| Flex-Ability Classics -- Solo-Duet-Trio-Quartet with Optional Accompaniment Flexible Instrumentation [Sheet music] Alfred Publishing
Arranged by Victor López. For Tenor Saxophone. Mixed Instruments - Flexible I...(+)
Arranged by Victor López. For Tenor Saxophone. Mixed Instruments - Flexible Instrumentation. Flex-Ability Series. Book. 24 pages
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flex-Ability Classics -- Solo-Duet-Trio-Quartet with Optional Accompaniment Flexible Instrumentation [Sheet music] Alfred Publishing
(Percussion). Arranged by Victor López. For Percussion. Mixed Instruments - F...(+)
(Percussion). Arranged by Victor López. For Percussion. Mixed Instruments - Flexible Instrumentation. Flex-Ability Series. Book. 24 pages
$6.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flex-Ability Classics -- Solo-Duet-Trio-Quartet with Optional Accompaniment Flexible Instrumentation [Sheet music] Alfred Publishing
(Horn in F). Arranged by Victor López. For Horn in F. Mixed Instruments - Fle...(+)
(Horn in F). Arranged by Victor López. For Horn in F. Mixed Instruments - Flexible Instrumentation. Flex-Ability Series. Book. 24 pages
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Flex-Ability Classics -- Solo-Duet-Trio-Quartet with Optional Accompaniment Flexible Instrumentation [Sheet music] Alfred Publishing
(Clarinet/Bass Clarinet). Arranged by Victor López. For Clarinet/Bass Clarine...(+)
(Clarinet/Bass Clarinet). Arranged by Victor López. For Clarinet/Bass Clarinet. Mixed Instruments - Flexible Instrumentation. Flex-Ability Series. Book. 24 pages
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ceremonial Music for Brass Quartet Horn Music Express | | |
| Ceremonial Music for Brass Quartet Trumpet Music Express | | |
| Ceremonial Music for Brass Quartet Horn, Trombone, B-Flat Trumpet [Score] Music Express | | |
| Ceremonial Music for Brass Quartet Horn, Trombone, B-Flat Trumpet Music Express
By Various. Arranged by Thomas and Neu. Brass Quartet. For 2 Trumpets and 2 Trom...(+)
By Various. Arranged by Thomas and Neu. Brass Quartet. For 2 Trumpets and 2 Trombones (or 2 Trumpets, Horn and Trombone)
$75.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ceremonial Music for Brass Quartet Trombone Music Express | | |
| Ceremonial Music for Brass Quartet Trumpet Music Express | | |
| Beethoven : Ode to Joy Clarinet Quartet: 4 clarinets Music Express
By Ludwig van Beethoven. Arranged by Thomas. Clarinet Quartet. For 3 Clarinets a...(+)
By Ludwig van Beethoven. Arranged by Thomas. Clarinet Quartet. For 3 Clarinets and Bass Clarinet (alternate Alto Clarinet included for Clarinet 3). Published by Music Express.
