| Symphony #4 D Minor Op.
120 Orchestre Eulenburg
A late starter in music? After the 1841 premiere which was anything but promisin...(+)
A late starter in music? After the 1841 premiere which was anything but promising, Schumann did not deal with his Fourth Symphony and put the finishing touches to it until 10 years later. One of its most remarkable features is its structure. The individual movements - none of which is really completed - shall follow each other without a break, thus leading to a great one-movement structure. The work is pervaded by common thematic, rhythmic and harmonic connections. In 1841, such an approach to the symphonic form was still unusual. In the second half of the 19th century, however, it was widely applied. / Orchestre
20.53 EUR - vendu par LMI-partitions Délais: Sur commande |
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| Johan de Meij: Aquarium:
Concert Band: Score and
Parts Orchestre d'harmonie [Conducteur et Parties séparées] Amstel Music
The Suite 'Aquarium' is Johan de Meij's third composition for symphonic band and...(+)
The Suite 'Aquarium' is Johan de Meij's third composition for symphonic band and features six tropical fishes each of them represented by a motif and surfacing as such in several guises. The composition consists of three movements of which the second and third merge uninterruptedly into each other. I) Allegretto grazioso (Neon Tetra Electric Eel and Angelfish) II) Andante / Adagio (Sea Horse and Zebrafish) III) Finale: Allegro giocoso (Guppy & Co.) The Neon Tetra motif functions as a kind of 'Leitmotiv' and descibes the beautifully coloured frisky fish: A number of variants have been derived from this theme and will also appear in the other movements.The Electric Eel in fact is not represented by a motif but by a rhythm based on the restless electric pulses made audible in some aquaria. The Angel fish is represented by elegant cluster chords. In the second movement the Sea Horse emerges out of the water vegetation and starts a dialogue with the Zebrafish which is represented by one melodic phrase in unison getting more and more threatening by added parallel fifths and octaves. Simultaneously with the Sea Horse motif the Neon Tetra theme emerges this time in 3/4 time and in Eb minor. The third movement starts with only two instruments (trumpet and xylophone) but as it is often the case with Guppies their number rapidly increases. Piccolo and Alto Saxophone introduce the Guppy Theme followed by several instrumental combinations. Every theme from the first movement 'swims by' once more after which the principal motif leads us to a brilliant ending.
128.00 GBP - vendu par Musicroom GB |
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| Jim Mahaffey: 10 Short
Chorales: Jazz Ensemble:
Score & Parts Ensemble Jazz [Conducteur et Parties séparées] Southern Music Ltd
1. FOURTHS: A medium-tempo swing with chord progression by fourths.2. PITCH-MATC...(+)
1. FOURTHS: A medium-tempo swing with chord progression by fourths.2. PITCH-MATCHING: Bright swing with cross-sectional pitch-matching in Concert Bb and F.3. MODAL WALTZ: Moderate swing in 3/4 that employs the Cand F dorian modes.4. FULL CIRCLE WITH SAX UNISON: Chords in the circle of fourths (key: F Concert) with a unison sax line to aid tuning.5. BONE-MODALE: In a groove a la Miles Davis and in the G minor mode the'bones are in unison.6. COOL BOSSA: Concert F laid back and lush. Great for sectional/tutti balance and for phrasing the bossa.7. LIP-SLUR CHROMATIC: A cut-time lip slur workout for the brass with sax chordsdescending in half-steps.8. IT'S THE Bb GOSPEL: A moderate gospel swing with a unison melody line passed around the sections plus a big finish for practicing dynamics.9. SAMBANICE: Concert Bb with an easy“two” feel. Unison lines and nice chord changes for sectional and ensemble listening.10. TRUMPET-TUNE: This medium swing in Eb gives trumpets the lead over a sax/'bone rhythmic backup figure.
74.99 GBP - vendu par Musicroom GB |
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| Stijn Roels: Irish Mood:
Brass Band and Solo:
Score & Parts Ensemble de cuivres De Haske Publications
Solo for Eb Horn and Brass Band-Irish Mood was written in a classic ‘theme...(+)
Solo for Eb Horn and Brass Band-Irish Mood was written in a classic ‘theme and variations’ construction opening with an Irish-inspired melodic theme which is then followed by four variations of divergent character. After the introduction of the theme by the soloist the cornets and trombones play the main melody in Variation 1 while the soloist provides a flowing counter melody. Next comes the highly extrovert and lively Variation 2 contrasted by an introverted Variation 3 in a minor key. A masterful tutti (Variation 4) then leads the piece toward a brilliant ending.
61.99 GBP - vendu par Musicroom GB |
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| Stijn Roels: Irish Mood:
Brass Band and Solo:
Score Ensemble de cuivres De Haske Publications
Solo for Eb Horn and Brass Band-Irish Mood was written in a classic ‘theme...(+)
Solo for Eb Horn and Brass Band-Irish Mood was written in a classic ‘theme and variations’ construction opening with an Irish-inspired melodic theme which is then followed by four variations of divergent character. After the introduction of the theme by the soloist the cornets and trombones play the main melody in Variation 1 while the soloist provides a flowing counter melody. Next comes the highly extrovert and lively Variation 2 contrasted by an introverted Variation 3 in a minor key. A masterful tutti (Variation 4) then leads the piece toward a brilliant ending.
