| Progressive Quartets for Strings - Bass 4 Contrebasses [Partition] Carl Fischer
32 Quartets That Can Be Played by Any Combination of String Instruments. Compose...(+)
32 Quartets That Can Be
Played by Any Combination
of String Instruments.
Composed by Bernard De La
Monnoye, Christopf Von
Gluck, etc., J. Spilman,
Spiritual American, Willy
Geisler, Stephen Foster
(1826-1864), Edvard Grieg
(1843-1907), Engelbert
Humperdinck (1854-1921),
French carol,
Traditional, English Folk
Song, American Folk Hymn,
Henry Carey, and
Catalonian Carol.
Arranged by Doris Gazda.
SWS. Back To School.
Book. With Standard
notation. Carl Fischer
Music #BF72. Published by
Carl Fischer Music
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Double Bass Solo 1 Contre Basse [Partition] Oxford University Press
| | |
| Time Pieces for Double Bass - Volume 2 Contrebasse, Piano (duo) ABRSM Publishing
By Various. Edited by Rodney Slatford. For Double Bass, Piano. Contrabass and Pi...(+)
By Various. Edited by
Rodney Slatford. For
Double Bass, Piano.
Contrabass and Piano
$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Forest Scenes, Op.82 Quatuor de Flûtes : 4 flûtes Falls House Press
For Double Quartet - Flutes and Strings. Composed by Robert Schumann. Arr...(+)
For Double Quartet -
Flutes and Strings.
Composed by Robert
Schumann. Arranged by Ann
Cameron Pearce. Score and
part(s). With Standard
notation. 19 pages.
Duration 9 minutes, 30
seconds. Falls House
Press #FC-ACP12.
Published by Falls House
Press (PR.FH0347).
$45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The All-Jazz Real Book - C Edition Instruments en Do [Fake Book] Sher Music Company
By Various. Jazz. Fake Book. 550 pages. Published by Sher Music Company. CD Incl...(+)
By Various. Jazz. Fake
Book. 550 pages.
Published by Sher Music
Company. CD Included with
the book contains 37
melodies played by the
following artists:
Bob Sheppard - saxes and
flute
Steve Houghton - drums
Dave Carpenter - acoustic
bass
Paul van Wageningen -
drums
Marc van Wageningen -
electric bass
Larry Dunlap - piano and
synthesizer
Dave Mac Nab - guitar.
(3)$44.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Wandering Scholar Opéra [Conducteur] Faber Music Limited
(A Chamber Opera in One Act). By Gustav Holst (1874-1934). For Voice. Masterwork...(+)
(A Chamber Opera in One
Act). By Gustav Holst
(1874-1934). For Voice.
Masterworks; Score; Vocal
(Opera) Score. Faber
Edition. 20th Century;
Masterwork; Romantic.
Published by Faber Music
$15.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sonatina Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Grade 2-2.5 SKU: CF.YAS13F Composed by Muzio...(+)
Orchestra String
Orchestra - Grade 2-2.5
SKU: CF.YAS13F
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 $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jacques Offenbach: Offenbach-Cocktail Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Schott
String Quartet (with ad lib, Double Bass, Flute, Oboe, Clarinet, Bassoon, Horn)....(+)
String Quartet (with ad
lib, Double Bass, Flute,
Oboe, Clarinet, Bassoon,
Horn). By Jacques
Offenbach. Arranged by
Wolfgang Birtel. (Score
and Parts). Schott. Book
only. Size 9x12 inches.
74 pages. Published by
Schott.
$31.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Tarantella Carl Fischer
Choral Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: ...(+)
Choral Double bass voice,
Piano, Viola, Violin 1,
Violin 2, SATB chorus
SKU: CF.CM9735
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS. Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| K. Lee Scott: Candle Carol Chorale SATB SATB, Clavier [Octavo] MorningStar Music Publishers
By K. Lee Scott. For SATB and Organ or Piano with opt. String Quartet or String ...(+)
By K. Lee Scott. For SATB
and Organ or Piano with
opt. String Quartet or
String Ensemble and
Double Bass.
Advent/Christmas. Level:
Moderately Easy. Choral
Score. Published by
MorningStar Music
Publishers.
