Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Piano SKU: BT.EMBZ15150 Tagebucheintragungen, persönliche Botschaft...(+)
Piano
SKU:
BT.EMBZ15150
Tagebucheintragungen,
persönliche
Botschaften. Composed
by Gyorgy Kurtag.
Contemporary Music. Book
Only. Composed 2021. 72
pages. Editio Musica
Budapest #EMBZ15150.
Published by Editio
Musica Budapest
(BT.EMBZ15150).
English-German-Hungari
an.
The piano
series entitled Games,
written from 1973
onwards, was conceived as
a piano method. As the
years went by, the series
lost its didactic
character, at it came to
be seen as a document
from Kurtág's
workshop, offering a key
to his grander symphonic,
chamber and vocal works
as well.Tenth volume is
divided into two parts:
In the first half,
earlier, hitherto
unpublished pieces line
up from Suite, written in
1943, to the 1980s,
providing insight into
the development of
Kurtág's musical
language. The second half
includes pieces composed
between 2002 and 2011.
The movements, often
aphorismic in their
briefness, hide
associations with various
aspects of European music
history.Many of them are
hommage or in memoriam
pieces, or subjective
personal messages to
friends, colleagues, and
beloved family members -
and thereby to all
music-loving people. This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Harmonica - Intermediate SKU: MB.30952M Saddle-stitched, Solo. American M...(+)
Harmonica - Intermediate
SKU: MB.30952M
Saddle-stitched, Solo.
American Music. Book and
online audio. Mel Bay
Publications, Inc
#30952M. Published by Mel
Bay Publications, Inc
(MB.30952M).
ISBN
9781513474434. 8.75X11.75
inches.
Among the
various instruments for
which the Beautiful
American Airs and Ballads
series was conceived, the
diatonic harmonica is a
standout. With or without
the ôbendsö played
by the author on the
companion online
recording, the 19
plaintive, single-note
melodies in this book are
guaranteed to engage the
player and move the
listener.áThe music
herein is written in
standard notation and
blow/draw harmonica
tablature for the
diatonic harmonica in C.
Suggested accompaniment
chords are also provided.
Using the tablature
alone, this music can be
played on any diatonic
harmonica in a different
harmonica key; for
example, using a G or A
diatonic harmonica, the
instrument itself will
make the mechanical
transposition. The
chords, however, would
have to be transposed by
the accompanist.Phil
Duncan has written more
than 40 harmonica books
for Mel Bay Publications.
He believes that
participation is key to
the enjoyment of music,
and that the harmonica
and tunes in this
collection are the
perfect vehicles for that
participation.ôTunes
like these may have been
overlooked or forgotten
in this stressful
worldùbut playing them
will help you regain and
renew the sense of calm
essential to our identity
as Americansà Pick out
a fewà pick up your
harmonica and
enjoy.öùPhil
Duncan.
Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099).
ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German.
On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009.
By Paul Manz (1919-). For organ. This edition: commemorative edition. Collection...(+)
By Paul Manz (1919-). For
organ. This edition:
commemorative edition.
Collection. Advent,
General, Lent, Pentecost.
Medium. Organ score. 33
pages. Published by
MorningStar Music
Publishers
Piano (Piano Solo) SKU: HL.50603819 Diary Entries, Personal Messages f...(+)
Piano (Piano Solo)
SKU: HL.50603819
Diary Entries,
Personal Messages for
Piano Solo. Composed
by Gyorgy Kurtag. EMB.
Classical. Softcover. 72
pages. Editio Musica
Budapest #Z15150.
Published by Editio
Musica Budapest
(HL.50603819).
ISBN
9781705148723. UPC:
196288023814.
9.0x12.0x0.236
inches.
