Viola - intermediate SKU: BT.DHP-1115172-401 Arranged by Coen Wolfgram an...(+)
Viola - intermediate
SKU:
BT.DHP-1115172-401
Arranged by Coen Wolfgram
and Nico Dezaire. De
Haske String Series. Folk
Klezmer. Book Only.
Composed 2011. 16 pages.
De Haske Publications
#DHP 1115172-401.
Published by De Haske
Publications
(BT.DHP-1115172-401).
ISBN 9789043139281.
9x12 inches.
English-German-French-Dut
ch.
Are you looking
for a duet book full of
surprises? Then
Klezmatic Duets is
just the right book for
you! It is available for
violin, viola and cello
and each book can be
combined with each other,
making these truly
flexible duets. The book
contains a selection of
well-known traditional
melodies which are very
different in character.
These skilful
arrangements allow
violinists and viola
players to play within
the first position. Cello
players play up to the
fourth
position.
Typisch
voor klezmer is de zeer
expressieve melodie die
zowel heel opgewekt kan
klinken als tegelijk
melancholisch of
weemoedig. Klezmatic
Duets is dan ook een
veelzijdige uitgave: tien
bekende en zeer
verschillende
klezmermelodieënzi
jn bewerkt voor twee
violen, twee altviolen of
twee cellos's. De
verschillende uitgaven
zijn onderling te
combineren.
Kle
zmatic Duets for
Violas ist ein
vielseitiges Buch: Zehn
bekannte, sehr
unterschiedliche
Klezmermelodien wurden
dafuÌr als Duette
fuÌr zwei Violas
bearbeitet; aus diesem
Buch kann aber auch
gemeinsam mit anderen
Streichern gespielt
werden, welche die
entsprechende Ausgabe
fuÌr Violine oder
Cello besitzen. Geiger
muÌssen fuÌr diese
StuÌcke nur die erste
Lage beherrschen.
Klezmatic
Duets for Violas
è una
pubblicazione che
può essere
utilizzata in diverse
combinazioni: 10 note
melodie klezmer sono
state arrangiate per due
viole. Si può
però suonare
assieme ad un altro
musicista che ha a
disposizione la versione
per violine o
violoncello. Per
lââ¬Ëesecuzione
di questi brani è
richiesta solo la
padronanza della prima
posizione.
For Alto and/or Tenor Saxophone. By Matthias Petzold. For Saxophone (Alto & Teno...(+)
For Alto and/or Tenor
Saxophone. By Matthias
Petzold. For Saxophone
(Alto & Tenor). Duets.
AMA Verlag. All Styles.
Level: Intermediate.
Book/CD Set. 52 pages.
Published by AMA Verlag.
101 Popular Songs for Alto Sax * Solos and Duets * with 3 CDs composed by Variou...(+)
101 Popular Songs for
Alto Sax * Solos and
Duets * with 3 CDs
composed by Various.
Arranged by Jonathon
Robbins. For alto sax.
This edition: Paperback.
Collection. Popular, Play
Along. Collection and 3
CDs. Text Language:
English. 160 pages.
Published by Santorella
Publications
Saxophone Duet - early intermediate SKU: BT.DHP-1115110-401 For Saxoph...(+)
Saxophone Duet - early
intermediate
SKU:
BT.DHP-1115110-401
For Saxophones (2x Eb
or 2x Bb). Composed
by Coen Wolfgram. De
Haske Saxophone Series.
Folk Klezmer. Book Only.
Composed 2011. 12 pages.
De Haske Publications
#DHP 1115110-401.
Published by De Haske
Publications
(BT.DHP-1115110-401).
ISBN 9789043136716.
9x12 inches.
International.
Are
you looking for a duet
book full of surprises?
Then 10 Klezmatic
Duets is just the
right book for you! It is
available for flute or
saxophone and each book
can be combined with the
other, making these truly
flexible duets. The book
contains a selection of
well-known traditional
melodies which are very
different in character.
Ideal for practice or
concert performances.
Typisch voor
klezmer is de zeer
expressieve melodie die
zowel heel opgewekt kan
klinken als tegelijk
melancholisch of
weemoedig. 10
Klezmatic Duets is
dan ook een veelzijdige
uitgave: tien bekende en
zeer verschillende
klezmermelodieënzijn
bewerkt voor twee fluiten
of twee saxofoons. De
verschillende uitgaven
zijn onderling te
combineren.
