| Select Works of Enrique Granados for Solo Guitar Guitar notes and tablatures Classical guitar [Sheet music] - Intermediate Mel Bay
By Elias Barreiro. For Guitar (Classic). Solos. Classic. Level: Intermediate. Bo...(+)
By Elias Barreiro. For Guitar (Classic). Solos. Classic. Level: Intermediate. Book. Size 8.5x11. 82 pages. Published by Mel Bay Publications, Inc.
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| La Muchica Flute and Piano [Score] - Intermediate Lemoine, Henry
By Diego Luzuriaga (1955-). For flute and piano. Classical. Grade 5. Score. 16 ...(+)
By Diego Luzuriaga (1955-). For flute and piano. Classical. Grade 5. Score. 16 8 pages. Published by Editions Henry Lemoine
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| R. Lamote De Grignon: Migajas Coleccion (Piano) Piano solo Music Sales
Piano (Piano) SKU: HL.14013387 Composed by Ricardo Lamote De Grignon. Mus...(+)
Piano (Piano) SKU: HL.14013387 Composed by Ricardo Lamote De Grignon. Music Sales America. Classical. Book [Softcover]. 16 pages. Music Sales #UMP17971. Published by Music Sales (HL.14013387). UPC: 884088443689. 9.25x12.0x0.088 inches. 'Piezas faciles' - Piano compositions of 1953 by R. Lamote de Grignon. $11.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Prophetiae Sibyllarum Choral [Sheet music] Barenreiter
Motetten-Zyklus auf Spruche der Sibyllen. By Orlande De Lassus. Edited by Reinho...(+)
Motetten-Zyklus auf Spruche der Sibyllen. By Orlande De Lassus. Edited by Reinhold Schlotter. For Mixed Choir. O. Di Lasso. Samtliche Werke. Neue Reihe, Band 21. Sacred, Motetten (Motets). Collection; Urtext Edition; Complete Edition (cloth bound). Published by Baerenreiter-Ausgaben (German import).
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| Violin - Concerto Orchestra, Violin SATB, Orchestra Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumental Sets. Duration 29:00. Published by Editorial de Musica Boileau (BO.B.3340). ISBN 9788480207591. English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The author
Comentarios del Espanol: A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor. $42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| 4 Fables - 2. Le Lapin et la Moutarde Double bass, Piano (duet) Lafitan, Pierre
Double Bass and Piano SKU: BT.PL3077 Pièce originale pour contrebas...(+)
Double Bass and Piano SKU: BT.PL3077 Pièce originale pour contrebasse avecaccompagnement de piano. Composed by Claude-Henry Joubert. Book and Part(s). Composed 2015. Pierre Lafitan Editions #PL3077. Published by Pierre Lafitan Editions (BT.PL3077). $11.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Piano Music of Lalo Schifrin Piano solo Lorenz Publishing Company
Composed by Lalo Schifrin. Edited by Mirian Conti. LKM Music. Movies, Classica...(+)
Composed by Lalo Schifrin.
Edited by Mirian Conti. LKM
Music. Movies, Classical.
