| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114406980 Vista...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114406980
Vistas. Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation. 42 +
112 pages. Duration 25
minutes. Theodore Presser
Company #114-40698.
Published by Theodore
Presser Company
(PR.114406980). UPC:
680160010806. Shula
mit Ran’s second
string quartet, subtitled
“Vistas,â€
occupies a large canvas
that is cast in a
traditional fourmovement
mold, where the outer
movements present,
explore, and later return
to the work’s
principal musical
materials, surrounding a
slow movement and
scherzo-type third
movement with a trio. In
addition to tempo-based
titles, the individual
movements have subtitles
that are evocative of
each movement’s
character, as follows: I.
Concentric: from the
inside out II. Stasis
III. Flashes IV.
Vistas. My second
string quartet,
“Vistasâ€, is
a work cast in a
traditional four-movement
formal mold, with the
outer movements,
presenting and later
returning to the
work’s principal
musical materials,
surrounding a slow
movement and a
scherzo-type third
movement.While the four
movements’
“properâ€
names -- Maestoso con
forza, Lento, Scherzo
impetuoso, and
Introduzione; Maestoso e
grande – give some
indication of the general
character of the
individual movements, I
have also subtitled, less
formally, each movement
as follows:Â 1)
Concentric:Â from the
inside out 2)Â
Stasis 3) FlashesÂ
4) Vista. The images
evoked by these titles
tell one, I think, a bit
more about the inner
workings of the
quartet.In the first
movement, a prominently
presented opening pitch
(E) reveals itself, as
the movement unfolds, to
be a center of gravity
from which ever-growing
cycles of activity
gradually evolve.Â
While various important
themes come into being as
the movement progresses,
their impact on the
listener has, I believe,
a great deal to do with
their juxtaposition and
relationship to the
initial central point of
gravity.Stasis is, as the
name implies, a movement
where activity seems, at
times, almost
suspended. Being
also, as Webster’s
Dictionary reminds us,
“a state of static
balance and equilibrium
among opposing tendencies
or forces,†it
develops various
materials, including ones
from the first movement,
without bringing them to
points of
resolution.Flashes is
short and very fast,
evoking in my mind the
quick shimmer of
fireflies, a
“sudden burst of
lightâ€, but also a
“brief
timeâ€. Perhaps,
even, a
“smile�Final
ly, the last movement,
Vista, is not only
“a view or
outlookâ€, but also
“a comprehensive
mental view of a series
of remembered or
anticipated
events.â€Â After
a brief recall of the
opening of the second
movement, this movement
brings back all the
important themes of the
first movement in their
original order. But
just as going back can
never really mean going
back in time, the
movement is much more
than recapitulatory.Â
By cutting through
previously transitory
passages and presenting
the main ideas in a
fashion more direct yet
more evolved, it also
sheds new light on
earlier events, offering
a retrospective, synoptic
view of the first
movement as it brings to
culmination the work as a
whole. “Vistasâ
€ was commissioned by
C. Geraldine Freund for
the Taneyev String
Quartet of what was then
Leningrad. It was the
first commission given in
this country to a Soviet
chamber ensemble since
the 1985 cultural
exchange accord between
the Soviet Union and the
United States. $285.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| All I Ask Of You Ensemble de cuivres - Facile De Haske Publications
Brass Band - Grade 2.5 SKU: BT.DHP-1033362-030 From The Phantom of the...(+)
Brass Band - Grade 2.5
SKU:
BT.DHP-1033362-030
From The Phantom of
the Opera. Composed
by Andrew Lloyd Webber.
Arranged by Peter Kleine
Schaars. De Haske Pop
Collection. Festive and
Solemn Music. Set (Score
& Parts). Composed 2003.
De Haske Publications
#DHP 1033362-030.
Published by De Haske
Publications
(BT.DHP-1033362-030).