10
Klezmatic Duets ist
ein vielseitiges Buch:
Zehn bekannte, sehr
unterschiedliche
Klezmermelodien wurden
dafür als Duette
für zwei Flöten
oder zwei Saxophone
bearbeitet; aus diesem
Buch kann aber auch
gemeinsam mit anderen
Instrumentalisten
gespielt werden, welche
die jeweils andere
Ausgabe besitzen - so
klingt die Musik dann
sogar noch schöner!
10
Klezmatic Duets è
una pubblicazione che
contiene dieci note
melodie klezmer
arrangiate per duetti di
flauti o sax. E' anche
possibile combinare le
due pubblicazioni per
duetti misti. Così
facendo, far musica è
ancora più bello e
divertente!
10 Klezmatic Duets 2 Flûtes traversières (duo) - Facile De Haske Publications
Flute Duo - early intermediate SKU: BT.DHP-1115109-401 For Flutes....(+)
Flute Duo - early
intermediate
SKU:
BT.DHP-1115109-401
For Flutes.
Composed by Coen
Wolfgram. De Haske Flute
Series. Folk Klezmer.
Book Only. Composed 2011.
12 pages. De Haske
Publications #DHP
1115109-401. Published by
De Haske Publications
(BT.DHP-1115109-401).
ISBN 9789043142144.
9x12 inches.
International.
Are
you looking for a duet
book full of surprises?
Then 10 Klezmatic
Duets is just the
right book for you! It is
available for flute or
saxophone and each book
can be combined with the
other, making these truly
flexible duets. The book
contains a selection of
well-known traditional
melodies which are very
different in character.
Ideal for practice or
concert performances.
Typisch voor
klezmer is de zeer
expressieve melodie die
zowel heel opgewekt kan
klinken als tegelijk
melancholisch of
weemoedig. 10
Klezmatic Duets is
dan ook een veelzijdige
uitgave: tien bekende en
zeer verschillende
klezmermelodieënzijn
bewerkt voor twee fluiten
of twee saxofoons. De
verschillende uitgaven
zijn onderling te
combineren.
10
Klezmatic Duets ist
ein vielseitiges Buch:
Zehn bekannte, sehr
unterschiedliche
Klezmermelodien wurden
dafür als Duette
für zwei Flöten
oder zwei Saxophone
bearbeitet; aus diesem
Buch kann aber auch
gemeinsam mit anderen
Instrumentalisten
gespielt werden, welche
die jeweils andere
Ausgabe besitzen - so
klingt die Musik dann
sogar noch schöner!
10
Klezmatic Duets è
una pubblicazione che
contiene dieci note
melodie klezmer
arrangiate per duetti di
flauti o sax. E' anche
possibile combinare le
due pubblicazioni per
duetti misti. Così
facendo, far musica è
ancora più bello e
divertente!
Edited by Vladimir Bodunov. For violin and viola. Stapled. Ready to Play. Book. ...(+)
Edited by Vladimir
Bodunov. For violin and
viola. Stapled. Ready to
Play. Book. Text: English
and German. 19/15 pages.
Published by Baerenreiter
Verlag
Violin Duet - intermediate SKU: BT.DHP-1115171-401 Arranged by Coen Wolfg...(+)
Violin Duet -
intermediate
SKU:
BT.DHP-1115171-401
Arranged by Coen Wolfgram
and Nico Dezaire. De
Haske String Series. Folk
Klezmer. Book Only.
Composed 2011. 16 pages.
De Haske Publications
#DHP 1115171-401.
Published by De Haske
Publications
(BT.DHP-1115171-401).
ISBN 9789043142311.
9x12 inches.
English-German-French-Dut
ch.
Are you looking
for a duet book full of
surprises? Then
Klezmatic Duets
(10 pieces) is just the
right book for you! It is
available for violin,
viola and cello and each
book can be combined with
each other, making these
truly flexible duets. The
book contains a selection
of well-known traditional
melodies which are very
different in character.
These skilful
arrangements allow
violinists and viola
players to play within
the first position. Cello
players play up to the
fourth
position.
Typisch
voor klezmer is de zeer
expressieve melodie die
zowel heel opgewekt kan
klinken als tegelijk
melancholisch of
weemoedig. Klezmatic
Duets is dan ook een
veelzijdige uitgave: tien
bekende en zeer
verschillende
klezmermelodieënzijn
bewerkt voor twee violen,
twee altviolen of twee
cellos's. De
verschillende uitgaven
zijn onderling te
combineren
Klez
matic Duets for
Violins ist ein
vielseitiges Buch: Zehn
bekannte, sehr
unterschiedliche
Klezmermelodien wurden
dafu?r als Duette fu?r
zwei Violinen bearbeitet;
aus diesem Buch kann aber
auch gemeinsam mit
anderen Streichern
gespielt werden, welche
die entsprechende Ausgabe
fu?r Viola oder Cello
besitzen. Geiger mu?ssen
fu?r diese Stu?cke nur
die erste Lage
beherrschen.
