Voice (alto) and piano - advanced SKU: HL.49007991 Composed by Dieter Sch...(+)
Voice (alto) and piano -
advanced
SKU:
HL.49007991
Composed
by Dieter Schnebel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1994.
28 pages. Duration 15'.
Schott Music #ED 8416.
Published by Schott Music
(HL.49007991).
ISBN
9790001112253.
9.0x12.0x0.116
inches.
The poems
selected here are taken
from the anthology 'Kein
Zauberspruch' [No Magic
Formula] (Frankfurt,
1972). As indicated by
the title, the original
collection focuses on the
various characteristic
processes of writing
poetry and the
peculiarities of the
individual poems. The
voice again and again
takes on a reciting tone,
while the piano comments
in a restrained and often
static manner.
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit...(+)
Chamber Music Cello,
Piano, Violin
SKU:
PR.414411630
Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation.
28+28+20+24+20+24 pages.
Duration 20 minutes.
Theodore Presser Company
#414-41163. Published by
Theodore Presser Company
(PR.414411630).
ISBN
9781491114551. UPC:
680160089956. 9.5 x 13
inches.
EXCURSIONS
is a one-movement work
exploring two
“characters.â€
A rhapsodic, descending
passage is introduced by
the cello, followed by
a static,
chorale-like phrase for
the violin and cello.
Their individual
developments are
separated by a slow,
contrasting middle
section. The composer has
written: “This is
analogous to situations
in life: we stand by a
crossroad, choosing one
option and forfeiting the
other. But in art, the
realm of the imagination,
we can perhaps afford to
pursue more than one
route to its ultimate
destination… or can
we? It is symbolic that
in this work both roads
eventually lead to the
same
place.â€. Excursi
ons for violin, cello and
piano, is a one-movement
work of tripartite
structure in which
materials explored in the
first of three large
sections are brought back
in the last section.Â
The traditional
statement-contrast-restat
ement form, which is
readily suggested by such
a description, is,
however, not at all in
the mold in which the
work is cast. Rather,
my aim was to subject the
essential materials of
the piece (two
“charactersâ€
–the rhapsodic,
descending passage played
by the cello in the very
opening and, later, a
static, slow moving,
chorale-like phrase for
the violin and cello) to
two entirely different
developments separated by
a slow, contrasting
middle section. This
is analogous to an
exploration of the
ramifications that two
divergent choices made by
the same person might
lead to. In life, as
we stand by a crossroad,
choosing one option
usually means having to
forfeit the other.Â
But in art, the realm of
the imagination, we can
perhaps afford to pursue
more than one route to
its ultimate
destination…or can
we? It is, I believe,
symbolic that in this
work both roads
eventually lead to the
same place: in composing
Excursions, it seemed
absolutely inescapable
that at the end the slow,
contrasting middle
sections – both
more resigned and
peaceful than the
battling spirits of the
outer parts –
should return briefly to
end the work. The
piano trio combination
(once highly favored, but
to this composer still as
challenging today) is
approached here as a
collaborative effort of
three equal soloists
– partners. Of
the available pairings,
the two strings find
themselves occasionally
approached as a team
pitted against the
piano. The
cello-piano combination
is also not uncommon
here, and there is an
extended violin cadenza
toward the end of the
piece. The writing
for the three instruments
is closely and at times
interlinked, but the
players are all
instructed to play from
scores. Excursions was
first performed at
Brandeis University in
1982.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Amp Modeler/Effects
Processor. Hotone
Pedals. Guitar Pedal. Hal
Leonard #MP-100.
Published by Hal Leonard
(HL.293808).
UPC:
888506050022.
10.0x16.0x2.75
inches.
The Hotone
Ampero Amp Modeler /
Effects Processor is a
game changer! It's heart
pounding amp modeling and
uber quality effects are
powered by the new-gen,
dual-DSP CDCM HD
(Comprehensive Dynamic
Circuit Modeling High
Definition) &
F.I.R.E. (Field Impulse
Response Enhancement)
system. Packaged in a
lightweight case with a
4″ hi-def color
touch screen, Ampero
delivers all the real
sounds of rock... past
and present. Built on
Hotone's powerful XTOMP,
acclaimed Binary Series,
and breakthrough VStomp
Amp virtual plugin, the
CDCM HD & F.I.R.E.
system showcases Hotone's
new high-shelf circuit
modeling methods. Unlike
the static state
circuitry of most
mainstream modeling, CDCM
HD & F.I.R.E.
technology
“rebuildsâ€
the entire circuitry
using modeled electronic
components, resulting in
a tone that is vivid,
accurate and expressive.