$2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Highlights Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Schott
Arranged for String Quartet, Double Bass Ad Lib (Score and Parts). Edited by...(+)
Arranged for String
Quartet,
Double Bass Ad Lib (Score
and
Parts). Edited by Kate
Mitchell. Arranged by
Wolfgang Birtel. String
Ensemble. Softcover. 180
pages. Schott Music
#ED22351.
Published by Schott Music
$46.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Missa Brevis Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band/Brass Band and opt. Choir - Grade 2 SKU: B...(+)
Concert
Band/Harmonie/Fanfare
Band/Brass Band and opt.
Choir - Grade 2 SKU:
BT.DHP-1033337-170
Composed by Jacob De
Haan. Musica Sacra. Hymns
and Chorals. Score Only.
Composed 2003. 28 pages.
De Haske Publications
#DHP 1033337-170.
Published by De Haske
Publications
(BT.DHP-1033337-170).
A4 (210X297)
inches. Missa
Brevis is a major
work for choir and brass
band for performance in
church or in the concert
hall. For this mass,
there are many
performance possibilities
depending on the
musicians available. In
addition to the standard
orchestration ofchoir and
band a brass quartet can
also play the choral
parts. For this it is
desirable for the brass
quartet to be positioned
separately from the rest
of the band (on a
gallery, for example), so
that the idea of two
choirs is heard. It is
alsopossible to perform
the work with brass band
and organ. A truly
flexible religious
masterpiece. Choral parts
available
separately.
Mis
sa Brevis, geschreven
voor koor en blaasorkest,
werd gecomponeerd in
opdracht van de Conseil
Départemental pour
la Musique et la Culture
de Haute-Alsace (dir.
Philippe Pfisterer) in
Guebwiller (Frankrijk),
ter gelegenheid van het
duizendstegeboortejaar
van paus Leo IX. In zijn
geboorteplaats,
Ãâ°guisheim
(Elzas, Frankrijk), vond
op 23 juni 2002 de
première van deze
mis plaats onder leiding
van de componist. Het
betrof een
live-registratie voor de
Franse televisiezender
France 2. Demisdelen
Kyrie, Gloria, Credo,
Sanctus, Benedictus
en Agnus Dei
lenen zich uitstekend
voor zowel de katholieke
als de protestantse
liturgie. Er zijn voor
deze mis diverse
uitvoeringsmogelijkheden
mogelijk, aangezien er
sprake is van
eenvariabele bezetting.
Een instrumentale
uitvoering behoort
uitdrukkelijk tot de
mogelijkheden, indien het
scherp koper de
koorpartijen
vertegenwoordigt. In deze
optie is het wenselijk
dat het scherp koper zich
separaat opstelt van de
rest van hetorkest
(bijvoorbeeld op een
galerij), zodat het idee
van dubbelkorigheid wordt
benaderd. Bij een
uitvoering voor groot
koor werkt het scherp
koper zeer goed als
ondersteuning. In dat
geval kan de dynamiek van
het koper iets worden
aangepast,aangezien deze
in eerste instantie
bedoeld is voor een
instrumentale versie. Ook
kan men ervoor kiezen het
scherp koper helemaal weg
te laten ten gunste van
het koor. Bij begeleiding
van kleinere koren kan
men kiezen voor een klein
ensemble uit hetorkest.
Dit kan ook een naar wens
samengesteld kwartet
zijn. Voor de uitvoering
van deze mis ligt het
voor de hand een van deze
opties te kiezen. Als
alternatief is echter ook
een uitvoering mogelijk
met een combinatie van
deze opties
(vocaal/instrumentaal) -
niet slechts vanuit een
artistiek motief
(afwisseling), maar ook
vanuit een praktisch
motief, voor het geval
dat het koor bijvoorbeeld
slechts twee delen heeft
ingestudeerd. Bij een
volledige bezetting kan
de dirigent
deinstrumentatie naar
believen afwisselen.