Andrew Lloyd
Webber was born in
London, England in 1948
and has become probably
the most well respected
of all composers of
musicals, with many of
his works being household
names. All I Ask of You
is one of the main songs
from his award winning
musical Phantom of the
Opera.
Andrew
Lloyd Webber, der 1948 in
London in England geboren
wurde, komponierte die
Musik zu einer Reihe
weltberühmter
Musicals. All I Ask of
You ist ein Lied aus
dem Phantom der
Oper, dem Musical,
das auf die längste
Spielzeit am Broadway
zurückblicken kann.
Dieses Lied wurde aus
gutem Grund von
zahlreichen bekannten
Stars gesungen und
mehrfach bearbeitet.
Peter Kleine Schaars
gelang eine
wunderschöne
Bearbeitung für Brass
Band.
Né en
1948 Londres, Andrew
Lloyd Webber a composé
la musique de nombreuses
comédies musicales
célèbres dans le
monde entier ; de
l’opéra-rock
Jesus Christ
Superstar Evita,
Cats, Starlight
Express et, bien
entendu, The Phantom
Of The Opera (Le
Fantôme de
l’Opéra)
écrit en 1986. Dans
les années 80, il
compose également un
superbe Requiem
dont les airs
Hosanna et Pie
Jesu sont les plus
connus du grand public.
Andrew Lloyd Webber
excelle dans la
création de
mélodies succès,
pleines de sensibilité
et d’émotion,
telles que Memory
et Don’t Cry
For Me Argentina,
suscitant
l’admiration
travers le monde.All I
AskOf You, extrait de
la comédie musicale
The Phantom of the
Opera est un duo
interprété par deux
personnages majeurs de la
comédie musicale,
Christine et Raoul.
L’intrigue de
l’histoire est
basée sur le roman de
l’écrivain
français Gaston
Leroux. Le personnage
principal (Le Fantôme
de l’Opéra) est
un être étrange,
défiguré et
masqué qui vit et
hante les sous-sols de
l’Opéra de
Paris. Son amour
obsessionnel pour la
jeune cantatrice
Christine, le pousse
promouvoir sa carrière
tout prix. Mais quand il
s’aperçoit
qu’elle est
éprise de Raoul,
Vicomte de Chagny et ami
d’enfance de la
cantatrice, la fureur
s’empare de lui.
Il élabore de nombreux
complots aussi
terrifiants que
dramatiques mais finit
par cesser de poursuivre
Christine et disparaît
jamais.All I Ask Of
You a été
repris, juste titre, par
divers grands
interprètes dont
Barbra Streisand, et de
nombreux arrangements en
ont été
réalisés. Cette
superbe version pour
Orchestre
d’Harmonie est
signée Peter Kleine
Schaars. $78.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A La Puerta Del Cielo Chorale 2 parties 2 parties, Piano [Octavo] Alliance Music Publications
Arranged by Roth. For 2-part treble choir, piano. Choral octavo. Published by Al...(+)
Arranged by Roth. For
2-part treble choir,
piano. Choral octavo.
Published by Alliance
Music Publications. (AMP
0624)
$2.10 $1.995 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Marujo do Rosario Carl Fischer
Choral Piano, Tambourine, Voice 1, Voice 2, Voice 3 SKU: CF.CM9602 Compos...(+)
Choral Piano, Tambourine,
Voice 1, Voice 2, Voice 3
SKU: CF.CM9602
Composed by Brazilian
Folk Song. Arranged by
Eduardo Lakschevitz Elisa
Dekaney. Fold.
Performance Score. 12
pages. Duration 2
minutes, 28 seconds. Carl
Fischer Music #CM9602.
Published by Carl Fischer
Music (CF.CM9602).
ISBN 9781491154243.
UPC: 680160912742. 6.875
x 10.5 inches. Key: Gb
major. Portuguese.
