Organ: 3-staff - Intermediate SKU: LO.70-2313L Composed by Robert Lau. Sa...(+)
Organ: 3-staff -
Intermediate
SKU:
LO.70-2313L
Composed
by Robert Lau. Sacred.
Lorenz Publishing Company
#70/2313L. Published by
Lorenz Publishing Company
(LO.70-2313L).
ISBN
9780787772987.
A
unique concept is behind
this collection from
beloved composer and
arranger Robert Lau. For
each of the chosen hymns
of praise, there are two
entirely different organ
settings: one of quiet
prelude (or offertory)
character and one of
extroverted postlude
character. They can be
used as individual pieces
or played at the
beginning and end of
worship to provide
coherent service
bookends.
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS57 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS57
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Score and Parts. With
Standard notation.
16+4+16+10+10+10+4+12
pages. Carl Fischer Music
#YAS57. Published by Carl
Fischer Music (CF.YAS57).
ISBN 9780825866890.
UPC: 798408066895. 8.5 X
11 inches. Key: G
major.
This is a
sweeping new original
composition in a subto
Scottish style from
popular composer Alan Lee
Silva. Just another one
of the pieces that always
seem to flow effortlessly
from his talented pen.
This is an excellent
piece for any contest or
festival. This
Scottish-flavored,
uptempo piece in has a
lilting, jubilant-feel
throughout. Highland
Celebration is built
around two rhythmic
subdivisions: two groups
of three eighth notes per
measure and three groups
of two eighth notes per
measure. Have the
ensemble distinguish
between the two
subdivisions by tapping
each one separately. Make
an exercise of the rhythm
in mm. 1–2 in
Violin 1 to facilitate
playing the different
rhythms precisely: (1 2 3
- 4 5 6) and (1 2 - 3 4 -
5 6). Rehearsing four- to
eightmeasure sections
under tempo will aid in
tightening these rhythms
and solidifying pitch.The
sections to concentrate
on are: mm. 17–24
and mm. 33–40 to
make sure that Violins I
and II and Cello are
playing together; mm.
33–40, to focus on
the Violin 1 and Violin 2
unisons and couplings;
and mm. 57–62,
where the quarter-note
subdivisions are
emphasized. The piece is
book-ended with the
introduction material
which always begins
quietly and builds. The
ensemble at m. 79 starts
with tutti scalar figures
and increases in
intensity to the final
accented measures at m.
83. Written in AABA form
with a double bridge at
m. 45, the overall
feeling is dance-like and
festive.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Piano (Piano Solo) SKU: HL.50603819 Diary Entries, Personal Messages f...(+)
Piano (Piano Solo)
SKU: HL.50603819
Diary Entries,
Personal Messages for
Piano Solo. Composed
by Gyorgy Kurtag. EMB.
Classical. Softcover. 72
pages. Editio Musica
Budapest #Z15150.
Published by Editio
Musica Budapest
(HL.50603819).
ISBN
9781705148723. UPC:
196288023814.
9.0x12.0x0.236
inches.
The piano
series entitled Games,
written from 1973
onwards, was conceived as
a piano method. As the
years went by, the series
lost its didactic
character, and it came to
be seen as a document
from Kurtág's
workshop, offering a key
to his grander symphonic,
chamber and vocal works
as well. Tenth volume is
divided into two parts:
In the first half,
earlier, hitherto
unpublished pieces line
up from Suite, written in
1943, to the 1980s,
providing insight into
the development of
Kurtág's musical
language. The second half
includes pieces composed
between 2002 and 2011.
The movements, often
aphorismic in their
briefness, hide
associations with various
aspects of European music
history. Many of them are
hommage or in memoriam
pieces, or subjective
personal messages to
friends, colleagues, and
beloved family members -
and thereby to all
music-loving people.This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
Piano, 4 Hands SKU: BT.EMBZ13528 Für Klavier zu vier Händen....(+)
Piano, 4 Hands
SKU:
BT.EMBZ13528
Für Klavier zu vier
Händen. Composed
by Franz Liszt.