The piano
series entitled Games,
written from 1973
onwards, was conceived as
a piano method. As the
years went by, the series
lost its didactic
character, and it came to
be seen as a document
from Kurtág's
workshop, offering a key
to his grander symphonic,
chamber and vocal works
as well. Tenth volume is
divided into two parts:
In the first half,
earlier, hitherto
unpublished pieces line
up from Suite, written in
1943, to the 1980s,
providing insight into
the development of
Kurtág's musical
language. The second half
includes pieces composed
between 2002 and 2011.
The movements, often
aphorismic in their
briefness, hide
associations with various
aspects of European music
history. Many of them are
hommage or in memoriam
pieces, or subjective
personal messages to
friends, colleagues, and
beloved family members -
and thereby to all
music-loving people.This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
Piano or Harpsichord SKU: BT.EMBZ20018 France 1. By Szilvia Elek_A...(+)
Piano or Harpsichord
SKU: BT.EMBZ20018
France 1. By
Szilvia Elek_Anikó
Horváth. By Szilvia
Elek. Classical. Book
Only. Composed 2020. 108
pages. Editio Musica
Budapest #EMBZ20018.
Published by Editio
Musica Budapest
(BT.EMBZ20018).
Hungarian-English-Germ
an-French.
This
brand-new series is
intended as a guide to
the keyboard music of the
16th to 19th centuries
for pupils of the piano
and the harpsichord, as
well as of other early
keyboard instruments.
Each volume contains
pieces by well-known and
lesser-known composers
from one country or
region. The main purpose
of the series is to
extend the repertoire and
stylistic knowledge of
both pianists and
harpsichordists while
also presenting fine
pieces and typical genres
based on original
sources. Our edition
retains the performance
indications of the
composers' manuscripts
and contemporary
editions. Each volume
includes:- suggestions
for stylistically
appropriate performance
bothon the piano and on
period instruments-
suggested elaborated
versions of some pieces
and excerpts- a fold-out
list of ornamentation
signs and the composers'
own tables of
ornamentation signs-
biographies of the
composers and the sources
of the pieces-
translations of
foreign-language
performance indications.
The two volumes devoted
to French keyboard music
includes close to 50
showy and relatively easy
works - preludes, dances,
suites, rondeaux, and
character pieces - from
the early 16th until the
late 18th century
(ordered
chronologically).This
publication is printed on
high-quality,
age-resistant paper that
is produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
Una nuova collana
ideata per offrire una
guida alla scoperta della
musica per pianoforte e
clavicembalo dal
sedicesimo al
diciannovesimo secolo.
Ogni volume include brani
di compositori di una
specifica nazione o area
geografica. L'intento
è amplicare la
conoscenza e il
repertorio di ogni
musicista. Inoltre in
ogni edizione sono
riportati fedelmente i
suggerimenti per
l'interpretazione e le
indicazioni presenti sui
manoscritti originali. I
due volumi dedicati alla
musica francese includono
circa 50 brani
significativi - preludi,
danze, suites, rondò e
altri - che risalgono
all'inizio del sedicesimo
secolo fino alla fine del
diciottesimo secolo,
rigorosamente inordine
cronologico.
Cantata for Easter Sunday. Composed by Johann Sebastian Bach (1685-1750)....(+)
Cantata for Easter
Sunday. Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Michael Marker. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. German title:
Der Himmel Lacht, Die
Erde Jubilieret. Sacred
vocal music, Cantatas,
Easter and Eastertide.
Full score. Composed
1715. BWV 31. 68 pages.
Duration 24 minutes.
Carus Verlag #CV
31.031/00. Published by
Carus Verlag
(CA.3103100).
Piano SKU: HL.50603600 Easy Variations for Piano. Composed by Imre...(+)
Piano
SKU:
HL.50603600
Easy
Variations for Piano.
Composed by Imre
Mezõ. EMB.
Classical, Hungarian.
Softcover. 52 pages.
Editio Musica Budapest
#Z15119. Published by
Editio Musica Budapest
(HL.50603600).
ISBN
9781705121429. UPC:
840126945751.
9.0x12.0x0.229 inches.
Imre Mezo.
