| A Little Suite for Heather - Intermediate Forsyth Publications
Treble Recorder and Piano - Intermediate SKU: FP.FCA01 Composed by Andrew...(+)
Treble Recorder and Piano - Intermediate SKU: FP.FCA01 Composed by Andrew Carter. Sheet Music and Books. A brand new work in three movements for treble recorder and piano by leading British composer Andrew Carter, for players of intermediate ability. Classical. Collection. Forsyths Publications #FCA01. Published by Forsyths Publications (FP.FCA01). ISBN 9790570503872. Forsyth is proud to publish this brand new work in three movements for treble recorder and piano by leading British composer Andrew Carter, for players of intermediate ability. Spring Song is a lilting pastorale, while the Pavane provides a plaintive recorder melody floating over fluid piano triads. Alpine Heather depicts a mountain scene with playful echoes rebounding from yodel calls. $14.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Village Scenes Oboe, Clarinet, Bassoon (trio) [Score and Parts] Brixton Publications
Composed by Howard J. Buss (1951-). The music is sophisticated, yet accessible, ...(+)
Composed by Howard J. Buss (1951-). The music is sophisticated, yet accessible, and makes a wonderful recital feature. The 3 picturesque movements are titled: I. Playground Games, The Church By the Spring, and The Arrival of Winter. 21st Century. Score and parts. Composed 2004. Duration 7'16 . Published by Brixton Publications (B7.B395).
$18.50 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Little Stompers Musical Awakening [Sheet music + Audio access] Hal Leonard
Songs and Movement Activities for the Music Classroom. Composed by Roger Emers...(+)
Songs and Movement Activities
for the Music Classroom.
Composed by Roger Emerson and
John Jacobson. Music Express
Books. Children, Children's
Choir, Choreography,
Classroom Resources,
Elementary, Young Choir.
Softcover Media Online. 48
pages. Published by Hal
Leonard
$24.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Spring (Piano / Violin) Violin and Piano Ricordi
Violin and Piano. By Antonio Vivaldi. Arranged by Maurizio Carnelli. (Violin). S...(+)
Violin and Piano. By Antonio Vivaldi. Arranged by Maurizio Carnelli. (Violin). String Solo. 20 pages. Published by Ricordi.
$16.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Saddest Noise Choral SATB SATB divisi, A Cappella Hal Leonard
Movement II from The Lost Birds. Composed by Christopher Tin. BH Secular Chora...(+)
Movement II from The Lost
Birds. Composed by Christopher
Tin. BH Secular Choral.
Concert, Poetry. Octavo. 16
pages. Duration 270 seconds.
Hal Leonard #M051486021.
Published by Hal Leonard
$2.75 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Primavera. Three Movements for Wind Quintet Woodwind Quintet: flute, oboe, bassoon, clarinet, horn [Score and Parts] Stainer and Bell
Wind Quintet SKU: ST.Y196 Composed by Rhian Samuel. Wind & brass music. S...(+)
Wind Quintet SKU: ST.Y196 Composed by Rhian Samuel. Wind & brass music. Score and Parts. Score and parts. Stainer & Bell Ltd. #Y196. Published by Stainer & Bell Ltd. (ST.Y196). ISBN 9790220220661. 1. Midwinter Spring 2. Opening Buds 3. Spring Midwinter. $44.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Danske Sanger: Forar 1 (Danish Secular Songs: Spring 1) Hal Leonard
SAM a cappella Choral (SA MEN, A CAPPELLA) SKU: HL.1141209 SAM-Klang C...(+)
SAM a cappella Choral (SA MEN, A CAPPELLA) SKU: HL.1141209 SAM-Klang Choral Series. Composed by Various. Arranged by Morten Schuldt-jensen. Choral. Softcover. Duration 210 seconds. Published by Hal Leonard (HL.1141209). ISBN 9781705184493. UPC: 196288115922. 6.75x9.0x0.19 inches. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire. $7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Musikgarten für Babys 2 Issue 2 Matthias Hohner
SKU: M7.MH-15012-15 Composed by Evemarie Mueller and Lorna Lutz Heyge. Th...(+)
SKU: M7.MH-15012-15 Composed by Evemarie Mueller and Lorna Lutz Heyge. This edition: Saddle-wire stitching. Sheet music with CD. Songbook, for parents. 48 pages. Matthias Hohner #MH 15012-15. Published by Matthias Hohner (M7.MH-15012-15). German. This 'Musical Garden for Babies' extends an invitation to babies of up to 18 months and their parents to join in a musical game. Making music together at this early stage provides the child with nourishment in three respects: for body, soul and brain. Through songs, rhymes and movement games children and those closest to them can enjoy discovering their own voices and bodies. Simple instruments such as wood blocks, rattles and drums lead the child into the world of sounds. Research has confirmed the positive influence of musical activity on the overall development of the child - in its musical ability, its social relationships and its intelligence. A lesson in the 'Musical Garden for Babies' is structured around the following activities: greeting and farewell songs - rhymes and games for bouncing baby on your knee - finger games and songs to develop awareness of the body - rocking songs and lullabies - songs for dancing and moving about to - echo games - introducing simple instruments - playing with pieces of cloth - listening to music. The teacher's book contains information on infant development, explanations of the principles behind teaching and plenty of ideas for lessons. The song books with CD make it possible to take the 'sound environment' of the music lesson home with you and to keep singing and enjoying the songs with the family. $26.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Rite of Spring Flute and Piano Carl Fischer
