| Rigaudon - Easy Carl Fischer
Band Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., ...(+)
Band Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Oboe, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone, baritone Saxophone, tenor Saxophone - Grade 2 SKU: CF.FPS169 Composed by Carl Strommen. Set of Score and Parts. Carl Fischer Music #FPS169. Published by Carl Fischer Music (CF.FPS169). ISBN 9781491163559. UPC: 680160922345. The rigaudon is a French Baroque dance with a lively duple meter. The music is similar to the bourrée, but the rigaudon is rhythmically simpler, and originated as a sprightly seventeenth-century French folk dance.Rigaudon should be treated as an ensemble piece and may be performed as such with one player per part. As always, attention to articulation and dynamics is important. $58.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Rigaudon [Score] Carl Fischer
Band Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., ...(+)
Band Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Euphonium, Euphonium T.C., Flute, Flute 2, Horn, Oboe, Timpani, Trombone, Trumpet 1, Trumpet 2, Tuba, alto Saxophone, baritone Saxophone, tenor Saxophone SKU: CF.FPS169F Composed by Carl Strommen. Full score. 12 pages. Carl Fischer Music #FPS169F. Published by Carl Fischer Music (CF.FPS169F). ISBN 9781491163955. UPC: 680160922741. The rigaudon is a French Baroque dance with a lively duple meter. The music is similar to the bourrée, but the rigaudon is rhythmically simpler, and originated as a sprightly seventeenth-century French folk dance.Rigaudon should be treated as an ensemble piece and may be performed as such with one player per part. As always, attention to articulation and dynamics is important. $9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Suite Ancienne (drums And Piano) Leduc, Alphonse
Written for a Paris Conservatoire contest, Ancient Suite is a piece in five part...(+)
Written for a Paris Conservatoire contest, Ancient Suite is a piece in five parts for Percussion and Piano and was composed by Maurice Jarre. All sections of this suite use different percussions: 1. Toccata ? for 4 Timpanies 2. Sarabande ? for Vibraphone, Chimes, Glockenspiel 3. Guigue ? for Snare Drums, Tambourine, Triangle, Castanets 4. Courant ? for Xylophone 5. Rigaudon ? for Drums Solo Maurice Jarre (1924-2009) was a French composer who wrote much film music, some concert pieces and some ballets. Among the most famous pieces he composed were for ?Lawrence of Arabia?, ?Dead Poets Society? and ?I Dreamed of Africa?.
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| Suite Classique pour percussion et piano Percussion, Piano (duet) Dhalmann
By Marcel Jorand. For Percussion and piano. Intermediate. Duration 5-8 minutes. ...(+)
By Marcel Jorand. For Percussion and piano. Intermediate. Duration 5-8 minutes. Published by Editions Francois Dhalmann
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| tellement froid que [Score] Carus Verlag
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bass flute and live electronics. Composed by Walter Feldmann. This edition: Paperbound. (r)TELLEMENT FROID QUE- (GEORGIQUES I). Full score. Composed 1995-96. 66 pages. Duration 20 minutes. Carus Verlag #CV 16.310/00. Published by Carus Verlag (CA.1631000). ISBN 9790007242800. Language: all languages. 1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann. $45.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Occasional Oratorio HWV 62 Soli, Mixted choir and accompaniment Soli, mixted choir, orchestra Barenreiter
Solo voices, choir, orchestra (Soprano Voice Solo, Tenor Voice Solo, Bass Voice ...(+)
Solo voices, choir, orchestra (Soprano Voice Solo, Tenor Voice Solo, Bass Voice Solo, Mixed choir: SSAATTBB, 2 Ob, 2 bassoon, 2 Hn, 3Trp, timpani, 3V, Va, Bassi, Org) SKU: BA.BA04089 Oratorio in three parts. Composed by George Frideric Handel. Edited by Merlin Channon. This edition: complete edition, urtext edition. Linen. Halle Handel Edition (HHA) Series I, Volume 23. Complete edition, Score. HWV 62. Duration 2 hours, 20 minutes. Baerenreiter Verlag #BA04089_00. Published by Baerenreiter Verlag (BA.BA04089). ISBN 9790006550081. 33 x 26 cm inches. Text Language: English. Text: Newburgh Hamilton. The “Occasional Oratorio†was composed as a reaction to a political event which shook the whole of England : the Jacobite rebellion of 1745-46 against the Hanoverian monarchy was crushed under the leadership of the Duke of Cumberland. Handel, who was working on the oratorio “ Judas Maccabaeus†at the time, composed the oratorio quickly and reused some movements from earlier works. With the choice of a libretto by Newburgh Hamilton he demonstrated his support for the monarchy. The work was first performed on 14 February 1746 at the Covent Garden Theatre in London . For the first time this seldomly performed oratorio which nevertheless contains wonderful music is available in an Urtext edition based on the “ Halle Handel Edition†. All available sources have been consulted. Further movements which Handel added for later performances are included in the appendix.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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