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Prophesies [Score and Parts] Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score and Parts. Composed by Mohammed Fairouz. Sws. Score and parts. With Standard notation. 68 pages. Duration 25 minutes. Theodore Presser Company #114-41903. Published by Theodore Presser Company (PR.114419030). ISBN 9781491114124. UPC: 680160669851. 9 x 12 inches. A fascination with polycultural synergy between diverse literary textsdrives the inspiration for much of Mohammed Fairouz’s prodigiouscreative output, including instrumental music as well as vocal. Inhis profound and extensive essay preceding the score, Fairouz shedslight on how Edgar Allen Poe’s “Israfel” relates to the prophetsand prophesies of the Quran, Old Testament, and New Testament.The eight-movement quartet may be heard as a dramatic galleryof portraits and of story-telling, flourishing in a post-traditionallanguage that is at once vernacular and spiritual, Middle Easternand Western. The complete set of score and parts is included in thispublication. (See pages 2-3 of score for clear distinction of paragraphs, etc.)Prophesies, by Mohammed FairouzEdgar Allen Poe’s rendition of Israfel was the point of departure for the final movement of my previous stringquartet which is titled The Named Angels. At the opening of his poem, Poe evokes the Quran:“And the angel Israfel, whose heartstrings are a lute, and who has the sweetest voice of all God’s creatures.”This informs the first lines of the poem that, in turn, gave me the title for the final movement of The Named Angels,“Israfel’s Spell”:In Heaven a spirit doth dwell“Whose heartstrings are a lute”None sing so wildly wellAs the angel Israfel,And the giddy stars (so legends tell),Ceasing their hymns, attend the spellOf his voice, all mute.It is the end of that poem, however, that is the starting point for the current quartet, Prophesies, which concernsitself with mortal prophets rather than eternal Angelic spirits.If I could dwellWhere IsrafelHath dwelt, and he where I,He might not sing so wildly wellA mortal melody,While a bolder note than this might swellFrom my lyre within the sky.Islamic thought has asked us to look at the example of the prophets. That’s significant because of the fact thatJoseph and all the prophets were human beings with the flaws of human beings. No prophet was perfect, andIslamic tradition has never asked its followers to aspire to the example of the Angels, the perfected ones. Instead weare given the gift of our prophets. While The Named Angels drew on the motion and energy of everlasting spirits,Prophesies is a depiction of the movements within our own mortal coil.This quartet is a continuation of a long tradition of Muslim artists telling their stories and singing their songs.Many of these renditions are, in fact, figurative and (contrary to popular belief) the Quran contains no “Islamicedict” prohibiting figurative renditions of the figures described in the Old Testament, New Testament, or Quran.The majority of artists, however, have preferred eternal and abstract forms such as words and their calligraphicrepresentations, poems (Yusuf and Zuleikha or the Conference of Birds come immediately to mind), architecture,and many other non-figurative art forms to the representation of man. These cold, ancient, and everlasting shapesof unending time flourished, and the divine infinity of representing geometric forms gained favor over the placementof the explicit representation of mankind and our own likeness at the center of the universes.Adding the string quartet to these forms which express the recursive spheres of heavens and earth abstractly shouldexplain why I have chosen to render higher things through the use of music without the addition of words or anyother art-form. It is the abstract art of pure form, in which all is form and all is content, which compels me. Thisquartet should be seen as no more programmatic than the arches of the Great Mosque at Cordoba.The first movement, Yāqub (Jacob), is slow, quiet and prayerful. It evokes the patient sorrow of a slow choraledeveloping over time as it coaxes our pulse out of the ticking of a clock-like meter that defines our day-to-day livesand into a divine eternity.The second, Saleh, imagines the spirit of that desert-prophet through the use of a Liwa; the dance-sequence that hasbeen such a prevalent form of expression in the Arabian Peninsula for much of our recorded history.The third movement is titled Dawoōd, and it is emblematic of the beloved Prophet, King, and Psalmist, David.Though it has no lyrics, the movement functions as a dabkeh (an ancient dance native to the Levant) and also “sets”the opening of Psalm 100 (Make a joyful noise unto the Lord, all ye lands). This line is never set to music or sung inthe quartet but is evoked through the rhythmic shape of the violin part which imitates the phonology and rhythmof my speaking the opening line in the Hebrew and develops the contours of that line incessantly throughout themovement.3The fourth movement is an ode to Yousef (Joseph) and relates to the first movement in tempo and tone just as Josephrelates to Jacob, his father. Together, the first and fourth movements