| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and
Orchestra SKU:
BT.PWM5447 For
Soprano, Alto, Baritone,
Mixed Choir and
Orchestra. Composed
by Karol Szymanowski.
Classical. Book Only.
Composed 2000. 68 pages.
Polskie Wydawnictwo
Muzyczne #PWM5447.
Published by Polskie
Wydawnictwo Muzyczne
(BT.PWM5447).
''Stabat
Mater'' by Karol
Szymanowski for solo
voices, chorus and
orchestra, Op. 53, is one
of the most famous and,
at the same time, most
personal works of the
composer, making its
appeal to the audience
through the depth of its
expression and sheer
artistry. The first
sketches of the work were
made in the spring of
1925, while work on the
full score occupied the
composer from 20 January
to 2 March 1926. Józef
Jankowskis Polish
translation of the
medieval sequence formed
the basis of the
composition. This text,
which was simple in a
folk-like way, devoid of
pathos but full of
religious zeal,
harmonized perfectly from
the poetic point of view
with the composers
creative design. In an
interview for the monthly
Muzyka Szymanowski
stated: ''in its Polish
vestments that eternal,
naive hymn was filled for
me with its own immediate
expressive content; it
became something painted
in colours which were
recognisable and
comprehensible as
distinct from the black
and white of the archaic
original'' (''A Footnote
to Stabat Mater'', Muzyka
1926, Nos. 11/12). In the
score, the Latin text is
given beside the Polish
text, making it possible
for the work to be
performed more easily by
foreign performers. In
this work, the universal
tradition of the
Christian church was
fused with the Polish
religious tradition. The
composer creates the
religious folk-like
climate primarily through
the character of the
melodies which are akin
to to the plainchant
melodies to the text of
Stabat Mater (the
sequence, and especially
the hymn) and their
paraphrases in Polish
religious songs (e.g. Sta
a Matka Bole ciwa [The
Dolorous Mother was
standing]) as well as
motifs from Polish Lenten
songs and Gorzkie ale
(Bitter Laments).
Szymanowski did not
introduce them as
quotations, but
intersperses the melodic
lines, which are more
fully developed and
frequently highly
chromatic, with diatonic
phrases, based on modal
scales. They appear in
all the movements of the
work determining its
cohesion. In dividing the
twenty-stanza text into
separate segments,
Szymanowski created a
six- movement cantata. He
took care to distinguish
between the emotional
shades of the various
movements, varying his
selection of solo voices
(soprano, contralto,
baritone), the voices of
the chorus (female or
mixed) and the orchestral
forces. In the first and
third movements the
lyrical idiom prevails;
the first movement,
portraying the Mother of
God at the foot of the
cross, has a narrative
character, whereas the
third is a kind of prayer
from a man who
sympathizes with, and who
wishes to be associated
with Mater Dolorosas
pain. In these movements
only the female voices
are used (soprano,
contralto and female
chorus), while the
orchestra is employed in
a chamber style,
sometimes drawing on solo
accompanying parts (e.g.
the beginning of the
third movement). The
fourth movement, which
continues the mood of
prayerful contemplation,
is designed for soprano
and contralto solo as
well as unaccompanied
chorus. On the other
hand, the second and
fifth movements,
involving the
participation of solo
baritone and the full
chorus and orchestra, are
similar with regard to
forces and their dramatic
character, which is
austere in expression,
harsh in tone, and
markedly dissonant. Here
grand climaxes appear
with powerful orchestral
tutti. The sixth movement
crowns the whole. The
lyrical, soft melody of
the solo soprano at the
beginning is gradually
strengthened by the
addition of the female
chorus and the solo
contralto, and in the
final section, the solo
baritone as well as the
tutti of chorus and
orchestra. The
conclusion, subdued and
full of concentration,
suggests the introvert
character of the
experience as opposed to
its dramatic pathos.
Stabat Mater by
Szymanowski is part of a
long tradition of
compositions based on the
text of the medieval
sequence - ranging from
polyphonic works by
Josquin des Prés and
Palestrina to the
romantic Stabat by
Giuseppe Verdi and Anton
n Dvo ák. And it was
perhaps because of his
consciousness of this
tradition that
Szymanowski used
stylizing devices in the
spirit of early music.
