| Phantom Of The Opera - Piano Solos
Piano solo [Sheet music] Hal Leonard
Piano Solo Piano/Keyboard (Piano) - SMP Level 6 (Late Intermediate) SKU: HL.2...(+)
Piano Solo Piano/Keyboard (Piano) - SMP Level 6 (Late Intermediate) SKU: HL.292005 Composed by Andrew Lloyd Webber. Piano Solo Selections (Intermediate to advanced piano arrangements with no lyrics). Broadway. Songbook (no lyrics, softcover). 48 pages. Published by Hal Leonard (HL.292005). ISBN 9780793516575. UPC: 073999920055. 9x12 inches. Piano solo arrangements of nine songs from the beloved Lloyd Webber musical, including: All I Ask of You • Angel of Music • Masquerade • The Music of the Night • The Phantom of the Opera • The Point of No Return • Prima Donna • Think of Me • Wishing You Were Somehow Here Again. (Lyrics not included.). About SMP Level 6 (Late Intermediate) ![](https://d29ci68ykuu27r.cloudfront.net/buttons/btn_level6.gif) 4-note chords in both hands with large stretches and leaps. Irregular and complicated rhythms. (21)$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Andrew Lloyd Webber: Phantom of the Opera Piano solo [Sheet music] Hal Leonard
Composed by Andrew Lloyd Webber, arranged by Ann Collins. Songbook for solo pian...(+)
Composed by Andrew Lloyd Webber, arranged by Ann Collins. Songbook for solo piano. Series: Hal Leonard Horizons Piano Education. 55 pages. Published by Hal Leonard.
(2)$17.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto for Trombone with Piano reduction Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Cl...(+)
Trombone and Piano - Advanced SKU: CY.CC3136 Composed by John W. Ware. Classical. Score and Parts. Cherry Classics #CC3136. Published by Cherry Classics (CY.CC3136). ISBN 9790530111055. 8.5 x 11 in inches. This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers. $40.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Monsoon Toccata Piano Solo Piano solo University Of York Music Press
Piano SKU: HL.14042937 Composed by Anthony Gilbert. Music Sales America. ...(+)
Piano SKU: HL.14042937 Composed by Anthony Gilbert. Music Sales America. Softcover. University of York Music Press #M570364725. Published by University of York Music Press (HL.14042937). Monsoon Toccata by Anthony Gilbert. 3'33; for solo piano. In memoriam Janet Owen Thomas (1961-2002). In 1988, Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together, doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon, and early the following morning there was also a minor earthquake. This experience determined the spirit of the music, and Northern Indian Raga determines the purely technical approach, with thequasi-improvisatory toccatalike textures acting as decoration to a slow-moving, widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena. A.G. Monsoon Toccata by Anthony Gilbert. 3'33'; for solo piano. In memoriam Janet Owen Thomas (1961-2002).
'In 1988, Janet Owen Thomas met up with me in Sydney at the end of a short organ-recital tour - possibly her last before devoting herself entirely to composing. We returned to England together, doing a rapid circular tour of Northern India on the way. Alighting from the plane at Delhi we were hit by the whirling wind and torrential rain of the seasonal monsoon, and early the following morning there was also a minor earthquake.
This experience determined the spirit of the music, and Northern Indian Raga determines the purely technical approach, withthe quasi-improvisatory toccatalike textures acting as decoration to a slow-moving, widely-spaced modal top line which almost loses control of the overall shape at the mid-point - a reflection of the impact of those natural phenomena.'
A.G. $9.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Phantom of the Opera (Beginning Piano Solo) Piano solo [Sheet music] - Beginner Hal Leonard | | |
| Andrew Lloyd Webber: The Phantom Of The Opera (Alto Saxophone)
Alto Saxophone - Intermediate Hal Leonard
Composed by Andrew Lloyd Webber. For alto saxophone. Format: alto saxophone solo...(+)
Composed by Andrew Lloyd Webber. For alto saxophone. Format: alto saxophone solo book (no piano accompaniment is available for this title). Broadway and broadway. 16 pages. 9x12 inches. Published by Hal Leonard.
