Par REGISTER P. BRENT. A seven movement song-cycle based on poetry of Philip Terman. The movements are titled Prelude, Spring, Summer, Interlude, Fall, Winter, Postlude. A seven movement song-cycle based on poetry of Philip Terman. The movements are titled Prelude, Spring, Summer, Interlude, Fall, Winter, Postlude./ Répertoire / Flûte Traversière, Violoncelle, Baryton et Piano

Score and parts for Simon Holt's Piano Trio: Los Ojos for Piano Violin and Cello.Piano Trio: Los Ojos was first performed on 25th November 2013 in the Amaryllis Fleming ConcertHall at the Royal College of Music London by Johannes Marm?n (Violin) Zo? Saubat (Cello) and Gwenaelle Rouger (Piano).I finished writing Piano trio: Los Ojos in early May 2007. It is approximately13 minutes long and has a three-movement structure of essentially two slow movements separated by a central fast section. The final slow movement is a variation of the opening movement ending with a ?toy? defined by ThomasMace(a contemporary of William Lawes) in his 1676 book Musicke?s Monument as ?a light-Squibbish Thing only fit for Fantastical and Easie-Light-Headed People; and are of any sort of Time?.The Machado poem behindthe piece Los Ojos (the eyes) is about a widower who has locked himself away but after a year begins to wonder about the colour of his beloved?s eyes. He is horrified that he can?t remember. One spring day he leaves the houseand just happens to glimpse a flash of eyes through a window and instantly recalls the colour; ??Como esos!?; ?Like those!?. The three movements have the titles: 1] su memoria y el espejo ?his memory and the mirror?; 2] ?Comoeran? ?How were they??; and 3] ?Como esos! ?Like those!?. - Simon Holt

PrefaceThe three movements of the quartet may be perceived as three different expressions of an unstable core: an inherent unrest leads to frequent changes of direction. The first movement is full of dramatic contrasts; it is followed by a second movement whose basic mood of meditative rest is challenged by occasional centrifugal utbursts while the third movement takes the inherent conflicts to a higher level contrasting material of introspective lyricism with excessively pathetic moods.The final ?way out? is a retrograde one (back) ?into the source?: through a constant accelerando-diminuendo the piece disappears into a vanishing point. The ?into thesource? of the title may be visualized as a reversed fountain-action: the broad fan-like spread of the first movement a more coherent-solid second movement and finally - in the third movement - a return-run ever more vehemently like a suction into the spring itself ?The musical motifs are varied; there are traffic-situations (which I heard!) with stomping and machine-like rhythms in different but simultaneous tempi and there are more abstract upwards and downwards half-tone-scales with changing accents creating glimpses of melodies.INTO THE SOURCE String Quartet No. 9 was composed on a double-commission from the Orion Quartet and the Vertavo Quartet. The premiere performances took places in Santa Fé in 2002 and in Oslo in 2003.Per Nørgård

The Essential Collection continues with a folio of the greatest works by Antonio Vivaldi. The pieces include his celebrated Violin Concertos and, of course, movements from the Four Seasons, all arranged as Piano solos for you to learn and enjoy. / Classique / Partition /

Par PAVAN CARLOS. Fantasias Concertantes for Bassoon and Guitar by Carlos Pavan. Composer and guitarist Carlos Pavan was born in Argentina and has lived in New York City since the year 2000. In three movements, After Bartók is inspired by Concerto for Orchestra's first movement (the trumpet's theme/quartal harmony/octatonic scale), After Hindemith is based on Symphonic Metamorphosis (2nd movement 'Turandot') using pentatonic/whole tone scale/contrary motion counterpoint, and After Stravinsky is inspired by The Rite of Spring

Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.

This suite for clarinet and string quartet contains creative arrangements and interpretations of jazz and 20th Century art music in a highly original contemporary classical idiom. It consists of four movements one for each season: Les feuiles mortes (Joseph Kosma) The Snow is Dancing (Debussy) It Might As Well Be Spring (Richard Rogers) Variations on Summertime (George Gershwin). The movements in this suite may be performed individually or in seasonal order beginning with any movement. Borrowed Times was written for and dedicated to clarinetist David Shifrin and Chamber Music Northwest.