Imre
Mezo (born 1932) composed
several popular works for
children and young people
studying music. His most
recent collection is
extraordinary in that all
the 153 tiny pieces are
based on the same
Hungarian folk song,
offering a myriad of ways
and options of presenting
and elaborating the same
melody without altering
it. The variations are
grouped by key and,
within each chapter, are
placed in order of
difficulty. This
publication is not only
recommended to beginners
or more advanced pupils
undergoing traditional
musical tuition, but also
to those interested in
the secrets of
composition and musical
structures. This
publication is printed on
high-quality,
age-resistant paper that
is produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
A Chamber Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred.
Christmas. CD. Duration
2520 seconds. Published
by Shawnee Press
(HL.428743).
ISBN
9781705163313. UPC:
196288064312.
5.0x5.0x0.865
inches.
For such a
time as this comes a work
that will bring hope and
light to your community
of faith. Decorated with
beloved carols and
engaging original
anthems, this
“chamber
cantata†is
brimming with the joy of
Christmas and arranges
for success with
well-crafted, impactful
and accessible
selections. The scripture
based narration will
affirm the Christmas
message. Colorful
orchestrations by Ed
Hogan can be done by a
minimal number of
players, making this work
not only beautiful, but
practical. Score and
Parts (fl 1, fl 2/ob, cl,
tpt, hn, tbn, perc 1-3,
pno, hp, vn 1-2, vc, db)
available as a digital
download. For the
Accompaniment, Split, and
Part Dominant Tracks:
Audio is accessed online
using the unique code
generated upon purchase
and can be streamed or
downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
HL00428740: Accompaniment
Tracks HL00428741: Split
Tracks HL00428745: Part
Dominant Tracks Songs
include:Overture of Joy;
A Weary World Rejoices;
Redeem, Restore, Renew;
Arise! Rejoice!; Come,
Graceful Rose; Away in a
Manger; Sing, O Heavens;
Beautiful Star; Cantique
de Nöel.
Preview Pack (SATB
Book/Listening CD) Choral
(Preview CD Pak)
SKU:
HL.428744
A
Chamber Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred.
Christmas. CD. Duration
2520 seconds. Published
by Shawnee Press
(HL.428744).
ISBN
9781705163320. UPC:
196288064329.
6.75x10.5x0.378
inches.
For such a
time as this comes a work
that will bring hope and
light to your community
of faith. Decorated with
beloved carols and
engaging original
anthems, this
“chamber
cantata†is
brimming with the joy of
Christmas and arranges
for success with
well-crafted, impactful
and accessible
selections. The scripture
based narration will
affirm the Christmas
message. Colorful
orchestrations by Ed
Hogan can be done by a
minimal number of
players, making this work
not only beautiful, but
practical. Score and
Parts (fl 1, fl 2/ob, cl,
tpt, hn, tbn, perc 1-3,
pno, hp, vn 1-2, vc, db)
available as a digital
download. For the
Accompaniment, Split, and
Part Dominant Tracks:
Audio is accessed online
using the unique code
generated upon purchase
and can be streamed or
downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
HL00428740: Accompaniment
Tracks HL00428741: Split
Tracks HL00428745: Part
Dominant Tracks Songs
include:Overture of Joy;
A Weary World Rejoices;
Redeem, Restore, Renew;
Arise! Rejoice!; Come,
Graceful Rose; Away in a
Manger; Sing, O Heavens;
Beautiful Star; Cantique
de Nöel.
Choral (SATB) SKU: HL.428738 A Chamber Cantata for Christmas. Comp...(+)
Choral (SATB)
SKU:
HL.428738
A
Chamber Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred.
Christmas. Softcover.
Duration 2520 seconds.
Published by Shawnee
Press (HL.428738).
ISBN 9781705163269.
UPC: 196288064268.
6.75x10.5x0.268
inches.