Softcover. 124 pages. Lauren
Keiser Music Publishing
#S410029. Published by Lauren
Keiser Music Publishing
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| Junto a Rodrigo. An Anthology of Contemporary Music for Guitar (Podera, Reghezza, Simoni, Smaili, Ugoletti) Ut Orpheus
Guitar SKU: UT.CH-289 Edited by Piero Bonaguri. Saddle stitching. Piero B...(+)
Guitar SKU: UT.CH-289 Edited by Piero Bonaguri. Saddle stitching. Piero Bonaguri Collection. Classical. Ut Orpheus #CH 289. Published by Ut Orpheus (UT.CH-289). ISBN 9790215325852. 9 x 12 inches. Giovanni Podera: Fantasia (In memoriam JoaquÃn Rodrigo) Marco Reghezza: Nana Estrellada Marco Simoni: Junto a Rodrigo Marco Smaili: Fronda de la tarde (Homenaje a JoaquÃn Rodrigo) Paolo Ugoletti: Fuga a 4 voci
Following the successful publication of Homenaje a Rodrigo (2015), containing four pieces by Alessandro Spazzoli – one of which was performed in the presence of the composer’s daughter, Cecilia Rodrigo, during her visit to the International Convention in Alessandria –, here is the second volume. It contains more tributes to Rodrigo written on my input by five well-known Italian and Spanish composers, two of whom are also guitarists and have therefore written the fingering for their own pieces. Giovanni Podera plunges us into a typically Rodrigo-like atmosphere with his evocative Fantasia, while the following three compositions are full of direct quotations from pieces also for guitar by the great composer from Valencia. Thus, Marco Simoni, in his expressive Junto a Rodrigo – which also provides the title to the volume – plays with themes taken from Junto al Generalife and from Dos piezas caballerescas for a cello ensemble as well as hinting at reminiscences of Tiento antiguo. As for Marco Smaili, in his impressionistic Fronda de la tarde, he evokes quite evidently Zarabanda lejana and Invocación y Danza, but there are more hidden references to Caminos de Santiago and even to the very famous Concierto de Aranjuez. Marco Reghezza builds his heart-breaking Nana estrellada on a sequence of chords used by Rodrigo in the fantasia ¡Que buen caminito!. On the other hand, there are no direct quotations and echoes of Rodrigo’s way of writing in the Fuga a quattro voci by Paolo Ugoletti. However it was Rodrigo himself who constructed four-part imitative passages for guitar in Pasacalle and in the Ricercare of the Fantasia para un Gentilhombre. The close polyphony of the piece by Ugoletti may be considered as a tribute to this kind of craft shown by Rodrigo who, like Ugoletti, was able to write such dense and idiomatic counterpoint without being a guitar-player. I am pleased that this volume comes out in the imminence of the 20th anniversary of the disappearance of the illustrious Spanish composer who gave so much to the musicians – and not only to them. (Piero Bonaguri)
Muchas gracias por este emotivo y excelente musical homenaje a mi padre. La edición es excelente y la difundiremos con todos nuestros medios por las redes sociales a nuestro alcance. Ha sido un gran trabajo por su parte, fruto de sus grandes conocimientos guitarrÃsticos y su devoción por JoaquÃn Rodrigo. Le reitero mi gratitud y mi felicitación con el ruego transmita a los cinco compositores mi felicitación y deseos de éxito. (Cecilia Rodrigo). $17.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Cancion De La Tarde (1960) (Sheet Music in Spanish) Piano solo - Intermediate Lee Roberts Music | | |
| Tangos Piano solo [Sheet music] - Intermediate Alfred Publishing
Selected Works for the Piano. Edited by Maurice Hinson. For Piano. Piano Collect...(+)
Selected Works for the Piano. Edited by Maurice Hinson. For Piano. Piano Collection. Alfred Masterwork Edition. Latin; Masterwork. Level: Intermediate / Early Advanced. Book. 80 pages. Published by Alfred Publishing.
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| Gradanos, E Bocetos Pf Piano solo Music Sales
Piano. Music Sales America. Classical. 14 pages. Music Sales #UMP70840. Publishe...(+)
Piano. Music Sales America. Classical. 14 pages. Music Sales #UMP70840. Published by Music Sales
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| Astuces De La Guitare Brésilienne Vol3 Guitar notes and tablatures [Sheet music + Audio access] Musicom
SKU: M7.MC-236 Le Génie De La Guitare Brésilienne. Composed ...(+)