Christmas. Book Only.
Composed 1989. 84 pages.
Editio Musica Budapest
#EMBZ13528. Published by
Editio Musica Budapest
(BT.EMBZ13528).
Liszt finished
the original work for
piano two hands in 1876
which he arranged for
piano duet some weeks
later and dedicated to
his grand-daughter
Daniela von Bülow. The
series belonging to the
late piano works consists
of three volumes. In the
first transcriptions of
early christmas carols
can be found while the
remaining two hold mostly
genre pictures.
Characteristic of the
majority of the pieces is
an intimate, lyrical mood
and a sense of devotion
that surrounds the feast.
The prerequisites of
rendering these items
include a high degree of
musical intelligence and
refined taste. Virtuosic
capabilities are mainly
required by the last two
movements of portrait
character
entitledUngarisch and
Polisch. The harmonies
and effects of the cycle
point already beyond
Romanticism and
anticipate the music of
the beginning of the 20th
century.
Viola Etudes 5-8 Alto seul - Intermédiaire The Frederick Harris Music Company
Viola - Intermediate to Late Intermediate SKU: FH.VAS2 Viola Series, 2...(+)
Viola - Intermediate to
Late Intermediate
SKU:
FH.VAS2
Viola
Series, 2013 Edition.
Composed by The Royal
Conservatory. Viola
Series, 2013 Edition.
Book. The Frederick
Harris Music Company
#VAS2. Published by The
Frederick Harris Music
Company (FH.VAS2).
ISBN
978-1-55440-572-5.
This groundbreaking
series for viola offers a
sound and progressive
collection of Repertoire,
Recordings, Etudes,
Technique, and Orchestral
Excerpts for the aspiring
virtuoso. Representing
all major style periods
and a variety of genres,
Viola Series, 2013
Edition offers all the
music and tools needed to
support a comprehensive
course of study from the
beginner to advanced
levels. Two volumes of
Etudes (Preparatory-4 and
5-8) include selections
that focus on technique
for the left hand, right
hand, and tone
development at every
level of study. Chosen as
much for their musicality
as their pedagogical
benefits, these Etudes
raise the study of
technique to a new level
of enjoyment. Legato
Pieces in a Slower
Tempo: Ode to Joy -
Beethoven, Ludwig van
arr. Mark Mrozinski Au
clair de la lune
(Underneath the
Moonlight) - Traditional
French song arr. Akiko
and Forrest
Kinney Chorus of
Soldiers, Townspeople,
Matadors, Elephants, and
Other Miscellaneous Opera
Characters - Birston,
Harold Come to the Sea
(Vieni sul mar) - Italian
folk song arr. Christine
Donkin) Streets of
Laredo - American folk
song arr. Forrest
Kinney Land of the
Silver Birch - Canadian
folk song arr. Nancy
Telfer Red River
Valley - American folk
song arr. Christine
Donkin Energetic
Pieces in a Faster
Tempo: Dizzy Lizzy
Lightweight - Attwood,
Ben and Carol
Lumsden Sailor Song -
Traditional sea shanty
arr. Jason Gray Ten
Toads - Milne,
Elissa Pepperoni Pizza
Pie - Hewitt-Jones, Anita
and Caroline Lumsden A
Lively Tune - Carse,
Adam Hark, What's
Coming In from Out There?
(Horch, was kommt von
draussen rein?) - German
folk song arr. Christine
Donkin Someone's in
the Kitchen with Dinah -
American folk song arr.
Forrest Kinney Saint
Paul's Steeple - English
folk song arr. Jason
Gray The Sounds So
Glorious (Das klinget so
herrlich) - Mozart,
Wolfgang Amadeus arr.
Christine Donkin.