provide a sort of Lamentation and relief.Joseph had the appearance of a noble angel, but he was very much a human being. And the story of this particularprophet had tragic beginnings many years before he found himself in a position of power in Egypt. Back in his youth,still among the Israelites, Joseph experienced a series of revelations through his dreams that spoke of his impendingcareer in prophecy. He confided his dreams to his father, the Prophet Jacob, who told his son of the greatness thatawaited him in his future only to have his brothers throw him into a well and leave him for dead. Joseph eventuallyfound his way from Israel to Egypt and rose out of slavery into a position of power. Meanwhile, famine engulfs Israel.Forty years pass, and back in the land of Jacob and Rachel, of Joseph’s brothers and Abraham’s tribe, Israel wasnot spared the effects of the famine. They sorely lacked Joseph’s prophecy and his vision. The Qur’an then tells usthat Jacob, sensing Joseph, sends the other brothers to Egypt instructing them to come back with food and grain.Arriving in Egypt, they unwittingly appear before Joseph. They don’t recognize their little brother who has risen toa position of might, dressed in his Egyptian regalia. They ask for the food and the grain.After some conversation, Joseph is no longer able to contain his emotion. Overcome, he reveals himself to his nowterrified brothers. He embraces them. He asks them eagerly, “How is our father?” Joseph gives them the gift of thefood and the grain that they came in search of. He relieves them from hunger and alleviates their fear. He sendsthem back with proof that he is alive, and it is this joyful proof from the miraculous hands of a prophet that bringsback the ancient Jacob’s vision after 40 years of blindness.In this story, I am struck by the fact that Joseph may not have made the decision to forgive his brothers on thespot, but that something inside the prophet’s soul found forgiveness and peace for the brothers who had so gravelywronged him at some point along his journey. I would suspect this point to have been present at Joseph’s inception,even before he had ever been wronged.This is proof, if we needed it, that Joseph’s angel-like beauty was not only physical and external, but also internalas well: Joseph possessed a profound loveliness of spirit that bound his appearance and his soul. In Joseph, formand soul are one.Time is to musicians what light is to a painter. In this way, the story of Joseph also shows us that time can affectour perception of even the most tragic wounds. In fact, the most common Arabic word for “human being” is insaan,which shares its roots with the word insaa, “to forget.” While our ability to remember is essential to how we learnabout ourselves, our capacity to “forgive and forget” may also be one of our great gifts as human beings.The fifth movement follows my ode to Joseph with a structural memory of Mūsa (Moses). The movement consistsentirely of descending motifs which I constructed as an indication of Moses’ descending movement as he emergedto his people from the heights of Mt. Sinai. The music is constructed in five phrases which function as a formalreference to the five books of Moses, the Pentateuch. The movement is placed as the fifth of the quartet for the samereason.While Joseph is always evoked as supremely beautiful in the Books of Judaism, Christianity, and Islam, Suleiman(Solomon) is described as surpassing in his quicksilver intelligence. This movement is composed of a seven-partriddle which passes by in an instant but can be caught by the attentive listener. From Solomon, we work our wayback to Yishak (Isaac) in a seventh movement that evokes Isaac’s literal meaning in Arabic and Hebrew: laughter.The eighth and final movement of this quartet is named for the Patriarch of the entire Book: Ibrahim (Abraham). Itrelates to Isaac just as Joseph relates to Jacob; they are father and son. The lines are prayerful and contemplative;the form of the music evolves from a fugue joining together many different forms of prayer into a single tapestry ofcounterpoint, to the cyclical form of this entire quartet which is rendered through the motion of pilgrims circling theKaaba (cube) in Mecca — a structure which was built by Abraham for Hagaar and their son Ismail.These are just some of the figures that are cherished by all three of the Middle Eastern monotheisms (Judaism,Christianity, and Islam) that the Qur’an refers to collectively as Ahl Al-Kitab. This Arabic phrase is most commonlytranslated as “The People of the Book,” but here the most common translation is a flawed one: the Arabic word“ahl” means “family” and not just “people.” A better translation would be “Family of the Book.” Each of the eightmovements of Prophesies grows from a single musical cell.This quartet is a family album.—Mohammed Fairouz (2018. $45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Beethoven : Ode to Joy Saxophone Quartet: 4 saxophones Music Express
By Ludwig van Beethoven. Arranged by Thomas. Saxophone Quartet. For Saxophone Qu...(+)
By Ludwig van Beethoven. Arranged by Thomas. Saxophone Quartet. For Saxophone Quartet. (SATB or AATB). Published by Music Express.