(15)$9.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Shadows of Silence Piano solo Wilhelm Hansen
Piano SKU: HL.14030976 Piano. Composed by Bent Sorensen. Music Sal...(+)
Piano SKU: HL.14030976 Piano. Composed by Bent Sorensen. Music Sales America. Classical. Book [Softcover]. 24 pages. Edition Wilhelm Hansen #KP01588. Published by Edition Wilhelm Hansen (HL.14030976). ISBN 9788759853757. 9.5x14.25x0.086 inches. English. The composer writes, 'Quite some time ago I heard - through a conversation in a mobile phone - a wonderful concert of ringing church bells from an European capital. I found it very hard to concentrate about the conversation, because I was so engrossed by the chaotic world of bell sound. The night after, I dreamt that the sound of those low singing bells was rising up from a piano in a huge empty concert hall. That experience became the starting point for my piano piece, 'The Shadows of Silence'. But before the piece gets to the ringing bells it moves through a landscape of shadows - Shadows of the silence before the bells - Silence before the storm - Shadows of melodies which all the time leaves traces even in the short passages of storm. After the passage with the low ringing bells the shadows of silence returns melted in to a lament, which are sending two regards. One to two small beautiful - not very well known - bars by Mozart, and one to the sextet in my own opera, 'Under the Sky'. $16.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Klavierstucke (Piano Pieces) Piano solo [Score] Furore Verlag
Composed by Fanny Hensel-Mendelssohn. Edited by Raimund Schacher. Piano Pieces b...(+)
Composed by Fanny Hensel-Mendelssohn. Edited by Raimund Schacher. Piano Pieces by Fanny Hensel Vol. 12. Romantic. Score. Published by Furore Verlag (FV.FUE-10148).
$24.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Transformations: Ten Piano Solos Based on Timeless Hymn Tunes Piano solo Beckenhorst Press
Composed by Howard Helvey. Beckenhorst Press #PC25. Published by Beckenhorst ...(+)
Composed by Howard Helvey.
Beckenhorst Press #PC25.
Published by Beckenhorst
Press
$18.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Derde Fantasia - Fantasia nr. 3 for Piano Solo Piano solo Metropolis Music Publishers
Piano Solo SKU: IS.PN4516EM Composed by Peter Benoit. Keyboards - Piano. ...(+)
Piano Solo SKU: IS.PN4516EM Composed by Peter Benoit. Keyboards - Piano. Metropolis Music Publishers #PN4516EM. Published by Metropolis Music Publishers (IS.PN4516EM). ISBN 9790365045167. Peter Benoit was born at Harlebeke on 17 August 1834 and died in Antwerp on 8 March 1901. He was, without doubt, the most important Flemish composer of the nineteenth century, responsible for the foundation of a Flemish national school of music. He studied at the Brussels Conservatory, where his teachers included Fétis, and won the Grote Rome Prize, the highest musical distinction in Belgium. He made use of the money from the prize for a study tour through Germany and Bohemia and afterwards settled in Paris where, in 1862, he became conductor of the Buffes-Parisiens. The following year he returned to Brussels and achieved phenomenal success with his Quadrilogie religieuse for choir and orchestra and with the oratorio of 1866, Lucifer. From then onwards he laid aside instrumental music and concentrated almost exclusively on vocal and choral music with Flemish texts. In 1867 he settled in Antwerp, where he was appointed director of the local music school, which under his leadership became the Royal Flemish Music Conservatory. In addition to his activity as a composer, he proved himself to be a remarkable educator, conductor and music administrator. $17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Seven Days Piano solo Schott
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregor...(+)