SKU: M7.MC-236 Le Génie De La Guitare Brésilienne. Composed by Denis Roux and Michel Ghuzel. Sheet music with CD. Coup De Pouce. Method book with CD. 40 pages. Musicom #MC 236. Published by Musicom (M7.MC-236). ISBN 9790707006146. French. Le génie de la guitare brésilienne est le complément indispensable aux 'Astuces'. Cet ouvrage présente en 10 morceaux, divers styles brésiliens. Ces pièces relevées sur disques ont été fidèlement retranscrites en solfège et en tablatures. $35.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| ATTILA: Tarde per gli anni tremulo Soli, Mixted choir and accompaniment Lucks Music Library
(2.2.2.2/4.2.3.1,timp,str ,BBar soli) SKU: TM.14200SC Composed by Giusepp...(+)
(2.2.2.2/4.2.3.1,timp,str,BBar soli) SKU: TM.14200SC Composed by Giuseppe Verdi. Score. Lucks Music Library #E1587. Published by Lucks Music Library (TM.14200SC). First words: Uldino. Duet (Prologue #4). Sung by Ezio and Attila. $40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| ATTILA: Tarde per gli anni tremulo Soli, Mixted choir and accompaniment Lucks Music Library
(2.2.2.2/4.2.3.1,timp,str ,BBar soli) SKU: TM.14200SET Composed by Giusep...(+)
(2.2.2.2/4.2.3.1,timp,str,BBar soli) SKU: TM.14200SET Composed by Giuseppe Verdi. Set Type: D. Set of parts. Lucks Music Library #E1587. Published by Lucks Music Library (TM.14200SET). First words: Uldino. Duet (Prologue #4). Sung by Ezio and Attila. $85.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Musica De Cuba - Volume 3 Handelsware | | |
| Valses Y Tangos Guitar - Intermediate Lemoine, Henry | | |
| La Oracion De La Tarde Piano solo Unión Musical Ediciones
Piano SKU: BT.MUSUMP68860 Composed by Joaquin Draper. Classical. Book Onl...(+)
Piano SKU: BT.MUSUMP68860 Composed by Joaquin Draper. Classical. Book Only. 6 pages. Union Musical Ediciones #MUSUMP68860. Published by Union Musical Ediciones (BT.MUSUMP68860). $15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Tex-Mex Conjunto Classics for Accordion Accordion [Sheet music] - Intermediate Mel Bay
transcribed and arranged by Gary Dahl. For Accordion (Keyboard). transcribed sol...(+)
transcribed and arranged by Gary Dahl. For Accordion (Keyboard). transcribed solos. Arhoolie. Tex-Mex. Level: Intermediate. Book. Size 8.75x11.75. 48 pages. Published by Mel Bay Publications, Inc.
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| Draper: La Oracion De La Tarde Piano solo Unión Musical Ediciones
Piano SKU: HL.14009216 Composed by Joaquin Draper. Music Sales America. C...(+)
Piano SKU: HL.14009216 Composed by Joaquin Draper. Music Sales America. Classical. Book Only. Union Musical Ediciones #UMP68860. Published by Union Musical Ediciones (HL.14009216). $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Empuries (Partitura) Editorial de Musica Boileau
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrument...(+)
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrumental Sets. Duration 40:52. Published by Editorial de Musica Boileau (BO.B.3260). ISBN 9788480207584. English comments: Empuries is the result of the interest Ruera showed throughout his life for the culture and music of ancient Greece. As he himself writes in the introduction to the composition: The motives behind this work were inspired by contemplating and analysing the melos of ancient Greece. The few melodies that have been discovered from those far-off times inspired the composer of Empuries to create this work, conceived with the Greek modal system in mind, and adapted to modern instruments and tastes. The tetrachord and pentachords of these forms are the very bases of this work. The descending drift of the cadence, the harmonic priority of the upper and lower notes of the tetrachords and the displacement of these chords to different acoustic levels, make it impossible to specify the classic concept of a set tonality which, within the improvised musical working of the piece, leads to a naturally intertonal or atonal piece of music. Empuries came to light in 1971, when it won group A of the Ciutat de Barcelona prize. But one must, in fact, go back to the 1930s to find its true origins. Ruera made his first foray into the theme of ancient Greece with the sardana, Empuries, la grega, with which he won first prize in the Jocs Florals in Girona, in 1931. Shortly afterwards, he wrote a piece of organ music entitled Bucolics, in the Greek modal style, which was destroyed during the Spanish civil war. Ruera continued to work on the theme and in 1936 he presented his work Tres moviments simfonics, for a big band, inspired by the ancient Greek modes, at the XIV International Festival of the ISCM held in Barcelona. The work was chosen to debut in the festival's opening concert on 19 April 1936 at Palacio de Bellas Artes in Barcelona. In 1959, Ruera won the Pau Casals Prize at the Jocs Florals de la Llengua Catalana, held at the Sorbonne in Paris, for his work, Empuries: poema per a cobla i orquestra, which would later become the fourth movement of Empuries. Nine years later, in 1968, Barcelona City Orchestra, conducted by Antoni Ros Marba, gave the first ever performance of the symphonic poem Pastoral, written to be the first movement of Empuries, in Granollers. The final step was when he finally completed the work, won the Ciutat de Barcelona prize, opened in Granollers on 2 May 1976 and recorded it for the Columbia de Barcelona label in 1977. Anna Maria Piera