Dieser neue
praktischen Zielen
gerecht werdende Band
basiert auf der neuen
Liszt Ausgabe, erscheint
allerdings ohne den
Kritischen Bericht. Der
neueste Band der Neuen
Liszt-Gesamtausgabe
umfasst ein
detailliertes, neue
Forschungsergebnisse
enthaltendes Vorwort in
deutscher, englischer und
ungarischer Sprache.
Der vorliegende Band
enthält die
größtenteils
unveröffentlichten Fru
hfassungen von in den
letzten zwei Jahrzehnten
des Lebens des
Komponisten entstandenen
Klavierwerken. Das Ru
ckgrat des Bandes bilden
die Stu cke des III.
Bandes der Pilgerjahre
und aus Weihnachtsbaum.
Von Letzterem sind zwei
vollständige Fru
hfassungen erhalten
geblieben. Eine von ihnen
besteht aus ku rzeren,
kompakteren Stu cken als
die endgu ltige Form. Fu
r die Vortragenden und
die ZuhörerInnen ist
es ebenfalls ein
spannendes Erlebnis, die
Reihe in dieser fru heren
Form kennenzulernen.
Composed by Muzio
Clementi. Arranged by
Douglas Townsend. Carl
Fischer Young String
Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #YAS13F. Published
by Carl Fischer Music
(CF.YAS13F).
ISBN
9780825848339. UPC:
798408048334. 8.5 X 11
inches. Key: G
major.
IApart from
some of his Sonatinas,
Opus 36, Clementi's life
and music are hardly
known to the piano
teachers and students of
today. For example, in
addition to the above
mentioned Sonatinas,
Clementi wrote sixty
sonatas for the piano,
many of them unjustly
neglected, although his
friend Beethoven regarded
some of them very highly.
Clementi also wrote
symphonies (some of which
he arranged as piano
sonatas), a substantial
number of waltzes and
other dances for the
piano as well as sonatas
and sonatinas for piano
four-hands.In addition to
composing, Clementi was a
much sought after piano
teacher, and included
among his students John
Field (Father of the
'Nocturne'), and
Meyerbeer.In his later
years, Clementi became a
very successful music
publisher, publishing
among other works the
first English edition of
Beethoven's Violin
Concerto, in the great
composer's own
arrangement for the
piano, as well as some of
his string quartets.
Clementi was also one of
the first English piano
manufacturers to make
pianos with a metal frame
and string them with
wire.The Sonatina in C,
Opus 36, No. 1 was one of
six such works Clementi
wrote in 1797. He must
have been partial to
these little pieces (for
which he also provided
the fingerings), since
they were reissued
(without the fingering)
by the composer shortly
after 1801. About 1820,
he issued ''the sixth
edition, with
considerable improvements
by the author;· with
fingerings added and
several minor changes,
among which were that
many of them were written
an octave higher.IIIt has
often been said,
generally by those
unhampered by the facts,
that composers of the
past (and, dare we add,
the present?), usually
handled their financial
affairs with their public
and publishers with a
poor sense of business
acumen or common sense.
As a result they
frequently found
themselves in financial
straits.Contrary to
popular opinion, this was
the exception rather than
the rule. With the
exception of Mozart and
perhaps a few other
composers, the majority
of composers then, as
now, were quite
successful in their
dealings with the public
and their publishers, as
the following examples
will show.It was not
unusual for 18th- and
19th-century composers to
arrange some of their
more popular compositions
for different
combinations of
instruments in order to
increase their
availability to a larger
music-playing public.
Telemann, in the
introduction to his
seventy-two cantatas for
solo voice and one melody
instrument (flute, oboe
or violin, with the usual
continua) Der Harmonische
Gottesdienst, tor
example, suggests that if
a singer is not available
to perform a cantata the
voice part could be
played by another
instrument. And in the
introduction to his Six
Concertos and Six Suites
for flute, violin and
continua, he named four
different instrumental
combinations that could
perform these pieces, and
actually wrote out the
notes for the different
possibilities. Bach
arranged his violin
concertos for keyboard,
and Beethoven not only
arranged his Piano Sonata
in E Major, Opus 14, No.