CDCM HD & F.I.R.E.
provides Ampero with 64
amplifier models, 60
cabinet models, 100+
legendary pedal models,
and mic type/position
simulations. In addition,
Ampero shares the same
244 effects as the
ever-growing XTOMP
library, as well as 50+
new Hotone original
effects and so much more.
Ampero can handle up to
nine effect modules
simultaneously, and even
includes a user custom IR
loader with 3rd party IR
support. Ampero is
incredibly easy to set up
and program. A
straight-forward user
interface features a
4″ 800 x 480 touch
screen with dynamic color
display and three quick
access knobs for hands-on
parameter tweaking. Its
four assignable
footswitches with halo
LEDs and built-in
expression pedal only add
to Ampero's overwhelming
benefits to electric
instrumentalists,
acoustic players and
keyboardists alike.
Techno Treat Saxophone [Partition + CD] - Facile Boosey and Hawkes
Book/CD Pack. By Christopher Norton. (Saxophone). Boosey and Hawkes Chamber Musi...(+)
Book/CD Pack. By
Christopher Norton.
(Saxophone). Boosey and
Hawkes Chamber Music.
Book and CD Package. Size
9x12 inches. 16 pages.
Published by Boosey and
Hawkes.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
(No. 3 from Love Was My Lord and King ). By Gwyneth W. Walker (1947-). For TTBB...(+)
(No. 3 from Love Was My
Lord and King ). By
Gwyneth W. Walker
(1947-). For TTBB choir,
chamber Orchestra or
Piano. Choral, general.
Octavo. 12 pages.
Published by E.C.
Schirmer Publishing
Composed by Henry Brant.
SWS. Large Score. With
Standard notation.
Composed 1983. Duration
15 minutes. Carl Fischer
Music #O5445. Published
by Carl Fischer Music
(CF.O5445).
ISBN
9780825840449. UPC:
798408040444. 9 X 14
inches.
Written for
the late Robert Shaw and
the Atlanta Symphony
Orchestra in 1983, Desert
Forests is one of the
most successful of
Brant's spatial works for
conventional-sized
symphony orchestra. The
score mandates that the
higher woodwinds
(piccolos, flutes, oboes,
clarinets) be stationed
in a balcony at the back
of the hall and the
trumpets and trombones in
boxes or balconies on
opposite sides of the
hall. There is also an
optional improvised
piano-obbligato. A
recommended seating
diagram for the stage
instruments (also
unusually arranged) is
included in the score and
was used to great effect
in the performances
conducted by Kurt Masur
with the New York
Philharmonic in May 1994.
This extraordinary work
expands the idea of
bitonality and spatiality
as a structural device to
create a fifteen minute
exercise in ecstatic
polyphony, inspired,
according to the composer
by a visit to a forest of
saguro cactus in Saguro
National Monument, near
Tucson, Arizona. Complete
performance materials are
available on rental.
SATB choir, a cappella (SATB) - Moderately Difficult SKU: OU.9780193432512(+)
SATB choir, a cappella
(SATB) - Moderately
Difficult
SKU:
OU.9780193432512
Composed by Howard
Skempton. Secular Choral
- Mixed Voices. New
Horizons. Vocal score. 20
pages. Duration 10'.
Oxford University Press
#9780193432512. Published
by Oxford University
Press (OU.9780193432512).
ISBN 9780193432512. 12
x 8 inches.
For
SATB unaccompanied The
text is taken from
Shelley's epic poem
Prometheus Unbound.
Skempton sets passages in
which a Chorus of Hours
and a Chorus of Spirits
celebrate in ecstatic
language the unshackling
of the human spirit
through the enlightenment
of science. Written in
his customary style of
great simplicity,
Skempton's hypnotic score
beautifully captures the
visionary lyricism of the
poetry: long lyrical
sections in two different
keys distinguish the
hopes and fears of the
Hours and the Spirits,
before they are united in
song at the end of the
piece.