Brazilian Folk
Song. According to
Ermelinda Paz ,
Marujo do
Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
houses owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [? k?
li'sensa olele e] E com
licenca do dono da casa
[? k? li'sensa du d?nu da
kaza]. According to
Ermelinda Paz ,
Marujo do
RosA!rio (literally
translated from the
Portuguese as aSailor of
the Rosarya) comes from
the hydrographic region
of the SAPSo Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
acheganASSa-de-marujoa
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics aA com
licenASSa Aa, A'lelAa,
A(c) com licenASSa do
dono da casa, A' Aa com
licenASSa Aaa means
aplease excuse me, I have
permission from the
houseas owner to come
in.a This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final ama or an.a
Just nasalize them. IPA
Transcription A com
licenASSa olelAa Aa [E kE
li'sensa oleale e] A com
licenASSa do dono da casa
[E kE li'sensa du adEnu
da akaza]. According
to Ermelinda Paz ,
Marujo do
Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
house's owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [e k^
li'sensa ole'le e] E com
licenca do dono da casa
[e k^ li'sensa du 'd^nu
da 'kaza]. According
to Ermelinda Paz, Marujo
do Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
house's owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [e k^
li'sensa ole'le e] E com
licenca do dono da casa
[e k^ li'sensa du 'd^nu
da 'kaza]. According
to Ermelinda Paz, Marujo
do Rosário (literally
translated from the
Portuguese as
“Sailor of the
Rosaryâ€) comes from
the hydrographic region
of the São Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
“chegança-de-mar
ujo†(arrival of
sailor). In this
tragicomic street drama,
the community of actors
enact a story in which
they demonstrate their
experiences as if they
were in a vessel lost at
sea. In this dance,
several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics
“É com
licença ê,
ôlelê, é com
licença do dono da
casa, ô ê com
licença êâ€
means “please
excuse me, I have
permission from the
house’s owner to
come in.â€This
arrangement is scored for
three-part mixed with
optional baritone, piano,
and pandeiro. The
pandeiro is a Brazilian
frame drum with jingles
played with the hands,
similar to the orchestral
tambourine. It is used in
various music styles but
particularly in samba and
bossa nova. In fact, feel
free to substitute the
pandeiro with the
orchestral tambourine.
The text is very short
and simple. To make your
singers Portuguese
pronunciation more
accurate, do not close
final “m†or
“n.†Just
nasalize them.IPA
TranscriptionÉ com
licença olelê
ê[ɛ kʌ li'sensa
ole‘le e]É com
licença do dono da
casa[ɛ kʌ li'sensa
du ‘dʌnu da
‘kaza]. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Real Vocal Book - Volume 2 Fake Book [Fake Book] Hal Leonard
C Edition. By Various. Fake Book (Includes melody line and chords). 368 pages. P...(+)
C Edition. By Various.
Fake Book (Includes
melody line and chords).
368 pages. Published by
Hal Leonard.
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Great Smoky Mountains Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
Contrabassoon, Double
Bass, English Horn,
Euphonium, Flute 1, Flute
2, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Percussion 1 and more.
SKU: PR.16500102F
Mvt. 2 from Symphony
No. 6 (Three Places in
the East). Composed
by Dan Welcher. Full
score. 52 pages. Theodore
Presser Company
#165-00102F. Published by
Theodore Presser Company
(PR.16500102F). ISBN
9781491131749. UPC:
680160680276. Ever
since the success of my
series of wind ensemble
works Places in the West,
I've been wanting to
write a companion piece
for national parks on the
other side of the north
American continent. The
earlier work, consisting
of GLACIER, THE
YELLOWSTONE FIRES,
ARCHES, and ZION, spanned
some twenty years of my
composing life, and since
the pieces called for
differing groups of
instruments, and were in
slightly different styles
from each other, I never
considered them to be
connected except in their
subject matter. In their
depiction of both the
scenery and the human
history within these
wondrous places, they had
a common goal: awaking
the listener to the
fragile beauty that is in
them; and calling
attention to the ever
more crucial need for
preservation and
protection of these wild
places, unique in all the
world. With this new
work, commissioned by a
consortium of college and
conservatory wind
ensembles led by the
University of Georgia, I
decided to build upon
that same model---but to
solidify the process. The
result, consisting of
three movements (each
named for a different
national park in the
eastern US), is a
bona-fide symphony. While
the three pieces could be
performed separately,
they share a musical
theme---and also a common
style and
instrumentation. It is a
true symphony, in that
the first movement is
long and expository, the
second is a rather
tightly structured
scherzo-with-trio, and
the finale is a true
culmination of the whole.