1 for string quartet, he
also transposed it to the
key of F. Brahm's
well-known Quintet in F
Minor for piano and
strings was his own
arrangement of his
earlier sonata for two
pianos, also in F
Minor.IIIWe come now to
Clementi. It is well
known that some of his
sixty piano sonatas were
his own arrangements of
some of his lost
symphonies, and that some
of his rondos for piano
four-hands were
originally the last
movements of his solo
sonatas or piano trios.In
order to make the first
movement of his
delightful Sonatina in C,
Opus 36, No. 1 accessible
to young string players,
I have followed the
example established by
the composer himself by
arranging and transposing
one of his piano
compositions from one
medium (the piano) to
another. (string
instruments). In order to
simplify the work for
young string players, in
the process of adapting
it to the new medium it
was necessary to
transpose it from the
original key of C to G,
thereby doing away with
some of the difficulties
they would have
encountered in the
original key. The first
violin and cello parts
are similar to the right-
and left-hand parts of
the original piano
version. The few changes
I have made in these
parts have been for the
convenience of the string
players, but in no way do
they change the nature of
the music.Since the
original implied a
harmonic framework in
many places, I have added
a second violin and viola
part in such a way that
they not only have
interesting music to
play, but also fill in
some of the implied
harmony without in any
way detracting from the
composition's musical
value. Occasionally, it
has been necessary to
raise or lower a few
passages an octave or to
modify others slightly to
make them more accessible
for young players.It is
hoped that the musical
value of the composition
has not been too
compromised, and that
students and teachers
will come to enjoy this
little piece in its new
setting as much as
pianists have in the
original one. This
arrangement may also be
performed by a solo
string quartet. When
performed by a string
orchestra, the double
bass part may be
omitted.- Douglas
TownsendString editing by
Amy Rosen.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
Summer Dance Orchestre à Cordes - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS19 Composed by Alan L...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS19
Composed by Alan Lee
Silva. Carl Fischer Young
String Orchestra Series.
Classical. Score and
Parts. With Standard
notation. 12 pages. Carl
Fischer Music #YAS19.
Published by Carl Fischer
Music (CF.YAS19).
ISBN
9780825854859. UPC:
798408054854. 8.5 X 11
inches. Key: D
major.
Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yet
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer
Dance is a melodic,
up-tempo piece with
plenty of musical and
technical challenges for
every player. Musicians
should strive to play it
with an energetic yetA
legato feel. A
spirited introduction
features an opening
melody in the violins and
active repeated-note
pedal patters in the
violas and low strings.
An AABA form begins at
m.5 and the orchestration
is immediately pared down
to feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerfulA
divisi voicing
on beat 3 of m. 63, right
before the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel. A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out. In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a powerful
divisi voicing on beat 3
of m. 63, right before
the final
chord. Summer Dance is
a melodic, up-tempo piece
with plenty of musical
and technical challenges
for every player.
Musicians should strive
to play it with an
energetic yet legato
feel.A spirited
introduction features an
opening melody in the
violins and active
repeated-note pedal
patters in the violas and
low strings. An AABA form
begins at m.5 and the
orchestration is
immediately pared down to
feature violin I and
cello. It then builds
again in density to the B
section, where a quick
dynamic drop allows a
question-and-answer
melody between the two
parts to sing out.In m.
29, the melody is
harmonized and a
countermelody in violin I
introduced. The violins
take the melody soaring
in octaves in m. 33, as
the piece again builds to
the B section and
suddenly quiets. Measure
55 then provides more
question-and-answer
interplay, this time for
viola and cello, while
violin continues with its
newly harmonized melody.
Summer Dance finishes
with a soft recurrence of
the opening figure and a
build toward a
powerful divisi
voicing on beat 3 of m.
63, right before the
final chord.