The archaization
manifests itself not only
in the character of the
melodies and their modal
framework, but also in
the harmonies (with their
predominance of triads,
open fourths and fifths
chords and doubled
thirds), the simple
rhythms as well as the
texture of the choruses
(esp. the fourth
movement). The composer
does not, however,
imitate the style of any
specific historical
epoch, but combines
resources taken from
early music with modern
tonal and harmonic
techniques. Archaization
in Stabat Mater serves,
moreover, a symbolic
function; in evoking the
many-centuries old
tradition of church
music, it emphasizes the
universal nature of the
idea contained in the
text of the sequence,
while the re-reading of
the text by the composer
gives the work its
individual features.
[Zofia Helman, translated
by Ewa Cholewka]. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| First Class - In Concert Orchestre d'harmonie - Débutant De Haske Publications
E Flat TC Part 4 Concert Band; Saxophone - Level 1.5 SKU: HL.44003539 ...(+)
E Flat TC Part 4 Concert
Band; Saxophone - Level
1.5 SKU:
HL.44003539
Beginning Band - Grade
1.5 - E Flat Baritone Sax
- E Flat Tc Part 4.
Composed by Jacob De
Haan. De Haske Concert
Band. Concert. Part.
Composed 2000. De Haske
Publications #1002043.
Published by De Haske
Publications
(HL.44003539). ISBN
9789043109499. UPC:
073999035391. As
the name suggests, the
series First Class
contains compositions for
the first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing. Special
attention is given to the
range of each part, so
that as many different
instruments as possible
can play the pieces
together. This means
almost any combination of
instruments is possible,
from a quartet to a full
concert band. All pieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. With melodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
* Beetle Blues * House
Party * Quick Time * Slow
Motion * Czardas *
Farmhouse Rock * Soul
Ballad * English Waltz *
Sunny Samba * Rhythm
& Blues * Close
Finish. $7.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Let's Play Jazz and More * Book 2 Piano seul [Partition + CD] Santorella Publications
Let's Play Jazz and More * Book 2 composed by Jay Latulippe and Sonny Doss. For ...(+)
Let's Play Jazz and More
* Book 2 composed by Jay
Latulippe and Sonny Doss.
For easy piano. This
edition: Paperback.
Instructional. Jazz
Method. Book and CD. Text
Language: English. 48
pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Class - In Concert Orchestre d'harmonie - Débutant De Haske Publications
C Part 1a Concert Band - Level 1.5 SKU: HL.44003521 Beginning Band - G...(+)
C Part 1a Concert Band -
Level 1.5 SKU:
HL.44003521
Beginning Band - Grade
1.5 - Flute - C Part
1a. Composed by Jacob
De Haan. De Haske Concert
Band. Concert. Part.
Composed 2000. 16 pages.
De Haske Publications
#DHP1002023. Published by
De Haske Publications
(HL.44003521). ISBN
9789043109307. UPC:
073999035216.
9.0x12.0x0.083
inches. As the name
suggests, the series
First Class contains
compositions for the
first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing. Special
attention is given to the
range of each part, so
that as many different
instruments as possible
can play the pieces
together. This means
almost any combination of
instruments is possible,
from a quartet to a full
concert band. All pieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. With melodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
* Beetle Blues * House
Party * Quick Time * Slow
Motion * Czardas *
Farmhouse Rock * Soul
Ballad * English Waltz *
Sunny Samba * Rhythm
& Blues * Close
Finish. $7.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| First Class - In Concert Orchestre d'harmonie - Débutant De Haske Publications
C Part 1b Concert Band - Level 1.5 SKU: HL.44003522 Beginning Band - G...(+)
C Part 1b Concert Band -
Level 1.5 SKU:
HL.44003522
Beginning Band - Grade
1.5 - Oboe, Bells - C
Part 1b. Composed by
Jacob De Haan. De Haske
Concert Band. Concert.