For such a
time as this comes a work
that will bring hope and
light to your community
of faith. Decorated with
beloved carols and
engaging original
anthems, this
“chamber
cantata†is
brimming with the joy of
Christmas and arranges
for success with
well-crafted, impactful
and accessible
selections. The scripture
based narration will
affirm the Christmas
message. Colorful
orchestrations by Ed
Hogan can be done by a
minimal number of
players, making this work
not only beautiful, but
practical. Score and
Parts (fl 1, fl 2/ob, cl,
tpt, hn, tbn, perc 1-3,
pno, hp, vn 1-2, vc, db)
available as a digital
download. For the
Accompaniment, Split, and
Part Dominant Tracks:
Audio is accessed online
using the unique code
generated upon purchase
and can be streamed or
downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right. To
purchase, click on the
cart icon and add to the
Shopping Cart.
HL00428740: Accompaniment
Tracks HL00428741: Split
Tracks HL00428745: Part
Dominant Tracks Songs
include:Overture of Joy;
A Weary World Rejoices;
Redeem, Restore, Renew;
Arise! Rejoice!; Come,
Graceful Rose; Away in a
Manger; Sing, O Heavens;
Beautiful Star; Cantique
de Nöel.
Choral (Listening CD) SKU: HL.428742 A Chamber Cantata for Christmas(+)
Choral (Listening CD)
SKU: HL.428742
A Chamber Cantata for
Christmas. Composed
by Joseph M. Martin.
Shawnee Sacred.
Christmas. CD. Duration
2520 seconds. Published
by Shawnee Press
(HL.428742).
ISBN
9781705163306. UPC:
196288064305.
5.0x5.0x0.075
inches.
For such a
time as this comes a work
that will bring hope and
light to your community
of faith. Decorated with
beloved carols and
engaging original
anthems, this
“chamber
cantata†is
brimming with the joy of
Christmas and arranges
for success with
well-crafted, impactful
and accessible
selections. The scripture
based narration will
affirm the Christmas
message. Colorful
orchestrations by Ed
Hogan can be done by a
minimal number of
players, making this work
not only beautiful, but
practical. Score and
Parts (fl 1, fl 2/ob, cl,
tpt, hn, tbn, perc 1-3,
pno, hp, vn 1-2, vc, db)
available as a digital
download. For the
Accompaniment, Split, and
Part Dominant Tracks:
Audio is accessed online
using the unique code
generated upon purchase
and can be streamed or
downloaded. The audio
files include PLAYBACK+,
a multi-functional audio
player that allows you to
slow down audio without
changing pitch, set loop
points, change keys, and
pan left or right.
HL00428740: Accompaniment
Tracks HL00428741: Split
Tracks HL00428745: Part
Dominant Tracks Songs
include:Overture of Joy;
A Weary World Rejoices;
Redeem, Restore, Renew;
Arise! Rejoice!; Come,
Graceful Rose; Away in a
Manger; Sing, O Heavens;
Beautiful Star; Cantique
de Nöel.
Flutes SKU: HL.50486707 Some with alto flute (Sol). By Laszlo Zemp...(+)
Flutes
SKU:
HL.50486707
Some
with alto flute
(Sol). By Laszlo
Zempleni. By Imre Kovacs.
EMB. Pedagogical
performance pieces. Score
and parts. Editio Musica
Budapest #Z14476.
Published by Editio
Musica Budapest
(HL.50486707).
ISBN
9790080144763. UPC:
888680926366. 9.0x12.0
inches. Hungarian,
English, German, French.
Imre Kovacs; Laszlo
Zempleni.
Editio
Musica Budapest is
launching a new series
entitled Musica da
camera. As its very
general title indicates,
the publishers' intention
is that the volumes in
this series, which is
designed specifically for
music school students,
will include works
composed for chamber
ensembles of every kind,
from the trio to the
sextet. The first two
volumes contain mostly
transcriptions for three
and four flutes
respectively, selected
from every period of
music history from the
late Renaissance to the
present day. This
publication is printed on
high-quality,
age-resistant paper that
is produced in an
environmentally-friendly,
climate-neutral manner
using renewable raw
materials.