The first movement,
Everglades, was the
original inspiration for
the entire symphony.
Conceived over the course
of two trips to that
astonishing place (which
the native Americans
called River of Grass,
the subtitle of this
movement), this movement
not only conveys a sense
of the humid, lush, and
even frightening scenery
there---but also an
overview of the entire
settling-of- Florida
experience. It contains
not one, but two native
American chants, and also
presents a view of the
staggering influence of
modern man on this
fragile part of the
world. Beginning with a
slow unfolding marked
Heavy, humid, the music
soon presents a gentle,
lyrical theme in the solo
alto saxophone. This
theme, which goes through
three expansive phrases
with breaks in between,
will appear in all three
movements of the
symphony. After the mood
has been established, the
music opens up to a rich,
warm setting of a
Cherokee morning song,
with the simple happiness
that this part of Florida
must have had prior to
the nineteenth century.
This music, enveloping
and comforting, gradually
gives way to a more
frenetic, driven section
representative of the
intrusion of the white
man. Since Florida was
populated and developed
largely due to the
introduction of a train
system, there's a
suggestion of the
mechanized iron horse
driving straight into the
heartland. At that point,
the native Americans
become considerably less
gentle, and a second
chant seems to stand in
the way of the intruder;
a kind of warning song.
The second part of this
movement shows us the
great swampy center of
the peninsula, with its
wildlife both in and out
of the water. A new theme
appears, sad but noble,
suggesting that this land
is precious and must be
protected by all the
people who inhabit it. At
length, the morning song
reappears in all its
splendor, until the
sunset---with one last
iteration of the warning
song in the solo piccolo.
Functioning as a scherzo,
the second movement,
Great Smoky Mountains,
describes not just that
huge park itself, but one
brave soul's attempt to
climb a mountain there.
It begins with three
iterations of the
UR-theme (which began the
first movement as well),
but this time as up-tempo
brass fanfares in
octaves. Each time it
begins again, the theme
is a little slower and
less confident than the
previous time---almost as
though the hiker were
becoming aware of the
daunting mountain before
him. But then, a steady,
quick-pulsed ostinato
appears, in a constantly
shifting meter system of
2/4- 3/4 in alteration,
and the hike has begun.
Over this, a slower new
melody appears, as the
trek up the mountain
progresses. It's a big
mountain, and the ascent
seems to take quite
awhile, with little
breaks in the hiker's
stride, until at length
he simply must stop and
rest. An oboe solo, over
several free cadenza-like
measures, allows us (and
our friend the hiker) to
catch our breath, and
also to view in the
distance the rocky peak
before us. The goal is
somehow even more
daunting than at first,
being closer and thus
more frighteningly steep.
When we do push off
again, it's at a slower
pace, and with more
careful attention to our
footholds as we trek over
broken rocks. Tantalizing
little views of the
valley at every
switchback make our
determination even
stronger. Finally, we
burst through a stand of
pines and----we're at the
summit! The immensity of
the view is overwhelming,
and ultimately humbling.
A brief coda, while we
sit dazed on the rocks,
ends the movement in a
feeling of triumph. The
final movement, Acadia,
is also about a trip. In
the summer of 2014, I
took a sailing trip with
a dear friend from North
Haven, Maine, to the
southern coast of Mt.