Piano (Piano Solo) SKU: HL.49046935 Solo Piano. Composed by Gregory Spears. Piano Solo. Classical. Softcover. 98 pages. Duration 6180 seconds. Schott Music #ED30418. Published by Schott Music (HL.49046935). ISBN 9781705169353. UPC: 842819116837. 9.25x12.0x0.5 inches. SEVEN DAYS is a cycle for solo piano in 21 movements, most lasting between three and seven minutes, distributed in the form of a custom app produced by the 92Y and released during their Fall 2021 season. Using the app on their phones, listeners are asked to listen to three movements a day according to an approximate schedule - one movement in the morning, one in the afternoon, and another sometime in the evening - for seven days. The music is performed by Pedja Muzijevic and presented alongside paintings by Gloria Maximo. (Please visit 92Y.org for information on how to download the Seven Days app.) The work is designed as a listening experience that tunes us into the passing of time, connecting us both to the present moment as well as the cycle of the week. The experience invites music to inhabit and structure our everyday - to find us where we are in the world. The morning-afternoonevening schedule is meant to focus participants on the dawn-to-dusk cycle as well as to create a communal listening ritual. It is also an experiment in large-scale form, designed to draw attention to musical material developing across a week-long expanse, interspersed with vast silences. SEVEN DAYS was shaped by a year spent in relative isolation due to the pandemic. While it is a work composed during a time of quarantine, it will be experienced first by an audience in the process of returning to a more normal world. In that sense, it is an artwork born out of a year of relatively cloistered existence that seeks to preserve aspects of that experience as we move forward. The piece was also inspired by the work of Morton Feldman and Chantal Akerman, whose large-scale works consider time, process, and stillness. Their art struck me with a fresh relevance during the silent stretches of the pandemic year 2020. It was also a year in which writings about time, penned by contemplatives like Henry David Thoreau and Thomas Merton, held new weight. All of this in turnresonated with Gloria Maximo's profound paintings, which I've long admired. SEVEN DAYS is an artwork we are invited to do - using music to point our attention to the present moment, the everyday, and the seemingly mundane. It is a piece listeners are also asked to live within as it unfolds over a week rather than to witness it live. The key players here are time and the listener's own surroundings, starring together alongside music and art in a wordless drama. -Gregory Spears. $105.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata for Trombone & Piano Trombone and Piano - Advanced Cherry Classics
Trombone and Piano - advanced SKU: CY.CC2726 Composed by Armand Russell. ...(+)
Trombone and Piano - advanced SKU: CY.CC2726 Composed by Armand Russell. Contemporary American. Solo part and Piano accompaniment. Published by Cherry Classics (CY.CC2726). The first movement, Prologue, consists of an Exposition (bars 1-42) with a main theme followed by four development sections and ending with a return to the main theme before a short coda. The second movement, Variants is a set of seven variations on the theme presented in the opening with descriptive terms pointing out the contrasts between the variations. The final movement is titled an Epilogue follows the general structure of ABCDCEBA which is a modified arch form with an abundant use of dance-like syncopated rhythms but a lyric and less active middle section D for contrast.
This work of about 17 minutes in length is suitable for advanced performers. $27.50 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mazurka de Salon Flute and Piano [Sheet music] - Intermediate/advanced Schott
Flute and Piano. Composed by Albert Franz Doppler (1821-1883). Edited by ...(+)
Flute and Piano. Composed by Albert Franz Doppler (1821-1883). Edited by Stefan Albrecht. Woodwind Solo. Softcover. 14 pages. Schott Music #FTR226. Published by Schott Music (HL.49045103).
$13.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto Alto Saxophone and Piano Sikorski
Alto Saxophone; Piano Accompaniment (Score and Solo Part) SKU: HL.50601598(+)
Alto Saxophone; Piano Accompaniment (Score and Solo Part) SKU: HL.50601598 Alto Saxophone and Piano Reduction Exempla Nova 680. Composed by Edison Denisov. Woodwind Solo. Classical. Softcover. 121 pages. Sikorski #SIK8880. Published by Sikorski (HL.50601598). 8.0x11.75 inches. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova). $64.00 - See more - Buy online | | |
| The Wind Won't Listen Theodore Presser Co.