Hierbij kan ook het
scherp koper in de
begeleiding een rol
krijgen (in plaats van
ondersteuning van het
koor). Zo zijn de
volgende combinaties
mogelijk: 1.
clarinet choir (van
Es-klarinet tot
basklarinet) 2.
clarinet choir
saxofoons 3. zacht
koper (bugels, hoorns,
euphoniums, bassen)
4. scherp koper (2
trompetten / 2
trombones) 5.
dubbelrieten (eventueel
fluit, eventueel
contrabas) 6.
tutti 7. alle
hout 8. alle
koper In een
uitvoering voor brassband
en koor is het in de
meeste gevallen aan te
bevelen de optie voor
scherp koper weg te
laten. Het koor zingt
zelfstandig, begeleid
door een volledige
brassband. In een
instrumentale uitvoering
kunt u denken aan
eencombinatiekwartet
(twee cornetten en twee
trombones)
brassband.Koorpartijen
apart
verkrijgbaar.
M
issa Brevis, eine
Messe für Brass
Band und Chor ad libitum,
kann in diversen
variablen
Spielstärken
aufgeführt werden.
Zahlreiche
mögliche
Instrumentenkombinationen
diverse mögliche
Kombinationen mit
großen oder
kleineren Chören,
lassen eineVielzahl von
verschiedenen
Aufführungen
dieser Messe zu. So kann
z. B. ein
Blechbläserquartet
t, von der Kirchenempore
herab spielend, die
Chorpartien
übernehmen.
Darüber hinaus
ergeben sich durch die
Orgelbegleitung weitere
Aufführungsvariant
en. EineAufstellung der
Wahlmöglichkeiten
wird vom Komponisten
mitgeliefert. Die
wunderschöne Musik
aus der Feder von Jacob
de Haan garantiert in
jedem Fall einen
gelungenen
Auftritt!Chorstimmen
separat
erhältlich.
Missa Brevis
est une messe pour
Orchestre
dââ¬â¢Harmonie
et Choeur composée
la demande du Conseil
Départemental pour
la Musique et la Culture
de Haute-Alsace (Dir. :
Philippe Pfisterer) de
Guebwiller en France,
lââ¬â¢occasion
des
célébration
s dumillénaire de
la naissance du Pape
Léon IX
Ãâ°guisheim. La
création mondiale
a eu lieu le 23 juin 2002
sous la direction du
compositeur, et a
été
diffusée en direct
sur la chaîne de
télévision
nationale France 2. Les
différentes
parties de cettemesse
(Kyrie, Gloria, Credo,
Sanctus,
Benedictus et
Agnus Dei)
conviennent autant la
liturgie catholique
quââ¬â¢ la
liturgie protestante.
Missa Brevis peut
être
interprétée
dans différentes
combinaisons
instrumentales. Ellepeut
être jouée
dans une version purement
instrumentale, où
les cuivres prennent en
charge la partie vocale.
En tel cas, il est
conseillé de
placer les cuivres
lââ¬â¢Ã©
cart de la formation (sur
une estrade, par exemple)
de façon
reproduire
lââ¬â¢idÃÂ
©e dedeux groupes
indépendants. Dans
le cadre
dââ¬â¢une
interprétation
avec un grand Choeur, les
cuivres jouent un
rôle de soutien.
Leurs nuances doivent
alors être
adaptées dans la
mesure où elles
ont été
écrites,
lââ¬â¢origine,
pour une version
instrumentale.Il est
également possible
de ne pas faire
intervenir les cuivres et
de privilégier le
Choeur. Pour accompagner
de petits ensembles
vocaux, il faut opter
pour une formation
instrumentale
réduite voire
même un Quatuor
(instrumentation au
choix).
Pourlââ¬â¢inte
rprétation de
cette messe
lââ¬â¢un des
choix proposés
ci-dessus
sââ¬â¢impose.
Il existe
néanmoins une
alternative qui consiste
interpréter cette
oeuvre en combinant ces
options (vocales /
instrumentales). Cela
peut être
bénéfique
tant dââ¬â¢un
point devue artistique
(variante) que pratique
dans le cas où le
Choeur nââ¬â¢a
travaillé que deux
mouvements de la messe.
Si le chef dispose de
deux formations
complètes (Choeur
et Orchestre
dââ¬â¢Harmonie
), il peut varier
lââ¬â¢instrume
ntation selon ses
préférences
. ce moment-l , il peut
confier un rôle
dââ¬â¢accompag
nement et non de soutien
aux cuivres de sa
formation. Les
combinaisons suivantes
peuvent être
formées : 1.