Comentarios del Espanol: La obra Empuries es fruto del interes que el maestro Ruera demostro a lo largo de su vida por la cultura y la musica de la antigua Grecia. Como el mismo escribe en la cabecera de la composicion: Los motivos generadores de esta obra estan inspirados en la contemplacion y en el analisis del melos de la antigua Grecia. Las pocas melodias que hasta el momento se han podido descubrir de aquellos tiempos remotos sugieren al autor de Empuries la realizacion de esta obra, concebida pensando en el sistema modal griego, adaptado a los instrumentos y gustos modernos. Los tetracordes y pentacordes de dichas modalidades son las celulas en las que se basa la obra. El sentido descendiente de la cadencia, la prioridad armonica de la notas extremas de los tetracordes y el desplazamiento de estos acordes a varias alturas acusticas, hacen que no sea posible precisar el clasico concepto de una tonalidad determinada y que lleven, dentro del funcionamiento contrapuntistico, a una musica naturalmente intertonal o atonal. Empuries vio la luz en el ano 1971, ganando el Premio Ciutat de Barcelona, grupo A, pero en realidad tenemos que retroceder hasta los anos 30 para encontrar sus verdaderos origenes. La primera incursion en el tema de la antigua Gracia la hizo con la sardana Empuries, la grega, con la que gano el primer premio en los Jocs Florals de Gerona del ano 1931. Poco despues escribio una pieza para organo titulada Bucolics, en el estilo modal griego, que fue destruida durante la Guerra Civil espanola. Ruera continuo trabajando en el tema y en el ano 1936 presento su obra Tres moviments simfonics, en version para gran banda, inspirada en las antiguas modalidades griegas, en el XIV Festival Internacional de la SIMC que se celebro en Barcelona. La obra fue escogida para ser estrenada en el concierto inaugural de dicho festival, el 19 de abril de 1936, en el Palacio de Bellas Artes de Barcelona. En el 1959, Ruera gano el Premio Pau Casals en los Jocs Florals de la Llengua Catalana celebrados en la Sorbona de Paris con la obra Empuries: poema per a cobla i orquestra, que sera con el paso del tiempo el cuarto movimiento de Empuries. Nueve anos mas tarde, en 1968, la Orquestra Ciutat de Barcelona, bajo la direccion de Antoni Ros Marba, interpreto en Granollers la primera audicion del poema sinfonico Pastoral, pensado como primer movimiento de Empuries. El ultimo eslabon fue terminar definitivamente la obra, ganar el Premio Ciutat de Barcelona, estrenarla en Granollers el 2 de mayo de 1976 y grabarla para la casa discografica Columbia de Barcelona, en 1977. $42.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Songs of Ernesto Lecuona Piano, Voice Edward B. Marks Music Company
(33 Songs for Voice and Piano). Composed by Ernesto Lecuona (1895-1963). Edited ...(+)
(33 Songs for Voice and Piano). Composed by Ernesto Lecuona (1895-1963). Edited by Pablo Zinger. For Piano, Voice. E.B. Marks. Softcover. 120 pages. Published by Edward B. Marks Music
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| Remembrances String Quartet: 2 violins, viola, cello Editorial de Musica Boileau
By Jordi Cervello. For String Quartet. Instrumental Sets. Published by Editorial...(+)
By Jordi Cervello. For String Quartet. Instrumental Sets. Published by Editorial de Musica Boileau
$43.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Enrique Granados: Album For Piano Piano solo [Sheet music] - Advanced Schirmer
Piano Solo. By Enrique Granados. Piano Collection. Size 9x12 inches. 104 pages. ...(+)
(Piano Solo) By Enrique Granados (1867-1916). Collection for solo piano. Schirmer Library Vol.1986. 98 pages. Published by G. Schirmer, Inc.
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| Federico's Little Songs for Children [Score] Peters
By George Crumb. For soprano, flute (piccolo, alto, bass), harp (3 scores needed...(+)
By George Crumb. For soprano, flute (piccolo, alto, bass), harp (3 scores needed for performance). (Span). Duration ca.20'. Published by C.F. Peters.
$47.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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