About Oxford
New
Horizons
N
ew Horizons showcases the
wealth of exciting,
innovative, and
occasionally challenging
choral music being
written today. It
encompasses the whole
gamut of small-scale
choral genres, both
secular and sacred, and
includes pieces for
upper-voice and mixed
choirs. With titles by
some of the most
accomplished choral
composers active in Great
Britain and abroad, the
series introduces new
repertoire and fresh
talent to a broad
spectrum of choirs. New
Horizons features
composers with growing
reputations for quality
composition reflecting a
strong individual voice.
The series is continually
expanding and should be
the first place to look
for attractive and
performable contemporary
choral music.
Cinque foglie Quatuor de Saxophones: 4 saxophones [Conducteur] Breitkopf & Härtel
4 saxophones SKU: BR.KM-2234 Composed by Jurg Baur. Kammermusik-Bibliothe...(+)
4 saxophones
SKU:
BR.KM-2234
Composed
by Jurg Baur.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
Rottenburg am Neckar,
February 1, 1987
Music post-1945. Full
score. Composed 1986. 36
pages. Duration 15'.
Breitkopf and Haertel #KM
2234. Published by
Breitkopf and Haertel
(BR.KM-2234).
ISBN
9790004501382. 9 x 12
inches.
Ein
kurzweiliges,
kontrastreiches Opus,
angeregt durch das
Rascher-Quartett, dem es
auch gewidmet ist; keine
experimentelle, aber
instrumentengerechte,
neue Musik, auf die
Spiel- und
Ausdrucksmoglichkeiten
sowie auf den
spezifischen Klang eines
technisch und musikalisch
anspruchsvollen
Saxophon-Ensembles
bezogen (Sopran - Alt-
Tenor - Bariton)Funf
suitenformig locker
aneinander gereihte Satze
(Funf ,,Blatter) werden
durch ein
dodekaphonisches
Leitmotiv verknupft, das
zu Anfang eines jeden
Satzes erklingt.Im
Circulo ostinato bestimmt
diese Figur entscheidend
den Verlauf des Stuckes;
zu Beginn des Finales
verdichtet sie sich zum
vierstimmigen Kanon.
Ostinate und rhythmische
Formeln pragen den
Charakter des ganzen
Werkes.Allegro ruzzone
(Ubermut)Ein knappes
lebhaftes Eingangsstuck;
auf dem Hohepunkt
erscheint, wie ein
Atemholen, ein
melodisch-ausdrucksvoller
Gedanke, der sich
imitatorisch im Kreise
dreht, ehe eine kurze
Stretta in schnellem
Tempo zum
Pianissimoschluss
fuhrt.Circulo ostinato
(Kreisende Wiederholung)
(Andante con moto)Der
Mittelteil des Satzes
entwickelt sich aus
gestauten
Tonwiederholungen und den
melodischen Flosklen des
Urthemas in immer neuen
Anlaufen zu grosser
Steigerung. Am Anfang und
Ende steht ein
mehrstimmiger Kanon, der
um eine abwarts
gerichtete chromatische
Tonfolge kreist.Ballo
estatico (,,Entfesselter
Tanz) (Allegro molto)In
diesem Satz dominieren
rhythmisch tanzerische
und aggressive Elemente;
drei verschiedene
Episoden entfalten sich
uber ostinaten
Bassbewegungen, die
letzte gerat zur ,,freien
Variation uber Debussys
(,,Golliwoggs cake walk
aus den ,,Children's
Corner).Sogno solitario
(Einsamer Traum)
(Andante)Der ,,langsame
Satz des Quartetts wachst
aus rezitativischem
Beginn, uber einen
ausdrucksvollen
Mittelteil (mit
engraumiger Melodik) bis
zu einer ausgedehnten
Trillerflache und
dichten, abwarts
sturzenden chromatischen
Figuren (Quintolen),
kehrt uber einen ruhigen
Abschnitt (in tiefer
Lage) zum Rezitativ
zuruck, klingt verhalten
aus.Fugato scherzando
(Allegro molto)Ein
virtuos humorvolles
Finale, nach dem
einleitenden
vierstimmigen
,,Kreisel-Kanon des
Leitmotivs entwickelt
sich aus einem skurrilen
Thema eine rhythmisch
vertrackte Fuge,
unterbrochen von einem
trioahnlichen Intermezzo
und wirkungsvoll
turbulent zum befreienden
Schluss gesteigert.(Jurg
Baur)Bibliography:Gudelho
fer, Matthias: Jurg Baur.
Die spate Kammermusik,
Koln: Dohr
2002.
World
premiere: Rottenburg am
Neckar, February 1,
1987.