| Game of Thrones Flute Quartet: 4 flutes - Easy Beriato Music
Composed by Ramin Djawadi. Arranged by Emma Philips. Beriato Music Instrumenta...(+)
Composed by Ramin Djawadi.
Arranged by Emma Philips.
Beriato Music Instrumental.
TV-Film-Musical-Show. Set
(Score and Parts). Composed
2020. Beriato Music
Publishing #BMI19010692.
Published by Beriato Music
Publishing
$25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Move It! 2 Musical Awakening [DVD] GIA Publications
By John Feierabend and Peggy Lyman. Music Education. DVD. Published by GIA Publi...(+)
By John Feierabend and Peggy Lyman. Music Education. DVD. Published by GIA Publications
$44.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| A New Approach to Altissimo Trumpet Playing Trumpet C.L. Barnhouse
A New Approach to Altissimo Trumpet Playing by John H. Lynch. For flute quartet....(+)
A New Approach to Altissimo Trumpet Playing by John H. Lynch. For flute quartet. Method/Study book. Method/study book. Composed 1984. Published by C.L. Barnhouse
$11.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Enantiodromia Potenza Music
Flute duo SKU: P2.10021 Composed by Cornelius Boots. Chamber music, 20th ...(+)
Flute duo SKU: P2.10021 Composed by Cornelius Boots. Chamber music, 20th century. Published by Potenza Music (P2.10021). The second part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979) by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The duo is divided into two sections: Nekyia and Hypnoia. Each of these is a Greek myth-nerd term for some key aspect of an archetypal descent into the underworld. In fact, nekyia is a term that specifically means archetypal descent as one finds in myths across the ages from Dante to the Greeks and beyond. Hillman sees a lack of sufficient nekyia myths in our modern culture, yet our popular heroes in films and music are shady underworld characters. Dante's underworld was our culture's last, and it was imagined even before the Renaissance had properly begun. Our ethnic roots reach back to great underworld configurations: the Celtic Dagda or Cerunos, the Germanic Hel, and the Biblical Sheol. All have faded... (p.64) Hyponoia is a more subtle term used by Plato that refers to an undersense or a deeper meaning. The search for undersense is what we express in common speech as the desire to understand. We want to get below what is going on and see its basis, its fundamentals, how and where it is grounded. (p. 137) This deeper understanding is one of the motivations and constant characteristics of the underworld descent: but the discoveries made and experiences experienced are not always as they seem to be. Hillman recommends over and over that we see and see into each thing for what it is, and not force a dayworld perspective onto dream images and occurrences. As a duo movement, the term enantiodromia (counter enantio, and running dromia) is particularly appropriate as it is a grounding principle by which Jung understands the regulative function of opposites. As Hillman tends to turn things on their metaphorical heads, he fleshes out dualism and oppositionalism in such a way that in the underworld this actually becomes a unifying principle: If you go far enough with any one movement, a countermovement will set in...The way up and the way down are one and the same: the manifestation of one power by opposite forces. (p. 76) This implies a union of the two opposites, a conjunction as contrasted with an opposition. There are two voices but they are both flutes; there are two contrasting halves to the piece, yet they balance each other even in their differences. $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Void of Day Flute Trio: 3 flutes Potenza Music
Flute trio SKU: P2.10022 Composed by Cornelius Boots. Chamber music, 20th...(+)
Flute trio SKU: P2.10022 Composed by Cornelius Boots. Chamber music, 20th century. Published by Potenza Music (P2.10022). The third part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The trio is divided into three sections: The Way We Descend--Reflection of Narcissus--Below Nature. Taking a break from Greek myth-nerd terms, this movement introduces chthonic-flavored phrases that elaborate on our descent into the underworld, specifically through dreams. The realm of the underworld can be such a shock to our dayworld, limited, egoic consciousness that it can seem like a violation as Hillman points out, referencing the Greeks: This style of the underworld experience is overwhelming, it