Klezmatic
Duets for Violins
è una pubblicazione
che può essere
utilizzata in diverse
combinazioni: 10 note
melodie klezmer sono
state arrangiate per due
violini. Si può
però suonare assieme
ad un altro musicista che
ha a disposizione la
versione per viola o
violoncello. Per
lâ??esecuzione di questi
brani è richiesta solo
la padronanza della prima
posizione.
Cello - intermediate SKU: BT.DHP-1115173-401 Arranged by Coen Wolfgram an...(+)
Cello - intermediate
SKU:
BT.DHP-1115173-401
Arranged by Coen Wolfgram
and Nico Dezaire. De
Haske String Series. Folk
Klezmer. Book Only.
Composed 2011. 16 pages.
De Haske Publications
#DHP 1115173-401.
Published by De Haske
Publications
(BT.DHP-1115173-401).
ISBN 9789043139298.
9x12 inches.
English-German-French-Dut
ch.
Are you looking
for a duet book full of
surprises? Then
Klezmatic Duets is
just the right book for
you! It is available for
violin, viola and cello
and each book can be
combined with each other,
making these truly
flexible duets. The book
contains a selection of
well-known traditional
melodies which are very
different in character.
hese skilful arrangements
allow violinists and
viola players to play
within the first
position. Cello players
play up to the fourth
position.
Typisch
voor klezmer is de zeer
expressieve melodie die
zowel heel opgewekt kan
klinken als tegelijk
melancholisch of
weemoedig. Klezmatic
Duets is dan ook een
veelzijdige uitgave: tien
bekende en zeer
verschillende
klezmermelodieënzijn
bewerkt voor twee violen,
twee altviolen of twee
cellos's. De
verschillende uitgaven
zijn onderling te
combineren.
Kle
zmatic Duets for
Cellos ist ein
vielseitiges Buch: Zehn
bekannte, sehr
unterschiedliche
Klezmermelodien wurden
dafu?r als Duette fu?r
zwei Celli bearbeitet;
aus diesem Buch kann aber
auch gemeinsam mit
anderen Streichern
gespielt werden, welche
die entsprechende Ausgabe
fu?r Violine oder Viola
besitzen. Geiger mu?ssen
fu?r diese Stu?cke nur
die erste Lage
beherrschen; für
Celiisten geht es bis zur
vierten Lage.
Klezmatic
Duets for Violins
è una pubblicazione
che può essere
utilizzata in diverse
combinazioni: 10 note
melodie klezmer sono
state arrangiate per due
violoncelli. Si può
però suonare assieme
ad un altro musicista che
ha a disposizione la
versione per violine o
viola. Per
lâ??esecuzione di questi
brani è richiesta solo
la padronanza della prima
posizione.
24 pieces in popular styles. By Christopher Norton. (Flute). Boosey and Hawkes C...(+)
24 pieces in popular
styles. By Christopher
Norton. (Flute). Boosey
and Hawkes Chamber Music.
Size 8.25x11.75 inches.
30 pages. Published by
Boosey & Hawkes.
Arranged by Dan Coates. Tony Bennett. For Piano. This edition: Easy Piano. Piano...(+)
Arranged by Dan Coates.
Tony Bennett. For Piano.
This edition: Easy Piano.
Piano - Personality Book.
Jazz; Pop; Standard.
Book. 72 pages. Published
by Alfred Publishing.
Level: Easy Piano.
Alto Saxophone and Piano. By Christopher Norton. (Saxophone). Boosey and Hawkes...(+)
Alto Saxophone and Piano.
By Christopher Norton.
(Saxophone). Boosey and
Hawkes Chamber Music.
Size 9x12 inches. 19
pages. Published by
Boosey and Hawkes.
(Stylized Selections for Clarinet and Piano). Composed by Ed Hogan. Woodwind sol...(+)
(Stylized Selections for
Clarinet and Piano).
Composed by Ed Hogan.
Woodwind solo. For
clarinet, piano. Worship
Suite. Moderate. Lillenas
Publishing Company
#9780834173583. Published
by Lillenas Publishing
Company
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.