(Movements I and II Arranged for Flute and Piano). By Igor Fyodorovich Stravinsk...(+)
(Movements I and II Arranged for Flute and Piano). By Igor Fyodorovich Stravinsky. Arranged by David Dutkanicz. For flute, piano. 8 + 2 pages. Duration 7 minutes. Published by Carl Fischer
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonatina - Spring 1967 Piano solo [Score and Parts]
Piano SKU: SU.26190280 For Piano. Composed by Don Freund. Keyboard...(+)
Piano SKU: SU.26190280 For Piano. Composed by Don Freund. Keyboard, Piano/Harpsichord. Score & Parts. Freundworks Publishing #26190280. Published by Freundworks Publishing (SU.26190280). Attractive sonatina with three movements, in the Prokofiev classical stylePiano Duration: 6' Composed: 1967 Published by: Freundworks Publishing. $15.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Into the Joy of Spring Concert band [Score] - Easy Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3169-75 Concert Band. Classics Series. Audio recordin...(+)
Grade 3 SKU: CL.012-3169-75 Concert Band. Classics Series. Audio recording available separately (items CL.WFR337 & CL.WFR318). Oversized, spiral-bound score. Composed 2001. Duration 6 minutes, 14 seconds. Opus III Wind Orchestra Publications #012-3169-75. Published by Opus III Wind Orchestra Publications (CL.012-3169-75). A masterfully written and delightfully descriptive piece in three movements that paints a musical picture of the transition of seasons from the fury of winter into the blossoming joy of springtime. This colorful composition is certain to be included on many contest and festivals lists. About C.L. Barnhouse Classics Series Under the editorial supervision of Dr. Alfred Reed, these classics from master composers have been adapted and arranged for concert band. A perfect way to acquaint concert band performers and audiences with some of the greatest classical music of all time! $30.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonatina - Spring 1967 Flute and Piano [Score and Parts]
Flute & Piano SKU: SU.26190290 For Flute & Piano. Composed by Don ...(+)
Flute & Piano SKU: SU.26190290 For Flute & Piano. Composed by Don Freund. Woodwinds, Flute/Piccolo. Accompanied by piano. Score & Parts. Freundworks Publishing #26190290. Published by Freundworks Publishing (SU.26190290). Attractive sonatina with three movements, in the Prokofiev classical styleFlute & Piano Duration: 6' Composed: 1991 Published by: Freundworks Publishing. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Movements from The Four Seasons Violin and Piano Chester
(for Violin and Piano). By Nigel Kennedy. By Antonio Vivaldi (1678-1741). Arrang...(+)
(for Violin and Piano). By Nigel Kennedy. By Antonio Vivaldi (1678-1741). Arranged by Jerry Lanning. For Violin, Piano Accompaniment. Music Sales America. Baroque, Classical. 24 pages. Chester Music #CH59055. Published by Chester Music
$13.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Rite of Spring Carl Fischer
(Movements I and II Arranged for Trumpet in Bb and Piano). Composed by Igor Fyod...(+)
(Movements I and II Arranged for Trumpet in Bb and Piano). Composed by Igor Fyodorovich Stravinsky. Arranged by David Dutkanicz. For Bb trumpet, piano. 8 + 2 pages. Duration 7 minutes. Published by Carl Fischer
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonatina - Spring 1967 Violin and Piano [Score and Parts]
Violin & Piano SKU: SU.26190300 For Violin & Piano. Composed by Do...(+)
Violin & Piano SKU: SU.26190300 For Violin & Piano. Composed by Don Freund. Strings, Violin. Accompanied by piano. Score & Parts. Freundworks Publishing #26190300. Published by Freundworks Publishing (SU.26190300). Attractive sonatina with three movements, in the Prokofiev classical styleViolin & Piano Duration: 6' Composed: 1991 Published by: Freundworks Publishing. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| James Swearingen: Into the Joy of Spring Concert band [Score and Parts] - Intermediate C.L. Barnhouse
By James Swearingen. Bestseller. Concert Band. Level: Grade 3.5. Score and set o...(+)
By James Swearingen. Bestseller. Concert Band. Level: Grade 3.5. Score and set of parts. Composed 2001. Duration 0:06:14. Published by C.L. Barnhouse.