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ode to Joy Brass Quartet: 2 trumpets, horn, trombone Music Express
By Ludwig van Beethoven (1770-1827). Arranged by Thomas. Brass Quartet. For 2 Tr...(+)
By Ludwig van Beethoven (1770-1827). Arranged by Thomas. Brass Quartet. For 2 Trumpets, Horn (alternate Trombone part included) and Trombone. Festive Brass Series. Alternate trombone part included. Set of parts (alternate trombone part included)
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Symphony Ensembles Series - Trumpet Symphony (Four Cornets Or Trumpets) Brass Quartet: 4 trumpets Hal Leonard
For Cornet/Trumpet Quartet or Ensemble. Arranged by G. E. Holmes. Ensemble Colle...(+)
For Cornet/Trumpet Quartet or Ensemble. Arranged by G. E. Holmes. Ensemble Collection. Classical. 24 pages. Hal Leonard #RUBL221. Published by Hal Leonard
$8.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Musical Postcards (10 Clarinet Quartets From Around The World) Clarinet Quartet: 4 clarinets - Beginner Kendor Music Inc.
By Various. Arranged by Frank Halferty. For 4 Bb clarinets. 4 Bb Clarinets. Grad...(+)
By Various. Arranged by Frank Halferty. For 4 Bb clarinets. 4 Bb Clarinets. Grade 1-3. Published by Kendor Music Inc
$16.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartets Volume Iv (4) String Quartet: 2 violins, viola, cello [Sheet music] G. Henle
Composed by Wolfgang Amadeus Mozart (1756-1791). Henle Music Folios. Softcover. ...(+)
Composed by Wolfgang Amadeus Mozart (1756-1791). Henle Music Folios. Softcover. G. Henle #HN1123. Published by G. Henle (HL.51481123).
$38.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 20 Traditional Wedding Solos for Viola and Piano Viola, Piano [Reduction] - Intermediate/advanced Last Resort Music Publishing
Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Piano. Solos....(+)
Edited by Dmitri Bovaird. Arranged by Daniel Kelley. For Viola and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.
(1)$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Ode To Joy [Score and Parts] - Beginner Handelsware
Saxophone Quartet and piano (1. Stimme: Klarinette/Sopran-Saxopho n/Alt-Saxophon...(+)
Saxophone Quartet and piano (1. Stimme: Klarinette/Sopran-Saxophon/Alt-Saxophon; 2. Stimme: Alt-Saxophon; 3. Stimme: Alt-Saxophon/Tenor-Saxophon; 4. Stimme: Tenor-Saxophon/Bariton-Saxophon; Klavier) - very easy SKU: M7.RSC-60235 Composed by Ludwig van Beethoven. Arranged by Michael Brand. Sheet music. Score and parts. Duration 2'. Handelsware #RSC 60235. Published by Handelsware (M7.RSC-60235). English. All musicians should have the opportunity to play the great classics. The masterful scoring of Michael Brand makes it possible for any band to play Beethoven's masterpiece Ode to Joy. $18.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Denn wiederkommen String Quartet: 2 violins, viola, cello Breitkopf & Härtel
String Quartet (2vl - va - vc - Sp) SKU: BR.KM-2432 Holderlin lesen II...(+)