15.99 GBP - vendu par Musicroom GB |
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| Encore Pieces For Brass
Quintet - Score: Brass
Ensemble: Part Ensemble de cuivres Houston Publishing
This collection puts Mr. Aaron's magic to work in the Brass Quintet idiom! Perfe...(+)
This collection puts Mr. Aaron's magic to work in the Brass Quintet idiom! Perfect for concert or contest. Includes: Tritch-Tratsch Polka (J. Strauss) · Polka (Shostakovich) · Capriccio (Haydn) · Humoresque (Tchaikowsky) · Diary of a Fly (Bartók) · Golliwogg's Cak Walk (Debussy) · Marche la Guarde Imperial Russe · Bagatelles No. 1 Op. 5 (Tcherepnine) · Marche Militaire (Schubert) · Peter and the Wolf (Prokofieff) · Prelude and Fugue in G minor (J.S. Bach) · Marche de Dardanus (J.P. Rameau) · Moment Musicale (Schubert) · La Frescobalda (Fresobaldi).
19.99 GBP - vendu par Musicroom GB |
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| Torstein Aagaard-Nilsen:
Introduction & Punk:
Brass Band: Score Ensemble de cuivres Gobelin Music Publications
Torstein Aagaard-Nilsen?s (1964) way of composing can be described as: uncomprom...(+)
Torstein Aagaard-Nilsen?s (1964) way of composing can be described as: uncompromising wilful and contemporary. It is not surprising therefore that this occasionally causes a stir. In the middle of the Seventies a trend arose in youth culture which was characterized by provocation distrust of the great ideologies and the autonomy of the individual. Punk is playful aggressive often humorous and anti-everything which inevitably leads to self-irony. The first part of Aagaard-Nielsen?s composition (Introduction) is a texture based mainly on one short theme. This pompous theme breathes a spirit of cold empty plains where icy winds sigh around yourhead. In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies. De wijze van componeren van Torstein Aagaard-Nilsen (1964) laat zich omschrijven als: compromisloos eigenzinnig en eigentijds. Niet verwonderlijk dat dit af en toe wat stof doet opwaaien. Midden zeventiger jaren ontstaat er een stroming binnen de jongerencultuur die provocatie wantrouwen tegen de grote ideologieën en de autonomie van het individu centraal stelt. Punk is speels agressief veelal humoristisch en anti-alles wat onvermijdelijk leidt tot zelfspot. Het eerste deel (Introduction) is een weefsel gebaseerd op voornamelijk één kort thema. Het pompeuze thema ademt de sfeer van kille lege vlakten waar de ijzige wind je om de oren suist. Tijdens de ?heftige? Punk (Presto barbaro!) is van een thema geen sprake meer. De basis voor dit deel is een steeds herhalend motief (dalende kleine terts). Dit motief wordt afgewisseld met zeer krachtige percussie slagen en later schrille samenklanken. Dit alles zorgt voor een bombastisch geheel. Aan het slot van de Punk horen we het intoductie-thema tussen het punkgeweld door terugkomen.
12.99 GBP - vendu par Musicroom GB |
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| Torstein Aagaard-Nilsen:
Introduction & Punk:
Brass Band: Score & Parts Ensemble de cuivres Gobelin Music Publications
Torstein Aagaard-Nilsen?s (1964) way of composing can be described as: uncomprom...(+)
Torstein Aagaard-Nilsen?s (1964) way of composing can be described as: uncompromising wilful and contemporary. It is not surprising therefore that this occasionally causes a stir. In the middle of the Seventies a trend arose in youth culture which was characterized by provocation distrust of the great ideologies and the autonomy of the individual. Punk is playful aggressive often humorous and anti-everything which inevitably leads to self-irony. The first part of Aagaard-Nielsen?s composition (Introduction) is a texture based mainly on one short theme. This pompous theme breathes a spirit of cold empty plains where icy winds sigh around yourhead. In the vehement Punk (Presto barbaro!) there is no longer any question of a theme. The basis for this part is formed by a repetitive motif (a descending minor third). This motif is alternated with very powerful percussion beats and later on shrill harmonies. De wijze van componeren van Torstein Aagaard-Nilsen (1964) laat zich omschrijven als: compromisloos eigenzinnig en eigentijds. Niet verwonderlijk dat dit af en toe wat stof doet opwaaien. Midden zeventiger jaren ontstaat er een stroming binnen de jongerencultuur die provocatie wantrouwen tegen de grote ideologieën en de autonomie van het individu centraal stelt. Punk is speels agressief veelal humoristisch en anti-alles wat onvermijdelijk leidt tot zelfspot. Het eerste deel (Introduction) is een weefsel gebaseerd op voornamelijk één kort thema. Het pompeuze thema ademt de sfeer van kille lege vlakten waar de ijzige wind je om de oren suist. Tijdens de ?heftige? Punk (Presto barbaro!) is van een thema geen sprake meer. De basis voor dit deel is een steeds herhalend motief (dalende kleine terts). Dit motief wordt afgewisseld met zeer krachtige percussie slagen en later schrille samenklanken. Dit alles zorgt voor een bombastisch geheel. Aan het slot van de Punk horen we het intoductie-thema tussen het punkgeweld door terugkomen.
93.50 GBP - vendu par Musicroom GB |
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