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Compose...(+)
Bassoon, Viola, Violin 1, Violin 2, Violoncello SKU: PR.16400261S Composed by Dan Welcher. With Standard notation. Duration 15 minutes. Theodore Presser Company #164-00261S. Published by Theodore Presser Company (PR.16400261S). UPC: 680160038411. Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher. $41.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Prairie Light Theodore Presser Co.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most enduringly and frequently played orchestral work, Prairie Light is a fascinating musical companion to three of Georgia O’Keeffe’s most unusual paintings, Light Coming on the Plains, Canyon with Crows, and Starlight Night. This work is ideal for performances using visual projections of the paintings, and is frequently programmed for subscription concerts as well as those for educational settings. Duration: 14’ Parts available on rental. This work for full orchestra was inspired by three paintings of the noted Americanartist Georgia O’Keeffe. These three watercolors were done in 1917 while the artist was living in Canyon, Texas (near Amarillo), and deal primarily with color and shape. Consequently, the music is primarily concerned with broad lines and shapes rather than rhythms, with subtle washes of color rather than constant harmonic movement, and with arching melody instead of linear counterpoint.The first movement, Light Coming on the Plains, is an elliptical-shaped painting, deep blue to indigo with a “horizon†at the bottom that seems flat and unchanging. The sun hasn’t risen yet, although it does in the course of this movement, but it seems instead to be providing light from behind the canvas. The music is unmoving in terms of rhythm or harmony (although there is a modulation midway through), a color-infused mantra of sound that is almost Eastern.At the height of the sun, we proceed to the second movement, entitled Canyon with Crows. The canyon is red-orange, with black crows circling above friendly unfolding hills. The music is gentle but lively and more rhythmic, with the birds represented by solo oboe, clarinet, and sometimes flute. Halfway through, the brass have a chorale version of the opening motive, played very slowly, over the unending triplets of woodwinds and strings. At the end of the movement, the birds return for a duo-cadenza, accompanied by the dying rays of the sun in muted strings and the ongoing triplets of the solo quartet.The stage is set for the final movement, Starlight Night. In O’Keeffe’s painting, the stars are represented by regularly-spaced rectangles of bright pale yellow on a blue-black sky, with the same shape to the field of vision and the horizon that is found in Light Coming on the Plains. The stars become audible: harp, celesta, glockenspiel, and string pizzicati all lend a sparkle while a solo flute introduces a slowly unfolding theme. After this theme has been heard twice and the sky has begun to really brighten, there is a sudden interruption: a xylophone and a piano begin another “mantra†in brittle staccato chords. This is the same mechanical eternity as O’Keeffe’s regularly-spaced square stars, and it continues on its own as the night progresses. The music builds and grows as the moon rises and arcs, then falls as the pre-dawn light that opened the work returns to bring it to a close. Acycle of light, changing with the movements of sun, moon, and stars, appearing differently from various points of view
$50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Violin Concerto Op. 39 Breitkopf & Härtel
Violin, piano (solo: vl - 1.2.2.2 - 2.1.1.0 - timp - str) SKU: BR.EB-9457 ...(+)
Violin, piano (solo: vl - 1.2.2.2 - 2.1.1.0 - timp - str) SKU: BR.EB-9457 Composed by Hans Gal. Edited by Anthony Eva and Fox Fox-Gal. Solo instruments; stapled. Edition Breitkopf. Solo concerto; Early modern; Music post-1945. Piano reduction. 56 pages. Duration 25'. Breitkopf and Haertel #EB 9457. Published by Breitkopf and Haertel (BR.EB-9457). ISBN 9790004189344. 