comes as violation, dragging one out of life and into the Kingdom that the Orphic Hymn to Pluto describes as 'void of day.' So it often says on Greek epitaphs that entering Hades is 'leaving the sweet sunlight.' (p.49) He elaborates on the differences between dayworld and underworld perspectives: The dream is not compensation but initiation. It does not complete ego-consciousness, but voids it. So it matters very much the way we descend. (p.112) He goes on to describe the various modes in which mythical figures have descended: Ulysses and Aenas to learn; Hercules to take and to test, for example. To act like Hercules, like the hero, in the underworld is to miss the point and cause more problems, the villain in the underworld is the heroic ego, not Hades. (p.113). $21.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Flowersongs Partitur, Kopi [Score] Music Sales
Flute [Trio-] SKU: HL.14011531 Composed by Hans Abrahamsen. Music Sales A...(+)
Flute [Trio-] SKU: HL.14011531 Composed by Hans Abrahamsen. Music Sales America. Classical. Score. 20 pages. Music Sales #KP00379. Published by Music Sales (HL.14011531). ISBN 9788759877104. 10.25x14.25x0.44 inches. Danish. Hans Abrahamsen 's Flowersongs (1973) for three Flutes. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of the new simplicity,minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word: but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen. $24.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Score [Score] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043012 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe SKU: HL.14043012 Composed by Hans Abrahamsen. Music Sales America. Classical. Softcover. Composed 2014. Edition Wilhelm Hansen #WH31940. Published by Edition Wilhelm Hansen (HL.14043012). ISBN 9788759829271. Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Score. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen. $38.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Flowersongs Version 2012 For Flute, Oboe And Clarinet Parts [Set of Parts] Wilhelm Hansen
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Mu...(+)
Flute, Clarinet and Oboe SKU: HL.14043011 Composed by Hans Abrahamsen. Music Sales America. Classical. Softcover. Composed 2014. Edition Wilhelm Hansen #WH31940A. Published by Edition Wilhelm Hansen (HL.14043011). ISBN 9788759829288. 9.7x14.0x0.079 inches. Hans Abrahamsen 's Flowersongs (2012 version) for Flute, Oboe and Clarinet. Parts. 'I wrote Flowersongs for three Flutes in the spring of 1973, when I was 20 years old. Looking back now, 40 years begins to feel like a really long time and sometimes I think that it is as if someone in 1973 is talking about a piece from 1933! But in spite of this long time, this is still a very important piece for me. In Flowersongs , along with works like '10 Preludes' for String Quartet and 'Stratifications' for Orchestra, I feel that I was on my way to finding my own voice in the middle of the music of the great Central European modernist tradition from the 50s and the reaction from the 60s of thenew simplicity, minimalism and the possibility of poly-stilisme. The English title Flowersongs links to the flower power movement and the hippie culture of the 60s and the early 70s, and the work is trying to find the power inherent in this imaginary world. Many of my later works have titles in German, for example 'Winternacht' (1976/78), 'Nacht und Trumpeten' (1981) and much later 'Schnee' (2006-08). If we think of Flowersongs in German, it must be Blumenlieder, and to me it now sounds suddenly very different, more romantic and into the world of Schumann. Perhaps it is also a way in which to hear the piece? Another thing is that the correct English title is Flower Songs (as two words) and not as one word like in German or Danish. This is perhaps the German connection, as I incorrectly wrote the title as one word, but perhaps it is also a kind of naivety, which is also part of the work. I cannot help but carry with me to this day the ideas from my early works. For example, there are clear links in this work from the 8th Prelude from '10 Preludes' and to Canon 2a from 'Schnee' from 2008. This work is written for the wonderful ensemble recherche and it was meeting them that made me consider making a version of Flowersongs for Flute, Oboe and Clarinet.' - Hans Abrahamsen. $50.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Woodwind Quartet No. 4 [Score] Theodore Presser Co.