Work for Oboe Bassoon Horn Violin and Cello. Parts available: KP00198 The composer writes: 'The Quintet TROTTO was composed in the spring 1983 to the Western Jutland Chamber Ensemble who premiered the work in June the same year. A quiet and pastoral music with calling horns and folk musical fragments of melodies are through the three movements of the piece met by a manic and stressed music among others created by mecanical sound repetitions and breathless musical oscillations. The two characters overshadow eachother and incessantly the peace is infiltrated with mania so that the resting points of the music disappear. 'Trotto' is the name of an old Italian dance whichrhythm is apparent as an enervating violin rhythm in the middle of the first movement'

Sadie Harrison's Ha llristningsomra det for solo Double Bass.Composed and published 2016.Duration c. 10 minutesThe area of Tanumshede is situated on the south western coast of Sweden. Archaeologically it is renowned for its unique series of Bronze Age rock carvings dating from between c. 1800 to 500 BCE. Incised into over 600 panels the petroglyphs were originally situated along a 25 mile stretch of fjord coastline and as such there are many depictions of Hjortspring boats and seafaring activities. There are also scenes of hunting agricultural and livestock farming and warring with many armoured figurescarrying swords axes and shields. Whilst it is possible to interpret most carvings as images of quotidian life the meaning of some panels is less clear. It is likely that several scenes depict ritual acts overseen by gods often surrounded by abstract symbols - crosses dots and ‘cups’ the significance of which is now unknown. As well as being a source of information about Scandinavian Bronze Age weapons vehicles tools ships even hairstyles the carvings have also been the subject of debates about gender. The society depicted on the rocks seems overwhelmingly patriarchal making the rare carvings of probable female figures particularly important. The most famous of these is known as The Grieving Woman apparently weeping over a dead warrior from a ship. Her grief ‘heavy as rocks’ is heard in the opening movement of the piece echoing through the remaining movements and giving the work its dark melancholy character. The Woman returns in the final movement as a ghost her footsteps coming closer and closer as her ‘lover’s’ ship is rebuilt over and over again. Movement III is gentler in tone a song for the Woman and her lover - depicted as a couple rolling a giant sun surrounded by farm animals. Movement II represents the enigmatic Juggler or Calendar Man who holds 29 spheres in his hand - perhaps

Instrumentation : piano Description : The studies and study works by Carl Czerny (1791-1857) are part of the standard repertoire of piano lessons. These collections count among the most popular and most important works in piano education. Contenu : Volume 1: - Developing agility in the fingers without moving the hands - Crossing under with the thumg - Developing clarity and fluency - Agility in playing a quiet staccato - Evenness in parallel runs - Clarity in playing broken chords - Dynamic tension when plying with force - Changing fingers at speed - . - Volume 2: - Staccato playing with a gentle spring - Playing in thirds - Facility in changing fingers - Flexibility in the left hand - Optimising fluency - Playing sequences of chords - Dynamic tension when playing with force - Changing fingers at speed - . - Volume 3: - Rapid minor scales - Crossing hands with a gentle touch - Maintaining the movement of both hands - Playing double octaves - Matching the movement of both hands - Practising trills - Developing a gentle touch with the fingers on the left hand - Playing the thumb on the black keys with a completely relaxed hand - . - Volume 4: - Achieving clarity at speed - Playing sequences of chords as fast as possible - Independent movement of the fingers - Increasing agility in the fingers without moving the hand around - Practising mordents - Developing a firm attack - Exercise in crossing the thumb under - Lifting the fingers evenly - . - Volume 5: - A light touch with octave leaps - Playing trills in thirds - Changing fingers on a single key - Keeping the arm light when playing a smotth line - Achieving clarity at full force - Lifting both hands smoothly - Exercise in thirds - Light staccato chords - Increasing mobility of the fingers on the left hand - . - Volume 6: - Practising double mordents - Practising crossing the thumb under - Optimising mobility of the fingers with the gentlest touch - Legato melodic line with broken chords - Bravura attack and motion - Clarity and gentleness of touch with brocken chords - Practising trills - Bravura octaves - Bravura attack and playing in tempo Date de parution : 28/08/2006 Nombre de pages : 184 Langue : German - English - French Format : New Edition portrait