$84.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Easy Suite Movements and Single Pieces Piano solo [Score] Breitkopf & Härtel
Piano SKU: BR.EB-8033 Piano Lessons by Jean-Philippe Rameau. Compo...(+)
Piano SKU: BR.EB-8033 Piano Lessons by Jean-Philippe Rameau. Composed by Jean-Philippe Rameau. Edited by Heinz Walter. Solo instruments; stapled. Edition Breitkopf. Suite; Dances/marches; Baroque. Score. 20 pages. Breitkopf and Haertel #EB 8033. Published by Breitkopf and Haertel (BR.EB-8033). ISBN 9790004174364. 9 x 12 inches. This series of easy piano music for teaching purposes presents pupils in the lower and lower middle grades with a carefully chosen selection of well-known and lesser-known compositions by important masters. The volumes are deliberately kept small in extant, since it is more stimulating for children to change the teaching material frequently. Jean-Philippe Rameau (1683-1764) is the second great keyboard master of the Baroque Age next to Couperin. His works are as unknown to pianists, with few exceptions, as they are famous among harpsichord players. The virtuosity and imaginativeness of his works lend themselves especially well to the sound of harpsichord, which is why the piano interpretation of works by Couperin, Rameau, Scarlatti and other composers of that time has been categorically rejected. But, after all, the works of Bach and Handel were written for the harpsichord and clavichord, and no one would dare question their interpretation on the pianoforte. In order to introduce these Impressionists of the Baroque Era to piano instructions, the editor has added to this series a folio of both Couperin's (EB 8029) and Rameau's music. The selection of the pieces is based on two criteria: 1. relatively modest demands made on technique, 2. various musical forms of expression. Baroque dance forms and graceful character pieces (LaJoyeuse, L'Indifferente) are typical ofRameau's work. Simplifications to a small extent of the harpsichord setting and also of the omamentation in the original version were required, based on the teaching experience of the editor. The indications for phrasing and articulation are those of the editor. The Minuet on page 6 has been precisely elaborated on in this respect to serve as a model, whereas the remaining pieces contain only suggestions. As in other folios of this series: what is here to be stressed, is the importance of working out independently the phrasing and the dynamics. Directions for this are given by the espective footnotes; these directions, however, are not obligatory. Indications pertaining to dynamics and tempo have been omitted completely; the clearly recognizable character of the individual pieces should be direction enough. The tonal possibilities of the piano should in any case by used subtly. The very precise fingerings have been adapted to the suggested phrasings and to the corresponding realisation of trills (according to the table). Heinz Walter, Salzburg, Spring 1980. $15.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonata (Spirit of the Hudson) Flute and Piano Theodore Presser Co.