Choeur de Clarinettes (de
la Clarinette Mib la
Clarinette
Basse) 2. Choeur de
Clarinettes
Saxophones 3.
Cuivres (Bugles, Cors,
Barytons / Euphoniums,
Basses) 4. Cuivres
(2 Trompettes / 2
Trombones) 5.
Instruments anches
doubles (Fl te et
Contrebasse cordes
optionnelles) 6.
Tutti 7. Tous les
Bois 8. Tous les
Cuivres Dans le
cadre
dââ¬â¢une
interprétation par
un Brass Band
accompagné
dââ¬â¢un
Choeur, il est
préférable
de supprimer
lââ¬â¢option 1
(Choeur Cuivres
Orchestre
dââ¬â¢Harmonie
) car le Choeur
étant autonome.
Dans une version
instrumentale pour
Cuivres, il estpossible
de former la combinaison
suivante : Quatuor (2
Cornets / 2 Trombones) et
Brass Band.Partitions
pour chÃ
âur
disponibles
séparément.
Parti per coro
disponibili a parte. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nocturne for String Orchestra in B major, op. 40 Orchestre à Cordes - Facile Barenreiter
String orchestra (Violins (2), Viola, Violoncello, Double bass) - Level 2 SKU...(+)
String orchestra (Violins
(2), Viola, Violoncello,
Double bass) - Level 2
SKU: BA.BA11564
Composed by Antonin
Dvorak. Edited by
Jonáš Hájek.
This edition: urtext
edition. Paperback.
Score, Set of parts. Opus
40. Baerenreiter Verlag
#BA11564_00. Published by
Baerenreiter Verlag
(BA.BA11564). ISBN
9790260109148. 31 x 24.3
cm inches. Key: B-flat
major. Preface: David R.
Beveridge. The
discovery of a lost
source to AntonÃn
Dvorák's
â??Nocturneâ? in B
major op. 40 provides new
insights into the genesis
of the composition and
the composer's intended
final form of this
lyrical little piece for
string
orchestra.
The
musical material of what
was later to be named
â??Nocturneâ? was
initially elaborated in
the String Quartet in E
minor; subsequently it
was used in the original
version of the String
Quintet in G major as its
second movement. However
Dvorák then extracted
it again, expanding and
editing it afresh. The
final result was the
â??Nocturneâ? for
string orchestra (two
violins, viola,
violoncello, double
bass). The first edition
was published by Bote and
Bock in 1883.
The
authorized second copy of
the work that had served
as a template for the
first printing was
discovered by the editor
Jonáš Hájek in a
privately owned
collection. This enabled
him to resolve the
several ambiguities
caused by the existence
of multiple versions and
to unveil the authentic
â??Nocturneâ?.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Baroque Music For Children's String Orchestra EMB (Editio Musica Budapest)
Viola (Parts) SKU: HL.50606825 Viola Part. Composed by Bela Bartok...(+)
Viola (Parts) SKU:
HL.50606825 Viola
Part. Composed by
Bela Bartok. EMB.
Classical. Softcover.
Editio Musica Budapest
#Z14570VLA. Published by
Editio Musica Budapest
(HL.50606825). ISBN
9798350114393. UPC:
196288188254. Rough
ly half of this selection
of transcriptions of
Baroque vocal and
instrumental works
consists of well-known
pieces by the greatest
composers of the period
(Purcell: Dido and
Aeneas, Rameau: Piéces
de clavecin, Händel:
Water Music, Music for
the Royal Fireworks, J.S.
Bach: B major partita, C
major orchestral suite),
but works by composers
less well known nowadays
(for example, G. Böhm
and J. C. F. Fischer) are
also included, together
with unusual items such
as Polish, German and
Hungarian dances from
17th- and18th-century
Hungarian manuscripts:
the Kájoni and
Vietórisz codexes, and
Eleonóra Lányi's
music book. This volume,
previously available in
the Leggiero series, is
now, in a new guise, part
of the series Treasury
for String Ensembles.
Treasury for String
Ensembles provides
carefully selected
original compositions and
arrangements from the
Renaissance to the
twentieth century,
compiled in volumes
according to level of
difficulty, from
beginner's level to
professional. Elementary
(all in first position):
typically for three
violins and cello or
children's string
orchestra. Intermediate:
typically for three
violins and cello or
string quartet or youth
string orchestra.