Desert Island in Acadia
National Park. The
experience left me both
exuberant and exhausted,
with an appreciation for
the ocean that I hadn't
had previously. The
approach to Acadia
National Park by water,
too, was thrilling: like
the difference between
climbing a mountain on
foot with riding up on a
ski-lift, I felt I'd
earned the right to be
there. The music for this
movement is entirely
based on the opening
UR-theme. There's a sense
of the water and the
mysterious, quiet deep
from the very beginning,
with seagulls and bell
buoys setting the scene.
As we leave the harbor,
the theme (in a canon
between solo euphonium
and tuba) almost seems as
if large subaquatic
animals are observing our
departure. There are
three themes (call them
A, B and C) in this
seafaring journey---but
they are all based on the
UR theme, in its original
form with octaves
displaced, in an
upside-down form, and in
a backwards version as
well. (The ocean, while
appearing to be
unchanging, is always
changing.) We move out
into the main channel
(A), passing several
islands (B), until we
reach the long draw that
parallels the coastline
called Eggemoggin Reach,
and a sudden burst of new
speed (C). Things
suddenly stop, as if the
wind had died, and we
have a vision: is that
really Mt. Desert Island
we can see off the port
bow, vaguely in the
distance? A chorale of
saxophones seems to
suggest that. We push off
anew as the chorale ends,
and go through all three
themes again---but in
different
instrumentations, and
different keys. At the
final tack-turn, there it
is, for real: Mt. Desert
Island, big as life.
We've made it. As we pull
into the harbor, where
we'll secure the boat for
the night, there's a
feeling of achievement.
Our whale and dolphin
friends return, and we
end our journey with
gratitude and
celebration. I am
profoundly grateful to
Jaclyn Hartenberger,
Professor of Conducting
at the University of
Georgia, for leading the
consortium which provided
the commissioning of this
work. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| RandB Fake Book - C Instruments - 2nd Edition
Fake Book [Fake Book] - Intermédiaire Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Randb and classic
soul. Series: Hal Leonard
Fake Books. 437 pages.
9x12 inches. Published by
Hal Leonard.
(9)$44.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dixit Dominus SSA Chorale 3 parties SSA Shawnee Press
Arranged by Russell L. Robinson. For SSA Choir. Sheet Music. Published by Shawne...(+)
Arranged by Russell L.
Robinson. For SSA Choir.
Sheet Music. Published by
Shawnee Press.
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Just As I Am Shawnee Press
Choral (Studiotrax CD) SKU: HL.35032679 (New Edition). Composed by...(+)
Choral (Studiotrax CD)
SKU: HL.35032679
(New Edition).
Composed by Joseph M.
Martin. Glory Sound.
Easter, General Worship,
Holy Week, Lent, Sacred.
CD. Duration 200 seconds.
Published by Shawnee
Press (HL.35032679).
UPC: 888680912239.
5.0x5.0x0.185 inches.
Charlotte Elliott/Joseph
M. Martin. I Timothy
1:15, John 7:37-38, Psalm
51:2. A new edition
of this early Martin hymn
resetting! In this
version, the key has been
lowered and the rhythms
adjusted to reflect a
more traditional approach
to the text, refining the
anthem for reverence and
worship. The contours of
the melody convey longing
and repentance while the
B section weaves gentle
counterpoint into a sonic
tapestry of beauty. An
approachable yet
effective option for Holy
Week or services of
contemplation. Superb!
Score and Parts (fl, ob,
cl, bn, perc 1-2, pno, vn
1-2, va, vc, db)
available as a digital
download. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jesus Christ, Forever, Amen (Stereo CD) Chorale Unison Unison/2-parties, Piano - Facile Lillenas Publishing Co.
Unison/2-part choir - Easy SKU: LP.765762128620 An Easter Presentation...(+)
Unison/2-part choir -
Easy SKU:
LP.765762128620 An
Easter Presentation of 5
Songs in
Unison/2-Part.
Arranged by Dennis & Nan
Allen, Marty Parks & J.
Daniel Smith. Musical.
Worship in Unison.
Multicultural and Sacred.
Stereo CD. Duration 20
minutes. Published by
Lillenas Publishing
Company
(LP.765762128620).