Part. Composed 2000. De
Haske Publications
#1002024. Published by De
Haske Publications
(HL.44003522). ISBN
9789043109314. UPC:
073999035223. As
the name suggests, the
series First Class
contains compositions for
the first group lessons
which, despite their easy
grade, are first class
pieces! First Class
offers numerous
possibilities for
ensemble playing. Special
attention is given to the
range of each part, so
that as many different
instruments as possible
can play the pieces
together. This means
almost any combination of
instruments is possible,
from a quartet to a full
concert band. All pieces
also contain optional
percussion parts. In
Concert is a collection
of small pieces composed
by Jacob de Haan. As the
title indicates, this
part of the First Class
series can be used to
make up a concert
program. With melodious
titles such as March
Along, Beetle Blues, and
House Party, success is
something you can count
on! Contents: March Along
* Beetle Blues * House
Party * Quick Time * Slow
Motion * Czardas *
Farmhouse Rock * Soul
Ballad * English Waltz *
Sunny Samba * Rhythm
& Blues * Close
Finish. $7.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Claire de Lune and Reverie with CD (Late Beginner - Early Intermediate) Piano seul [Partition + CD] - Facile Santorella Publications
By Claude Debussy (1862-1918). Arranged by Jonathan Robbins. For easy piano. Lat...(+)
By Claude Debussy
(1862-1918). Arranged by
Jonathan Robbins. For
easy piano. Late Beginner
- Early Intermediate.
Book and accompaniment CD
(1)$10.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Latin Book Instruments en Sib [Fake Book] Hal Leonard
(B-Flat Instruments). Composed by Various. For B-flat Instruments. Fake Book. So...(+)
(B-Flat Instruments).
Composed by Various. For
B-flat Instruments. Fake
Book. Softcover. 576
pages. Published by Hal
Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Latin Book Instruments en Do [Fake Book] Hal Leonard
(C Instruments). By Various. For C Instruments. Fake Book. Softcover. 464 pages....(+)
(C Instruments). By
Various. For C
Instruments. Fake Book.
Softcover. 464 pages.
Published by Hal Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
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. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
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. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| As Spirits Take Flight Orchestre d'harmonie - Intermédiaire/avancé Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-3589-01 Composed by Earl. Concert Band. Heritage of t...(+)
Grade 4 SKU:
CL.012-3589-01
Composed by Earl. Concert
Band. Heritage of the
March Series. Audio
recording available
separately (item
CL.WFR349). Extra full
score. Composed 2007.
Duration 7 minutes, 33
seconds. Opus III Wind
Orchestra Publications
#012-3589-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3589-01).
Uplifting and
bright, this fine
overture was written for
the Salt Lake Symphonic
Winds. Images of flight
are suggested through the
composer's use of rhythm
and tempo. The middle
section has solo lines
for trumpet and clarinet
and is beautifully scored
utilizing the many
different colors
available to the wind
medium. Various cross
cueings allow the
conductor/director
freedom to tailor the
piece to fit a particular
ensemble. An excellent
choice for high school
and community bands
alike.
About Heritage
of the
March Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Funeral March of a Marionette Contrebasse, Piano (duo) Forsyth Publications
Double Bass and Piano - Intermediate-Advanced SKU: FP.FDW03 Composed by C...(+)
Double Bass and Piano -
Intermediate-Advanced
SKU: FP.FDW03
Composed by Charles
Francois Gounod. Arranged
by Andrew Wilson-Dickson.
Sheet Music and Books.
AÂ striking arrangement
of the Gounod favourite,
arranged for Double Bass
and Piano by A.
Wilson-Dickson. Suggested
grade 5. Classical.
Collection. Forsyths
Publications #FDW03.
Published by Forsyths
Publications (FP.FDW03).
ISBN
9790570500789. Goun
od's classic piece,
arranged for double bass,
with piano
accompaniment.
The
music in the beginning
tells the listener that
two of the members of the
Marionette troupe have
had a duel and one of
them has been killed. A
party of pallbearers is
organised and the
procession sets out for
the cemetery in march
time.