Advanced: typically for
string quartet or string
quintet (with double
bass) or string
orchestra. The volumes
are published in both
printed and digital form.
The printed edition
contains the score and
one copy of each part.
Further copies can be
ordered for the purposes
of orchestral
performance. The digital
edition can be viewed on
screen, and the parts can
also be downloaded as
A4-sized PDF files. The
digital edition comes
free with the printed
edition, using the unique
code provided. $3.95 - Voir plus => Acheter | | |
| Dansere Om Jupiter Part., Kopi Quatuor de Saxophones: 4 saxophones Music Sales
Saxophone Quartet SKU: HL.14008247 Composed by Per Norgard. Music Sales A...(+)
Saxophone Quartet SKU:
HL.14008247 Composed
by Per Norgard. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #KP00517. Published
by Music Sales
(HL.14008247). ISBN
9788759860694.
Danish. Per Norgard
DANCERS AROUND JUPITERI:
'Shadow Dancer',
dedicated to Axel
Borup-Jorgensen, as my
birthday greeting on the
composer's 70th birthday
22.11.94II: 'Jupiter
Waves', dedicated to Dr.
Jeffrey D. ThompsonIII:
'Day Dancer', dedicated
to the dancer and
choreographer Marie
Lalander, as a homage:
Marie wrote the line
which inspired me for the
title: 'Woman, oh you day
dancer'.The title of the
whole work is immediately
intelligible if one
compares the individual
titles of the outer
movements with the title
of the middle
movement.Axel
Borup-Jorgensen and Marie
Lalander could be said to
be in rotation around
Jupiter in the following
sense:Axel's music has a
'shadow dancing' side,
which can most clearly be
heard in his works for
harpsichord and
double-bass - or in his
work for organ. But his
music has also a light
side, which can be heard
in 'Marin' or in 'Nordic
Summer Pastorale'.Marie's
dance and choreography
contain both ecstatic
forces of light and
expressions of the
suppressed and dark. The
music of the middle
movement on the other
hand is in all ways
inspired by the actual
acoustic ion waves, that
constantly arise through
the collision of the sun
wind with Jupiter's
magnet field (registered
by Voyager II, 1989).
This movement is
dedicated to Dr Jeffrey
D. Thompson who made
these NASA registrations
publicly available in the
CD-series'NASA Voyager
Space Sounds'.Per
Norgard. $11.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| O God, from heaven look on us (Ach Gott, vom Himmel sieh darein) Chorale SATB - Facile Carus Verlag
Orchestra ATB vocal soli, SATB choir, 2 oboes, [4 trombones], violin solo, 2 vio...(+)
Orchestra ATB vocal soli,
SATB choir, 2 oboes, [4
trombones], violin solo,
2 violins, viola, basso
continuo - Grade 3
SKU: CA.3100214
2nd Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Reinhold Kubik.
Arranged by Reinhold
Kubik. Hymns by Martin
Luther: Ach Gott, vom
Himmel sieh darein.
German title: Ach Gott,
vom Himmel. Sacred vocal
music, Cantatas. Single
Part, Cello/Double Bass.
Composed 1724. BWV 2. 12
pages. Duration 20
minutes. Carus Verlag #CV
31.002/14. Published by
Carus Verlag
(CA.3100214). ISBN
9790007041373. Key: D
minor. Language:
German/English. Text:
Luther, Martin. Text:
Martin Luther. Bach
composed the cantata O
God, from heaven look on
us BWV 2 for the 2nd
Trinity Sunday 1724 as
the second cantata of the
annual cycle of chorale
cantatas. It is based on
Martin Luther's rewriting
of Psalm 112. The opening
movement is one of a
group of cantata opening
movements which are not
concertante but kept
entirely in the motet
style, with the
instruments serving only
to reinforce the singers.
The archaic character of
this movement is
heightened by the
addition of a trombone
quartet. The concertante
style is all the more
significant in the first
aria for contralto, solo
violin and continuo. The
first secco recitative
represents a special
feature: two fragments of
the chorale are woven as
arioso into the
recitative, both in text
and melody; futhermore,
they are also taken up
canonically by the
continuo. Score and part
available separately -
see item CA.3100200. $6.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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