9 x 12 inches. Gal composed his Violin-Concerto in 1931/32 at the height of his career. In 1929, as an internationally recognised composer, he had been appointed Director of the Mainz Music College. The new concerto was immediately published and successfully premiered in Dresden in February 1933 by the violinist Georg Kulenkampff under Fritz Busch. Hitler's seizure of power, however, meant for Gal - as a Non-Arian - immediate dismissal from his post, followed by bans on employment, performance, and publication. Gal returned to his native Austria, but in 1938 again had to flee, this time to Britain, where he stayed for the rest of his life. Though he remained creatively active in the internationally changed post-war cultural climate, it is not until recently that he has been rediscovered and recognised as a composer.The Concerto was performed again in 2005 for the first time since 1933; extremely successful CDs followed in 2010 and 2011.The orchestral parts interact contrapuntally with one another and with the solo part. It is therefore all the more important for the soloist to become familiar with the orchestral part through this edition of the composer's own piano reduction. $41.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 5 Shakespeare Songs for Solo Voice and Piano Metropolis Music Publishers
Singing with Piano SKU: IS.V6143EM Composed by Peter Benoit. Vocal. Metro...(+)
Singing with Piano SKU: IS.V6143EM Composed by Peter Benoit. Vocal. Metropolis Music Publishers #V6143EM. Published by Metropolis Music Publishers (IS.V6143EM). ISBN 9790365061433. Peter Benoit was born at Harlebeke on 17 August 1834 and died in Antwerp on 8 March 1901. He was, without doubt, the most important Flemish composer of the nineteenth century, responsible for the foundation of a Flemish national school of music. He studied at the Brussels Conservatory, where his teachers included Fétis, and won the Grote Rome Prize, the highest musical distinction in Belgium. He made use of the money from the prize for a study tour through Germany and Bohemia and afterwards settled in Paris where, in 1862, he became conductor of the Buffes-Parisiens. The following year he returned to Brussels and achieved phenomenal success with his Quadrilogie religieuse for choir and orchestra and with the oratorio of 1866, Lucifer. From then onwards he laid aside instrumental music and concentrated almost exclusively on vocal and choral music with Flemish texts. In 1867 he settled in Antwerp, where he was appointed director of the local music school, which under his leadership became the Royal Flemish Music Conservatory. In addition to his activity as a composer, he proved himself to be a remarkable educator, conductor and music administrator. $25.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| New Orleans Midnight - Easy Heritage Music Press
By Harris. Jazz band. Level: Grade 2. Heritage Jazz Band. Published by Heritage ...(+)
By Harris. Jazz band. Level: Grade 2. Heritage Jazz Band. Published by Heritage Music Press.
$45.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto For Violin And Orchestra Carl Fischer
Orchestra violin, piano SKU: CF.B3470 Composed by Julia Perry. Set of Sco...(+)
Orchestra violin, piano SKU: CF.B3470 Composed by Julia Perry. Set of Score and Parts. 26+13 pages. Duration 17 minutes. Carl Fischer Music #B3470. Published by Carl Fischer Music (CF.B3470). ISBN 9781491159460. UPC: 680160918058. The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life. What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life. $24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Turnage Ma Torn Fields Schott
Baritone and ensemble (STP) - difficult SKU: HL.49030468 For baritone ...(+)
Baritone and ensemble (STP) - difficult SKU: HL.49030468 For baritone and large ensemble. Composed by Mark-Anthony Turnage. This edition: Saddle stitching. Sheet music. Edition Schott. Piano reduction with solo part. Composed 2000-2002. 48 pages. Duration 26'. Schott Music #ED12741. Published by Schott Music (HL.49030468). ISBN 9790220121975. UPC: 884088566753. 9.0x12.0x0.165 inches. English. Emotions from intense anger to morbid despair are conveyed through this powerful vocal work depicting the viewpoints of poets from the Great War. Mark-Anthony Turnage's 'The Torn Fields' sets the words of Rudyard Kipling, Wilfred Owen, Isaac Rosenberg and Charles Sorley; the latter two of whom were killed in the trenches. Despite the dark nature of the work, it concludes with a symbol of humanity and hope, the music from the prologue returns with the poem Everyone Sang to creating a unified transcendence away from the fears and desolation of the torn fields. $44.