The piece
soon takes on a more
cheerful spirit, for some
of the troupe, wearied
with the march, seek
consolation at a wayside
inn, where they refresh
themselves and also
descant upon the many
virtues of their late
companion. At last they
get into place again and
the procession enters the
cemetery to the march
rhythm -- the whole
closing with the bars
intended to reflect upon
the briefness and
weariness of life, even
for marionettes. $12.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Strygekvartet Nr. 21 Op.197 Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
String Quartet SKU: HL.14031851 Composed by Vagn Holmboe. Music Sales Ame...(+)
String Quartet SKU:
HL.14031851 Composed
by Vagn Holmboe. Music
Sales America. Classical.
Book [Softcover]. 24
pages. Music Sales
#KP00797. Published by
Music Sales
(HL.14031851). ISBN
9788759880661.
Danish. Holmboe'
s last quartet work,
which is
unofficially also
String Quartet No.
21, was the last
work he ever composed,
and was unfinished on his
death in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's string
quartets. The first
movement takes the form
of one long arch in a
rocking triple time which
constantly shiftsamong
different tempo and pulse
sensations. At the same
time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it. The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy of
Music in Odense,
Denmark. $21.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Holmboe Quartetto Sereno Op 197 Sc Cham Book Quatuor à cordes: 2 violons, alto, violoncelle Music Sales
Chamber Ensemble SKU: HL.14015171 Composed by Vagn Holmboe. Music Sales A...(+)
Chamber Ensemble SKU:
HL.14015171 Composed
by Vagn Holmboe. Music
Sales America. Classical.
Book [Softcover]. 12
pages. Music Sales
#KP00796. Published by
Music Sales
(HL.14015171). ISBN
9788759878224.
Danish.
Quartetto Sereno - String
Quartet No.21 Op.197 (op.
posth.) by
Vagn
Holmboe.
Holmboe's last quartet
work, which is
unofficially also
String Quartet No. 21,
was the last work he ever
composed, and was
unfinished on his death
in 1996. His pupil
Per
Nørgård
has finished the quartet,
and himself characterizes
his contribution by
saying that the score
existed “in an only
partly completed form,
which could however be
written out with only a
few cases of
doubt”. With only
two movements and a
playing time of
about nine minutes it is
at its existing
length the shortest of
Holmboe's
stringquartets. The
first movement takes the
form of one long arch in
a rocking triple time
which constantly shifts
among different tempo and
pulse sensations. At the
same time the rhythmic
energy increases
until the movement, in a
faster Con moto
tempo accelerates to
a more flowing 12/8 time,
coloured both
rhythmically by
cross-rhythms in
duple time and timbrally
by harmonics in the
viola. In its middle
section, Con fuoco,
the movement
culminates in both tempo
and expression until it
falls calm in brief
recapitulations in
reverse order of the
first two sections. The
rocking feeling continues
in the second movement,
but now at a more
extroverted level from
the outset, Allegro
and pizzicato. The
energy builds up
further as the mood
intensifies to Con
fuoco, while all
instruments go over to
bowed playing, but like
the first movement, this
movement ends Adagio
here however not as
a gradual attenuation but
through a sudden shift in
tempo to a calm,
imitative passage before
the movement slowly thins
out to the almost
inaudible through a last,
dense, open sounding
chord with a brief violin
solo above it. The
quartet is dedicated to
Holmboe's wife MeLa May
Holmboe, and was given
its first performance by
the Kontra Quartet on
22nd March 1997 at the
Carl Nielsen Academy
of. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonatina Violin and Piano Op. 35a Violon et Piano Simrock
Piano Accompaniment; Violin (Violin/Piano) SKU: HL.48024893 Violin and...(+)
Piano Accompaniment;
Violin (Violin/Piano)
SKU: HL.48024893
Violin and Piano.
Composed by Bertold
Hummel. Boosey & Hawkes
Chamber Music. Classical.
Softcover. 20 pages.
Duration 360 seconds.
Simrock #M221122551.