Woodwind quartet Bassoon, Clarinet, Flute, Oboe SKU: PR.14440567S Thre...(+)
Woodwind quartet Bassoon, Clarinet, Flute, Oboe SKU: PR.14440567S Three Images. Composed by Robert Martin. Premiere: Manhattan, NY; Music at the Mercantile series. Contemporary. Full score. With Standard notation. Composed Autumn 1980. Duration 12 minutes, 45 seconds. Theodore Presser Company #144-40567S. Published by Theodore Presser Company (PR.14440567S). UPC: 680160609819. Having been awarded a Fulbright Scholarship in 1979, Martin was able to travel to Vienna, and eventually onward to the Middle East. In Three Images, he musically describes three personally powerful scenes from his travels: Vienna, the River Jordan, and the Dead Sea. The fourth quartet was completed in 1980. For advanced performers. Duration: 12'45. $19.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Woodwind Quartet No. 4 Theodore Presser Co.
Chamber Music Bassoon, Clarinet, Flute, Oboe SKU: PR.144405670 Three I...(+)
Chamber Music Bassoon, Clarinet, Flute, Oboe SKU: PR.144405670 Three Images. Composed by Robert Martin. Premiere: Manhattan, NY; Music at the Mercantile series. Contemporary. Set of Score and Parts. With Standard notation. Composed Autumn 1980. 20+8+8+8+8 pages. Duration 12 minutes, 45 seconds. Theodore Presser Company #144-40567. Published by Theodore Presser Company (PR.144405670). UPC: 680160609796. Having been awarded a Fulbright Scholarship in 1979, Martin was able to travel to Vienna, and eventually onward to the Middle East. In Three Images, he musically describes three personally powerful scenes from his travels: Vienna, the River Jordan, and the Dead Sea. The fourth quartet was completed in 1980. For advanced performers. Duration: 12'45. $36.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Root of Ether Potenza Music
Bass flute solo SKU: P2.10020 Composed by Cornelius Boots. Solo music, 20...(+)
Bass flute solo SKU: P2.10020 Composed by Cornelius Boots. Solo music, 20th century. Published by Potenza Music (P2.10020). The first part of the Chthonic Flute Suite commissioned by Areon Flutes in 2012. This suite has two main inspirations: ideologically it draws guidance from the book The Dream and the Underworld (1979)by James Hillman (1926-2011) and musically it explores the textural possibilities of a flute ensemble within the context of the heavy chamber music style I have developed with Edmund Welles: the bass clarinet quartet since 1996. This style draws virtuosic precision from the classical realm; innovation and texture from jazz; and power, rhythm and overall perspective from rock and metal. The term chthonic [thon-ik] generally means underworld. However, Hillman thoroughly elaborates that its true meaning extends below the earth and beyond it into invisible, non-physical and far distant psychic realms: the deeper mysteries of the invisible. The journey to the underworld is a solo undertaking of the self, towards the unknown, yet still rooted within. The low bass tones invoke mystery and point the direction. As an explorer, licensed teacher of and composer for the shakuhachi (an ancient Zen flute crafted from the thicker root-end of bamboo) I have become initiated into the sense-characteristics of playing a flute that has actual roots as part of its structure. Physically this changes the balance, sonically it presents certain deepening qualities, and aesthetically it alters your connection to the dead and dried piece of nature. I have composed 27 solo pieces and etudes for Taimu (a very thick, bass variant on the traditional shakuhachi flute) and tapped into the same dense, slow, timbral approach for this movement. However, the chromatic, metal, modern bass flute offers a whole new set of possibilities and so the movement explores a wide realm of sounds and tempos. Being rooted in the actual ground is an appropriate starting point for the underworld exploration of the whole suite that only goes deeper from this point downwards. The primacy of the root pitch in tonal music is another contributing facet to the root aspect of this title. $14.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Adagio and Rondo in C Minor, K. 617 [Score and Parts] Kalmus
Glass Harmonica (or Piano), Flute, Oboe, Viola, and Cello. Composed by Wolfgang ...(+)
Glass Harmonica (or Piano), Flute, Oboe, Viola, and Cello. Composed by Wolfgang Amadeus Mozart (1756-1791). 5 or More; Masterworks; Mixed Instruments - Miscellaneous Ensemble; Solo Small Ensembles. Kalmus Edition. Classical; Masterwork. Part(s); Score. 16 pages. Kalmus Classic Edition #00-K09672. Published by Kalmus Classic Edition
$15.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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