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Textures - Intermediate Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3 SKU: CF.CAS103 Composed by Bill Calhoun. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 16+10+16+4+10+10+4+12 pages. Duration 3 minutes, 27 seconds. Carl Fischer Music #CAS103. Published by Carl Fischer Music (CF.CAS103). ISBN 9781491146637. UPC: 680160904136. 9 x 12 inches. Key: B minor. Textures is a rhythmic and driving composition from composer Bill Calhoun. It contains shifting meters and ostinato bass lines underneath jaunty melodic material. There is a respite from the angular textures during a luscious, slow, lyrical section that features a beautiful violin solo. The pointed textures return for a dramatic finish. Textures is an original composition for string orchestra set in B minor . In its introduction, which alternates between 4/4 and 6/8, the piece begins with an ostinato bass rhythm that sets the time for the other voices to add, creating an interesting texture . Continuing in its bright tempo, the main theme is introduced in 5/4, which eventually becomes the unifying feel of this section . This rhythmic motif trades back and forth between the violins, violas and cellos before moving into a full chorus finishing in 5/4 . There is a brief return to a tutti treatment of the introductory 4/4 to 6/8 material as it moves into a melodic 3/4 middle section . A solo violin begins this dance-like theme . After a short ritardando and closing fermata, this section moves into a return to the opening Allegro, though slightly quicker . First is the return to its A-theme, then using the introductory material to transition into its dynamic ending . About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Charango Capriccioso Peermusic Classical
Score and Parts SKU: HL.322832 For 2 Violins, Viola, 2 Cellos, & 1 Pia...(+)
Score and Parts SKU: HL.322832 For 2 Violins, Viola, 2 Cellos, & 1 Piano/4 Hands Score and Parts. Composed by Miguel Del Aguila. Peermusic Classical. Classical. Softcover. 28 pages. Duration 840 seconds. Peermusic Classical #70272-794. Published by Peermusic Classical (HL.322832). ISBN 9781540070012. UPC: 888680976644. 8.5x11.0x0.203 inches. Program Notes: Charango Capriccioso for piano and string quartet was written in 2016. It is based on a previous version of the work which was commissioned by the Austin Chamber Music Center, where it was premiered on July 11, 2006 by Cuarteto Latinoamericano, Felicity Coltman, Heather Coltman and Margaret Coltman. The previous version is scored for piano 4-hands, string quartet and a second cello. As with many of my works, Charango Capriccioso reflects on South America and its history. The work opens with a mysterious theme, which - in an enigmatic tongue - seems to invite us to a remote place high in the Andes. The piano and later the solo viola take us to a quiet beautiful landscape where soon the solo viola meditates about the sad events that took place there starting with the Spanish conquest. A charango (suggested by the piano) introduces an Andean-inspired upbeat theme which gains momentum after dancing through shifting rhythms and colorful orchestrations. At this point, the engimatic theme returns with a new, almost disturbing character. Before the dance flies out of control, the solo cello reappears with the meditative theme as distant bells (played by the piano) restore the peace. Miguel del Aguila. $32.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Amazing Grace Choral SATB - Intermediate Beckenhorst Press
SATB chorus, solo voice, piano - intermediate SKU: BP.BP2308 Arranged by ...(+)
SATB chorus, solo voice, piano - intermediate SKU: BP.BP2308 Arranged by Mark Hayes. Choral, School, Church, Community, Collegiate. Comfort / Healing / Hope,Confession / Forgiveness,General,Memorial / Funeral,With Hymn Tune. Octavo. Beckenhorst Press #BP2308. Published by Beckenhorst Press (BP.BP2308). 6.88 x 10.5 inches. Mark Hayes transforms the pentatonicism of the traditional hymn tune into a murmuring atmospheric texture in piano and SATB voices. Newly written material adds interest and contrast, building to an impactful high point before returning to the opening textures. Careful voice-leading ensures maximum effectiveness with minimum difficulty! $2.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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