About Carl
Fischer Young String
Orchestra
Series
Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels
For 2 Clarinets or Clarinet and Alto Sax. Composed by Matthias Petzold. Clar...(+)
For 2 Clarinets or
Clarinet
and Alto Sax. Composed by
Matthias Petzold.
Clarinet,
Saxophone, Music Styles
&
Regions, Classical, Solos
and
Duets. Book and Insert
with
CD. 52 pages. Published
by
Mel Bay Publications, Inc
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8
SKU:
ST.C463
Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463).
ISBN
9790570814633.
This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
11 Duets for Flute 2 Flûtes traversières (duo) [Partition + CD] - Intermédiaire Mel Bay
For 2 Flutes or Clarinet and Flute. Composed by Matthias Petzold. Clarinet, ...(+)
For 2 Flutes or Clarinet
and
Flute. Composed by
Matthias
Petzold. Clarinet, Flute,
Fife and Oboe, Music
Styles and
Regions, Classical, Jazz,
Solos and Duets. Book and
Insert with CD. 52 pages.
Published by Mel Bay
Publications, Inc
An Organbook Orgue - Intermédiaire Sacred Music Press
Organ: 3-staff - Intermediate SKU: LO.70-2116S Composed by Carl Smith. Sa...(+)
Organ: 3-staff -
Intermediate
SKU:
LO.70-2116S
Composed
by Carl Smith. Sacred,
Concert, General. Sacred
Music Press #70/2116S.
Published by Sacred Music
Press (LO.70-2116S).
ISBN
9780787761233.
Carl
Smith's experience as a
musicologist and
performer specializing in
early keyboard literature
combines with inspiration
from Italy's art and
culture to form a
collection of short organ
pieces that are suitable
for small and large
organs. Two works are
based on hymns from the
Advent and Christmas
seasons (Conditor alme
siderum and Silent
Night). The others are
original pieces of varied
character suitable as
service voluntaries or
recital selections.
Composed by Antonin Dvorak (1841-1904). Arranged by Nestor Janssens. Woodwinds -...(+)
Composed by Antonin
Dvorak (1841-1904).
Arranged by Nestor
Janssens. Woodwinds -
Clarinet. Flanders
Clarinet Quartet.
Metropolis Music
Publishers #CQ6016EM.
Published by Metropolis
Music Publishers
(IS.CQ6016EM).
2 pianos, 4 hands SKU: BO.B.3641 Composed by Daniel Basomba. Published by...(+)
2 pianos, 4 hands
SKU:
BO.B.3641
Composed by
Daniel Basomba. Published
by Editorial de Musica
Boileau (BO.B.3641).
These Three
Studies for Four-handed
Piano were conceived of
as a triptych whose
unifying principles were
to be the first-slow-fast
movement order of the
classical sonata and a
symmetrical arrangement
of tonalities with A
major occupying the
centre (F minor- A major-
C minor). The term
Studies alludes not so
much to the 19th century
pedagogical concept of
pieces-as-exercises, as
to an attempt to extend,
investigate and study the
possibilities of
expression and texture of
the piano for four
hands.
The First
Study is generated out of
a single rhythmical motif
whose development is
modified by the
intervention of two
contrapuntual passages. A
certain difficulty of
execution arising from
the need to cross hands
in both sections of the
keyboard conforms, in
this case, to the
traditional definition of
study as an exercise
focussed on a specific
technical
problem.
The
second piece might be
defined as a study of
expression, being the
explicit disposition of
an ostinato accompaniment
and two superior voices
in conversation. I cannot
help, listening to this
study, being reminded of
the texture of the slow
Largo of Bach's Concerto
for 2 violins and the
manifest pathos of the
Andante of Prokofiev's
2nd Violin
Concerto.
The
Third Study is an
exercise in rhythmical
interpenetration in which
continual changes of
accentuation and metre
are combined with
passages of a light and
mellifluous
character.
It is
a long-standing ambition
of mine to supplement
this work with three more
triptychs and, so,
complete a set of twelve
studies for four-handed
piano.