String Quartet (2vl - va - vc - Sp) SKU: BR.KM-2432 Holderlin lesen III. Composed by Hans Zender. Chamber music; stapled. Kammermusik-Bibliothek (Chamber Music Library). World premiere: Museum Island Hombroich, May 31, 1992. Music post-1945; New music (post-2000). Performance score. Composed 1991. 36 pages. Duration 24'. Breitkopf and Haertel #KM 2432. Published by Breitkopf and Haertel (BR.KM-2432). ISBN 9790004502020. 10 x 15 inches. In den alten Kulturen war das, was wir heute ,,Musik und ,,Dichtung nennen, eine Einheit. Denken wir nur an die lotrijgn<' [musike] der Griechen, oder an Beschreibungen, die wir in den klassischen chinesischen Schriften finden. Aber naturlich: Kulturgeschichte ist ein Differenzierungsprozess, und so finden wir zur Zeit unserer europaischen Klassiker den Vorstoss der Musik zu ihrer ,,Autonomie - ihrer offiziellen Scheidung von dem Metier der Dichter. (Noch 1739 hatte Mattheson in seinem Vollkommenen Capellmeister von jedem Musiker ,,Gewandtheit in der Dicht-Kunst und genaueste Kenntnis der Verslehre verlangt.)Seit dieser Scheidung sind nun die Musiker sehr eifrig damit beschaftigt, eine autonome Grammatik und Syntax der ,,Tonkunst, wie die Musik jetzt genannt wird, zu entwickeln, wahrend in der Dichtung - besonders naturlich in der experimentellen, von Jean Paul und Mallarme bis zu Joyce und Celan - gerade das ,,Musikalische in der Poesie gesucht wird. Hierunter ist oft der Wunsch verborgen, die Verhartung, welche die Wortsprache durch ihre begriffliche Fixierung - extrem in der Wissenschaft! - erfahrt, wieder aufzuheben und sie in einen ,,musikalischen Zustand von Unbestimmtheit, von Offenheit zuruck zu versetzen.Oberflachlich betrachtet entwickeln sich die beiden Kunste in der Moderne also auseinander; eine Beruhrung zwischen ihnen wird immer schwieriger. Zu gross die Gefahr, dass die muhsam errungene Autonomie der einen wieder der Ubermacht der andern geopfert wird! Entweder wird die Musik, wenn sie schwach ist, zu blosser Illustration und Stimmungskulisse; oder sie verschlingt in ihrer klanglichen und zeitlichen Ausformung den eigenen Klang und Rhythmus der Dichtung.Manche Musiker haben in den letzten Jahrzehnten dieses Problem noch verinnerlicht und eine Art Bilderverbot auch innerhalb der Musik aufgestellt: Gestik, Expressivitat, Assoziationsfahigkeit der musikalischen Strukturen wurden unterdruckt. Ich halte das fur ein neurotisches Verhalten und ausserdem fur irrefuhrend. Es gibt schon seit jeher auch eine musikalische Semantik - das vergessen manche vor lauter Syntax und Grammatik; und es ist kein Grund einzusehen, warum in der Situation der Autonomie nicht musikalische und sprachliche Semantik in eine neue Art von Verhaltnis treten konnten. In der Bach-Kantate, im Schubert-Lied, in der Wagnerischen Leitmotivik waren das 1:1-Losungen; aber schon Wagner hat gezeigt, dass man diese Identitat auch dialektisch aufsprengen kann.Und wie erst in der Vielsprachigkeit der heutigen Moderne! In meiner Oper Stephen Climax habe ich den Hauptpersonen des Ulysses von James Joyce bestimmte - historisch ortbare - Musiksprachen zugeteilt (welche jeweils wieder bestimmte intervallische und rhythmische Struktureigenschaften zeigen, welche ihrerseits wieder seriell oder statistisch geordnet sind - es geht bis ins kleinste Detail ganz ,,autonom zu!!); der Kosmos unserer europaischen Musikgeschichte wird sowohl dem Kosmos der Joyceschen Figuren (ihrerseits ,,geschichtstrachtig!) wie auch dem aktuellen musikalischen Bewusstsein zugeordnet, aber eben oft auch uber Kreuz, paradox, mehrschichtig, mehrdeutig ... Die Tatsache, dass diese spezifische Moglichkeit einer neuartigen Einheit von Sprache und Musik von den berufenen Musikologen noch kaum bemerkt worden ist, zeigt nicht nur deren Langsamkeit, sondern auch die Dominanz des ,,bildlosen Denkens in der - jetzt abgelaufenen - Phase der Neuen Musik.In meinen