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorf...(+)
Chamber Music Bass Flute, Piano SKU: PR.114418900 Composed by Daniel Dorff. Set of Score and Parts. 24+8 pages. Duration 14 minutes. Theodore Presser Company #114-41890. Published by Theodore Presser Company (PR.114418900). ISBN 9781491129517. UPC: 680160668632. A welcome addition to the bass flute repertoire, Dorff’s 14-minute sonata is designed as two pairs of slow-fast movements. While composed as a complete 4-movement sonata, either half may be performed alone as a 7-minute recital work. The movement titles are: I. Sprawling, burbling; II. Sparkling, glistening; III. Under Winter; and IV. Spring Spirits. When Peter Sheridan commissioned me to write a piece for bass flute and piano, his only requests were a sonata-like multi-movement work, and some kind of reference to New York, where we both grew up. Just the thought of a bass flute, with its broad and mighty airstream, already reminded me of the mighty Hudson River: from the dense woods of upstate New York, through the beautiful landscapes of New Paltz and Poughkeepsie, down through the celebrated Manhattan waterway.As I daydreamed how to build a sonata inspired by the Hudson, I thought of its deep primal nature carved by the Ice Age, and the life within the river and on its shores long before humans arrived. I thought of how the river’s magnetism drew Native Americans who honored and built their lives around it. I thought of beautiful trees and wildlife, the annual cycles of ecosystems, and the natural symbiosis between the river itself, the life within, and the life on land spawned by the river’s resources.I wondered what if Thoreau had sat by the Hudson rather than by Walden Pond; I wondered what if Hesse had set Siddhartha in the Hudson Valley with this river as his metaphor for the flow of life and time.I wondered whether the sonata should flow from north to south, or have chronological references. I wondered if I should allude to the many poets and painters who have drawn inspiration from the mighty Hudson. Every thought led to the river’s essence, its own spirit and life — flowing through raw nature, from skinny trickles to mightiness spawning cities; supporting subtle life, and becoming a central commons for human societies.The subtitle Spirit of the Hudson brings it all together.* * *The sonata is built in 4 movements, with formal inspiration from the Baroque: A slow Mvt. 1 “Sprawling, burbling†leads directly to the rapid Mvt. 2 “Sparkling, glistening,†followed by another slow-fast pair: Mvt. 3 “Under Winter†which leads directly into Mvt. 4 “Spring Spirits.†In addition to performances of the complete sonata, either pair of movements may be performed on its own for a shorter concert segment.SONATA (SPIRIT OF THE HUDSON) was premiered at the International Low Flutes Festival in April 2018 by its commissioner, bass flutist Peter Sheridan, with Hyeeun Hahm as pianist. $21.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Amatemi ben mio 1 (European Love Songs 1) Hal Leonard
SAM a cappella Choral (SA MEN, A CAPPELLA) SKU: HL.1141210 SAM-Klang C...(+)
SAM a cappella Choral (SA MEN, A CAPPELLA) SKU: HL.1141210 SAM-Klang Choral Series. Composed by Various. Arranged by Morten Schuldt-jensen. Choral. Softcover. Duration 210 seconds. Published by Hal Leonard (HL.1141210). ISBN 9781705184509. UPC: 196288115939. 6.75x9.0x0.146 inches. The name SAM-Klang takes the three voice parts from the arrangements -- Soprano, Alto and Men -- and combines it with the Scandinavian and German words for “sound†to create the portmanteau word “sound together†or “harmony.†The series offers basic and advanced choral repertoire. In addition to new repertoire and new arrangements, you will also find essential parts of the classical German, Scandinavian, French and English SATB repertoire, carefully and considerately reworked for SAM. The arrangements retain the characteristic features of the original movements and have almost the same richness of timbre, resulting in works which sound nearly unchanged to an audience. Piano reductions of all choral movements facilitate rehearsal preparation. The arrangements offer development opportunities for all voice sections, bringing new life and new quality to SAM choir work. SAM-Klang enables youth choirs to gain access to classical choral literature and ensures that mixed choirs who face challenges in finding singers for all male voice parts continue to have access to well-loved repertoire. $7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Real Little Classical Fake Book - 2nd Edition Piano solo - Intermediate Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Difficulty: medium to medium-difficult. Fakebook. Melody line, chord names and lyrics (on some songs). 413 pages. Published by Hal Leonard
$27.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Baritone, Mixed Choir and Orchestra. Composed by Karol Szymanowski. Classical. Book Only. Composed 2000. 68 pages. Polskie Wydawnictwo Muzyczne #PWM5447. Published by Polskie Wydawnictwo Muzyczne (BT.PWM5447). ''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka]. $28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Six Winter Scenes for two pianos (Kuusi talven kuvaa kahdelle pianolle) 2 Pianos, 4 hands [Score] Fennica Gehrman
2 pianos SKU: FG.55011-893-5 Composed by Lauri Kilpiö. Classical, cont...(+)
2 pianos SKU: FG.55011-893-5 Composed by Lauri Kilpiö. Classical, contemporary, pedagogical. Score. Fennica Gehrman #55011-893-5. Published by Fennica Gehrman (FG.55011-893-5). ISBN 9790550118935. Lauri Kilpiö's (b. 1974) Six Winter Scenes for two pianos (2022) was commissioned by Joensuu Conservatory. The nostalgic memories and different impressions of winter take the technical abilities of the performers into consideration. The short, hazy movement I Blue Dusk Descends brings the winter. The other move-ments include the bright movement II Echoes in a Snowy Forest, the toccata-style movement III Ride through a Blizzard, the glitteringly impressionistic movement IV Ice Skating on the River, the enigmatic movement V Birds on the Snowdrift, and the energetic movement VI Woken Bear Rock, which brings the spring.