SKU: CA.5020600 Composed by Josef Gabriel Rheinberger. Edited by Berthold...(+)
SKU: CA.5020600
Composed by Josef Gabriel
Rheinberger. Edited by
Berthold Over. This
edition: Complete
edition, linen cover.
Josef Gabriel Rheinberger
- Complete Works. German
title: Geistliche Gesange
I Solo + Gl.Stim. Sacred
vocal music. Full score
(complete edition /
selected edition). Carus
Verlag #CV 50.206/00.
Published by Carus Verlag
(CA.5020600).
ISBN
9790007090234.
Of
the works presented in
volume 6, the Four
elegiac Songs op. 128 for
solo voice and organ,
with their arialike
characteristics, are
musically among the most
demanding compositions.
The Marian Hymns op. 171
display a variety of
scorings for small
ensembles, a trait which
characterizes all the
songs in this volume:
This opus contains pieces
for one, two or three
voices. In addition, No.
1 (Ave Maria) appears in
versions for either low-
or high-registered voice.
The appendix of this
volume includes alternate
versions for a few works
in this volume, some of
which are first editions,
including Quam dilecta,
which is a Latin version,
with harp and organ, of
the hymn Wie lieblich
sind deine Wohnungen op.
35.
Orchestra String Orchestra - Grade 1 SKU: CF.BAS5F Composed by Joseph Com...(+)
Orchestra String
Orchestra - Grade 1
SKU: CF.BAS5F
Composed by Joseph
Compello. Carl Fischer
Beginning String
Orchestra Series. Full
score. With Standard
notation. 12 pages. Carl
Fischer Music #BAS5F.
Published by Carl Fischer
Music (CF.BAS5F).
ISBN
9780825845093. UPC:
798408045098. 8.5 X 11
inches.
The musical
effect of Prarie
Lullaby should be
graceful and serene,
evocative of a peaceful
night on the open plains.
To that end, players will
need to strive for an
unlabored rhythmic flow,
smooth bowing and a
clear, steady tone as
close to p as
possible.Beginning at
m.39, the violin and
viola parts are
marked pizzicato. If
young players are unable
to return quickly
to argo at m.53, they
may make the bow
preparation easier by
taking a full measure
rest at m.52. This option
is marked in the parts
and
score.The divisi no
tes at m. 69 are provided
for ensembles which lack
violas. Ensembles with
violas may have them play
the lower notes while the
second violins play the
upper notes.Percussion,
which is completely
optional, should be very
subdued. Choose a bell
mallet which allows the
tones to be heard just
above the strings. the
woodblock part is
intended to imitate the
clip-clop sound of a
horse's hooves. Two
different sizes of
woodblocks or temple
blocks are needed.
Finding two suitable
sounds on one woodblock
is difficult. Again, the
right mallets are very
important. The suspended
cymbal should be played
with brushes if the
string ensemble is small.
If the suspended cymbal
with brushes cannot be
heard above a large
number of strings, then
sticks should be used
instead.The percussion
part can be performed by
one player, provided the
instruments and mallets
are set up properly and
the player has the skill
to make the transitions
smoothly. Note the
optional rest at mm.
53-54.Performance time
with the repeat is two
and a half minutes.
About Carl
Fischer Beginning String
Orchestra
Series
Thi
s series of Grade 1
pieces is designed for
first year string groups.
The pieces in this series
are characterized by:
Limited parts
(often 2nd violin and
viola are the same part,
cello and bass are same
part)
Limited
keys and rhythms - only
simple 8th note
patterns
Joy to the World Orgue - Intermédiaire Lorenz Publishing Company
Christmas Carols for Organ. Composed by Daniel E. Gawthrop. Sacred, Advent, C...(+)
Christmas Carols for
Organ.
Composed by Daniel E.
Gawthrop. Sacred, Advent,
Christmas. Lorenz
Publishing
Company #70/2106L.
Published
by Lorenz Publishing
Company