mais aussi à celui de Mozart. Franz Krommer a composé de nombreuses symphonies, des concertos (essentiellement pour instruments à vent solistes), des duos pour violons, des quatuors à cordes, de la musique de chambre et des oeuvres sacrées. Le Concerto pour Clarinette Opus 36 de Krommer a été publié pour la première fois en 1803 chez l’éditeur allemand Johann Anton André. / Niveau : 4 / oeuvre solo et Orchestre / Répertoire / Concert Band
227.70 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
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