Holderlin lesen-Stucken ging es mir darum, Wege zu finden, die gewaltigen Sprachstrukturen Holderlins so in die zeitliche Form der Musik zu integrieren, dass sie Funktionen der musikalischen Form ubernehmen, ohne in ihrer Eigenkraft (sowohl akustisch wie auch im Sinne expressiver ,,Deutung) im geringsten geschmalert zu werden. Das hiess zunachst: Sprechen, nicht singen! - Aber das wurde nur bedeuten, dass es nicht um die Musikalisierung von Text geht; ebenso wichtig ist es, dass es auch nicht um melodramatisch ,,erzahlende Musik geht. Sondern: Zwei autonome Kunste durchdringen sich auf diaphane Weise, ohne sich zu uberformen oder auszuloschen; es handelt sich um einen Dialog, nicht um eine Vereinnahmung durch Hierarchisierung.Ein weiteres Thema, das in der musikalischen Diskussion der letzten Jahrzehnte zu kurz gekommen ist und deswegen jetzt neu am Horizont erscheint, ist die Rhetorik. Inwieweit kann musikalische Form nicht nur logisch bzw. syntaktisch, sondern auch rhetorisch verstanden werden? Rhetorik und Satztechnik z.B. hangen zusammen. Ich kann diese Problematik (die ich in meinem vierteiligen, abendfullenden Shir Hashirim ,,auskomponiert habe) hier nur andeuten.Musik steht zwischen Zahl und Wort; sie hat an beidem teil. So konnte sie das Zentrum der ,,Sieben Freien Kunste in alten Zeiten bilden ... (Heinrich Schutz sagte, dass sie zu diesen - also zu den mathematisch-astronomischen und den literarischen Kunsten - wie die ,,Sonne zu den Planeten sich verhalte.) Mir scheint, dass wir die Komposition seit 50 Jahren zu einseitig nur von der Zahl her definieren; sie hat geschichtlich ebenso viel mit Sprachstruktur zu tun. Wir konnen Neuland gewinnen, wenn wir als heutige Musiker dies neu durchdenken.Es handelt sich hier um meinen dritten Versuch einer Annaherung an das Problem einer ,,Verzeitlichung der Holderlinschen Texte d.h. einer Moglichkeit, diese Texte in einer Performance darzustellen: da die Musik das eigentliche Element der zeitlichen Darstellung ist, werden die Holderlinschen Worte mit Tonen konfrontiert.Im Fall von denn wiederkommen geht es um neun Zeilen aus Holderlins Patmos-Hymne. Je eine solche Zeile wird einem Formabschnitt der Musik zugeordnet (das Stuck ist also, wie meine Lo-Shu-Stucke, neunteilig). Die betreffende Zeile erklingt nicht nur einmal, sondern wird, in der gleichen Weise wie auch das musikalische Material, nach einem chaotischen Repetitionsprinzip mehrfach wiederholt.Auffallig ist ferner, dass fur jeden der neun Teile ein von einem der vier Quartettspieler festgehaltener ,,Grundton gewahlt wurde; durch diese orgelpunktartige Wirkung wird jeder der neun Teile zusammengehalten, und der Horer kann die langsame Bewegung der Grossform im unmittelbaren Horprozess mitvollziehen.Die neun Satze von Holderlin lauten:1. Furchtlos gehen die Sohne der Alpen uber den Abgrund weg auf leicht gebaueten Brucken...2. Sie horen ihn und liebend tont es wieder von den Klagen des Manns...3. Im goldenen Rauche bluhte schnell aufgewachsen mit Schritten der Sonne, mit tausend Gipfeln duftend, mir Asia auf, und geblendet...4. Gegangen mit dem Sohne des Hochsten, unzertrennlich, denn es liebte der Gewittertragende die Einfalt des Jungers...5. Wenn aber stirbt alsdenn, an dem am meisten die Schonheit hing...6. Eingetrieben war wie Feuer in Eisen das, und ihnen ging zur Seite der Schatten des Lieben. Drum sandt er ihnen den Geist und freilich bebte das Haus und die Wetter Gottes rollten ferndonnernd...7. Uber die Berge zu gehn allein, wo zwiefach erkannt, war einstimmig und gegenwartig der Geist...8. Und hier ist der Stab des Gesanges, niederwinkend, denn nichts ist gemein. Die Toten wecket er auf...9. Denn wiederkommen sollt es, zu rechter Zeit. Nicht war es gut gewesen, spater, und schroff abbrechend...