The suite can be performed in its entirety at a time, or it is also possible to perform only individual movements of it. The same piano duo may perform the whole work, or the performers may also change between the movements.
Duration: 14'
Osat / Movements I Sininen hämärä laskeutuu | Blue Dusk Descends II Kaiut lumisessa metsässä |Echoes in a Snowy Forest III Ratsastus läpi pyryn | Ride through a Blizzard IV Luistelu joella | Ice Skating on the River V Linnut hangella | Birds on the Snowdrift VI Heränneen karhun rock | Woken Bear Rock
This product includes one performance score (both piano parts in the same score). $27.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Contextures: Riots - Decade '60 Orchestra Theodore Presser Co.
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Scor...(+)
Orchestra SKU: PR.11641867L Composed by William Kraft. Spiral. Large Score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867L. Published by Theodore Presser Company (PR.11641867L). UPC: 680160683215. Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death. $105.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Contextures: Riots - Decade '60 Orchestra [Score] Theodore Presser Co.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Duration 16 minutes, 25 seconds. Theodore Presser Company #116-41867S. Published by Theodore Presser Company (PR.11641867S). UPC: 680160683208. Contextures: Riots -Decade '60 was commissioned by Zubin Mehta and the Southern California Symphony Association after the successful premiere of the Concerto for Four Percussion Soloists and Orchestra. It was written during the spring and summer months of 1967. Riots stemming from resentment against the racial situation in the United States and the war in Vietnam were occurring throughout the country and inevitably invaded the composer's creative subconscious. Contextures, as the title implies, was intended to exploit various and varying textures. As the work progressed the correspondence between the fabric of music and the fabric of society became apparent and the allegory grew in significance. So I found myself translating social aspects into musical techniques. Social stratification became a polymetric situation where disparate groups function together. The conflict between the forces of expansion and the forces of containment is expressed through and opposition of tonal fluidity vs. rigidity. This is epitomized in the fourth movement, where the brass is divided into two groups - a muted group, encircled by the unmuted one, which does its utmost to keep the first group within a restricted pitch area. The playful jazzy bits (one between the first and second movements and one at the end of the piece) are simply saying that somehow in this age of turmoil and anxiety ways of having fun are found even though that fun may seem inappropriate. The piece is in five movements, with an interlude between the first and second movements. It is scored for a large orchestra, supplemented by six groups of percussion, including newly created roto-toms (small tunable drums) and some original devices, such as muted gongs and muted vibraphone. There is also an offstage jazz quartet: bass, drums, soprano saxophone and trumpet. The first movement begins with a solo by the first clarinetist which is interrupted by intermittent heckling from his colleagues leading to a configuration of large disparate elements. The interlude of solo violin and snare-drum follows without pause. The second movement, Prestissimo, is a display piece of virtuosity for the entire orchestra. The third movement marks a period of repose and reflection and calls for some expressive solos, particularly by the horn and alto saxophone. The fourth movement opens with a rather lengthy oboe solo, which is threatened by large blocks of sound from the orchestra, against an underlying current of agitated energy in the piano and percussion. This leads to a section in which large orchestral forces oppose one another, ultimately bringing the work to a climax, if not to a denouement. Various thematic elements are strewn all over the orchestra, resulting in the formation of a general haze of sound. A transition leads to the fifth movement without pause. The musical haze is pierced gently by the offstage jazz group as if they were attempting to ignore and even dispel the gloom, but a legato bell sound enters and hovers over both the jazz group and the orchestra, the latter making statements of disquieting finality. Two films were conceived to accompany portions of Contextures. The first done by Herbert Kosowar, was a chemography film (painting directly into the film using dyes and various implements) with fast clips of riot photographs. The second was a film collage made by photographically abstracting details from paintings of Reginald Pollack. The purpose was to invoke a non-specific response - as in music - but at the same time to define the subject matter of the piece. The films were constructed to correspond with certain developments in the piece and in no way affect the independence and musical flow of the piece, having been made after the piece was completed. Contextures: Riots - Decade '60 is dedicated to Mehta, the Southern California Symphony Association and the Los Angeles Philharmonic Orchestra. The news of the assassination of Dr. Martin Luther King came the afternoon of the premiere, April 4, 1968. That evening's performances, and also the succeeding ones, were dedicated to him and a special dedication to Dr. King has been inserted into he score. All the music that follows the jazz group - beginning with the legato bell sound playing the first 2 notes to We shall overcome constitutes a new ending to commemorate Dr. King's death. $43.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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