By Andre Thomas. Arranged by Andre Thomas. Text: Langston Hughes. For SATB Choir...(+)
By Andre Thomas. Arranged
by Andre Thomas. Text:
Langston Hughes. For SATB
Choir. (Accompaniment:
Piano). Secular. Level:
Medium Advanced Jr.
High/High School or
Medium Adult. 8 pages.
Duration 2 min, 50 sec.
Published by Hinshaw
Music Inc.
The Green Machine Team Chorale 2 parties 2 parties [Partition + CD] - Facile Hal Leonard
(A Mini-Musical to Recycle, Replenish, and Renew!). By Jill Gallina and Michael ...(+)
(A Mini-Musical to
Recycle, Replenish, and
Renew!). By Jill Gallina
and Michael Gallina.
2-Part Book and CD.
Musicals. Hal Leonard
#CD0442. Published by Hal
Leonard
Solace, Entertainer and Maple Leaf Rag * 3 in 1 * Original Piano Solo composed b...(+)
Solace, Entertainer and
Maple Leaf Rag * 3 in 1 *
Original Piano Solo
composed by Scott Joplin
(1868-1917). For piano
solo. This edition:
Paperback. Solo. Ragtime.
Sheet Music. Text
Language: English. 12
pages. Published by
Santorella Publications
By James Biery. For Two-Part Treble Choir, Oboe or C Instrument (or Clarinet in ...(+)
By James Biery. For
Two-Part Treble Choir,
Oboe or C Instrument (or
Clarinet in B-flat), and
Harp or Piano, with opt.
Handbells.
Advent/Christmas. Level:
Moderately Easy. Choral
Score. Published by
MorningStar Music
Publishers.
Harpsichord; Piano (Piano) SKU: HL.50606643 For Piano or Harpsichord S...(+)
Harpsichord; Piano
(Piano)
SKU:
HL.50606643
For
Piano or Harpsichord
Sonatas 1-200.
Composed by Domenico
Scarlatti. Edited by
Gyorgy Balla. EMB.
Baroque, Classical.
Softcover. Editio Musica
Budapest #Z7817PACK.
Published by Editio
Musica Budapest
(HL.50606643).
ISBN
9781705198551. UPC:
196288151197.
The
sonatas are not grouped
according to their degree
of difficulty, they are
given in the order which
corresponds with the
Kirkpatrick nimbering.
This is approximately
identical with the order
in which they were
composed. In this way it
became possible for the
pairs of sonatas included
in the selection to be
placed closely after one
another. Apart from
inevitable minor
alterations this edition
follows the original text
and its markings exactly.
This does not apply to
the fingering which is
entirely an
editorialaddition. (In
the original there is no
fingering.) ABRSM Cello
Syllabus title, 2013-14,
Grade 8 This publication
is printed on high
quality, durable paper
made from renewable raw
materials in an
environmentally friendly
way. This pack includes 4
volumes: Volume 1: No.
1-50 (50511640) Volume 2:
51-100 (50511639) Volume
3: 101-150 (50511638)
Volume 4: 151-200
(50511637).
By John Carter. (SATB). Scripture Reference: Matthew 5:16. Christ's Presence, E...(+)
By John Carter. (SATB).
Scripture Reference:
Matthew 5:16. Christ's
Presence, Encouragement,
Guidance, Renewal and
Sacred. Print Music
Single (SATB). 8 pages.
Published by Hope
Publishing Company.
Composed by David William Hodges and Ralph Manuel. Harold Flammer WorshipSongs...(+)
Composed by David William
Hodges and Ralph Manuel.
Harold Flammer
WorshipSongs
Jr. Children, Children's
Choir, Concert, Festival,
General Worship, Sacred.
Octavo. 12 pages.
Published
by Harold Flammer Music