Published by Simrock
(HL.48024893). ISBN
9783923051700. UPC:
840126925098. As an
educational and recital
piece, Bertold Hummel's
Sonatina Op. 35, composed
in 1969, has accompanied
many a young musician
following his or her own
path. Having sold a
thousand times all over
the world, it is one of
the composer's best-known
works and hasbeen
included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. The three
movements are
characterized by warmth
and exciting rhythms: in
the powerful Maestoso,
the sonority of the main
theme is contrasted with
a lyrical side theme; the
recapitulation ends with
an impulsive Fugato. The
second movement Elegie
consists of a single
soulful melody over
spherical harmonies of
the piano. As a
highlight, playful ease,
marching rhythms and
dramatic intensifications
alternate in quick
succession in the Finale
vivace, followed by wild
arpeggios that conclude
the piece. Originally
composed for violin,
versions for viola and
violoncello were already
commonly used. To mark
its 50th birthday,
Simrock / Boosey &
Hawkes present the work
in a revised, newly set
edition. Written in the
1990s by the composer
himself and now available
forthe first time, the
versions for alto and
tenor saxophone are
valuable additions to the
repertoire for beginning
instrumentalists. $24.99 - Voir plus => Acheter | | |
| The AB Real Book (C Instrument) Instruments en Do [Fake Book] - Intermédiaire ABRSM Publishing
C Treble Clef Edition. By Various. ABRSM JAZZ. Size 9.5x12 inches. 212 pages. Pu...(+)
C Treble Clef Edition. By
Various. ABRSM JAZZ. Size
9.5x12 inches. 212 pages.
Published by ABRSM
Publishing.
$34.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Developing Musicianship through Improvisation, Book 1B - Vocal/Piano GIA Publications
SKU: GI.G-9679 Composed by Christopher D. Azzara and Richard F. Grunow. D...(+)
SKU: GI.G-9679
Composed by Christopher
D. Azzara and Richard F.
Grunow. Developing
Musicianship through
Improvisation. Music
Education. Book. 132
pages. GIA Publications
#9679. Published by GIA
Publications (GI.G-9679).
ISBN
9781622774104. Lear
n to improvise with this
groundbreaking,
state-of-the-art book and
companion audio
recordings! With
Developing Musicianship
through Improvisation,
you will learn to
improvise as readily as
you would join in a
conversation. Using the
tunes in Developing
Musicianship through
Improvisation, you will
learn a vocabulary of
tonal patterns, melodic
phrases, rhythm patterns,
and rhythm phrases for a
wide range of
music, including
classical, jazz, and folk
styles. You will also
read and write music,
connecting your
improvisation to
meaningful experiences
with notation. Each unit
has six components: (1)
Repertoire, (2) Patterns
and Progressions, (3)
Improvising Melodic
Phrases, (4) Learning to
Improvise—Seven
Skills, (5) Reading and
Writing, and (6) Learning
Solos. Book 1-B includes
Greensleeves, My Country
'tis of Thee, La Folia,
Rule of the Octave, seven
Bach chorales, and
several
partimenti—centuri
es-old chord progressions
used for learning
harmony, counterpoint,
improvisation, and
composition that
musicians still perform
today. Regardless of your
musical background, you
can play tunes and learn
harmony by
ear—skills at the
heart of improvisation.
This intuitive and
engaging approach to
Developing Musicianship
through Improvisation is
a major advancement in
music teaching and
learning. Book includes
access to MP3 downloads.
SONGS INCLUDED: Book 1
repertoire (2
CDs)—Long, Long
Ago - Mary Ann - Joshua -
Simple Gifts - Down by
the Riverside Book 2
repertoire (2
CDs)—When the
Saints Go Marching In -
Amazing Grace -
Motherless Child Book 3
repertoire (2
CDs)—Blues (Saint
Louis Blues and More
Blues) - Transformation
(Rhythm Changes) - Red
Wings (Familiar Harmonic
Progression)Â Book 1B
repertoire (MP3
Downloads)—Greensl
eeves - My Country 'tis
of Thee - La Folia - Rule
of the Octave - Seven
Bach Chorales. $34.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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