(Hans Zender)CD:Salome Kammer (voice), Arditti String QuartetCD Montaigne MO 782094Bibliography:Nyffeler, Max: Fluchtpunkt Patmos. Hans Zenders Komposition ,,Denn wiederkommen. Holderlin lesen III, in: Neue Zeitschrift fur Musik 180 (2019), Heft 1, S. 44-47.ders.: Lesen, Schreiben, Horen. Zum Verhaltnis von Musik und Sprache bei Hans Zender, dargestellt an der Komposition ,,,denn wiederkommen`. Holderlin lesen III, in: ,,Ein Zeichen sind wir, deutungslos. Holderlin lesen, Ikkyu Sojun horen, Musik denken, hrsg. von Violetta L. Waibel, Gottingen: Wallstein 2020, S. 299-329Waibel, Violetta L.: Holderlin Lesen, Ikkyu Sojun Horen, Musik Denken, in: Festivalkatalog Wien Modern 29 (2016), Essays, pp. 196-198.Zenck, Martin: Holderlin lesen - seiner ,,Stimme zuhoren. Holderlin-Lekturen von Klaus Michael Gruber, Hans Zender und Bruno Ganz, in: Neue Zeitschrift fur Musik 172 (2011), Heft 6, pp. 25-29.Zender, Hans: Zu meinem Zyklus ,,Holderlin lesen, in: Mnemosyne. Zeit und Gedachtnis in der europaischen Musik des ausgehenden 20. Jahrhunderts, hrsg. von Dorothea Redepenning und Joachim Steinheuer, Saarbrucken: Pfau 2006, pp. 26-40.
World premiere: Museum Island Hombroich, May 31, 1992. $70.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sound the Trumpet! - Trumpet Part [Part] - Advanced Middle Fiddle Music
(36 Arrangements of the most requested wedding and ceremony music). By Various. ...(+)
(36 Arrangements of the most requested wedding and ceremony music). By Various. Arranged by Joel Lish. For Trumpet. Quartets. Wedding / Ceremony. Advanced. Trumpet part. Published by Middle Fiddle Music
$25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Collected String Quartets v. 1 [Score] - Intermediate LudwigMasters Publications
Orchestra Violin 1, Violin 2, Viola, Cello - Grade 3.5 SKU: AP.36-52703201(+)
Orchestra Violin 1, Violin 2, Viola, Cello - Grade 3.5 SKU: AP.36-52703201 Composed by Carole Neuen-Rabinowitz. Performance Music Ensemble; String Quartet. Ludwig Masters. Score. 100 pages. LudwigMasters Publications #36-52703201. Published by LudwigMasters Publications (AP.36-52703201). ISBN 9781621567387. UPC: 679360645680. English. Includes Canon (Pachelbel), Ode to Joy (Beethoven), Chamber Suite (Handel), Badinerie, Prelude & Fugue, and Sarabande (J.S. Bach), Concerto for 2 Violins & Concerto in D minor (Vivaldi), Concerto Grosso #10 (Corelli), arranged for string quartet by Carole Neuen Rabinowitz. Perfect for weddings/receptions. These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months. $33.99 - See more - Buy online | | |
| Sing with All the Saints: Choral SATB - Easy GIA Publications
By Ludwig van Beethoven. Arranged by Edward; Rowan Hodges. For Voices: SATB, ass...(+)
By Ludwig van Beethoven. Arranged by Edward; Rowan Hodges. For Voices: SATB, assembly. Instruments: Brass quartet (2 trumpets in B or C, 2 trombones), timpani (instruments optional). Organ. Choral Sacred. Level: easy. 11 pages. Published by GIA Publications.
$2.40 $2.28 (5% off) See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
1 31 Next page 61 91 121 |