UPC:
765762128620. Jesus
Christ, Forever, Amen is
a huge blessing in a
small package. From our
Worship in Unison series,
this compact and fully
orchestrated narrated
musical is just 20
minutes in length, making
is an ideal choral
presentation for Easter
Sunday that still leaves
time for all the other
traditional elements your
congregation loves to see
in your Easter
celebration. Specifically
designed for unison and
2-part choirs, it is
ideal for choirs of any
size. The entire work can
be sung in unison, but
includes maximum
flexibility built into
the 2-part vocal
arrangements, allowing
you to assign the
optional vocal divisions
to fit your choir's skill
level. The light-handed
orchestral accompaniment
is richly satisfying
without overpowering a
smaller choir. Join in
the celebration and
promise this Easter as we
proclaim together, Jesus
Christ, Forever,
Amen!. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Christ, Forever, Amen (Bulk Cds) Chorale Unison Unison/2-parties, Piano - Facile Lillenas Publishing Co.
Unison/2-part choir - Easy SKU: LP.765762128828 An Easter Presentation...(+)
Unison/2-part choir -
Easy SKU:
LP.765762128828 An
Easter Presentation of 5
Songs in
Unison/2-Part.
Arranged by Dennis & Nan
Allen, Marty Parks & J.
Daniel Smith. This
edition: Paperback.
Musical. Worship in
Unison. Multicultural and
Sacred. Bulk CDs (10
pack). Duration 20
minutes. Published by
Lillenas Publishing
Company
(LP.765762128828).
UPC:
765762128828. Jesus
Christ, Forever, Amen is
a huge blessing in a
small package. From our
Worship in Unison series,
this compact and fully
orchestrated narrated
musical is just 20
minutes in length, making
is an ideal choral
presentation for Easter
Sunday that still leaves
time for all the other
traditional elements your
congregation loves to see
in your Easter
celebration. Specifically
designed for unison and
2-part choirs, it is
ideal for choirs of any
size. The entire work can
be sung in unison, but
includes maximum
flexibility built into
the 2-part vocal
arrangements, allowing
you to assign the
optional vocal divisions
to fit your choir's skill
level. The light-handed
orchestral accompaniment
is richly satisfying
without overpowering a
smaller choir. Join in
the celebration and
promise this Easter as we
proclaim together, Jesus
Christ, Forever,
Amen!. $59.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus Christ, Forever, Amen (Split-Channel & Stereo Accompaniment CD) Chorale Unison Unison/2-parties, Piano - Facile Lillenas Publishing Co.
Unison/2-part choir - Easy SKU: LP.765762128729 An Easter Presentation...(+)
Unison/2-part choir -
Easy SKU:
LP.765762128729 An
Easter Presentation of 5
Songs in
Unison/2-Part.
Arranged by Dennis & Nan
Allen, Marty Parks & J.
Daniel Smith. Musical.
Worship in Unison.
Multicultural and Sacred.
Split-Channel & Stereo
Accompaniment CD.
Duration 20 minutes.
Published by Lillenas
Publishing Company
(LP.765762128729).
UPC:
765762128729. Jesus
Christ, Forever, Amen is
a huge blessing in a
small package. From our
Worship in Unison series,
this compact and fully
orchestrated narrated
musical is just 20
minutes in length, making
is an ideal choral
presentation for Easter
Sunday that still leaves
time for all the other
traditional elements your
congregation loves to see
in your Easter
celebration. Specifically
designed for unison and
2-part choirs, it is
ideal for choirs of any
size. The entire work can
be sung in unison, but
includes maximum
flexibility built into
the 2-part vocal
arrangements, allowing
you to assign the
optional vocal divisions
to fit your choir's skill
level. The light-handed
orchestral accompaniment
is richly satisfying
without overpowering a
smaller choir. Join in
the celebration and
promise this Easter as we
proclaim together, Jesus
Christ, Forever,
Amen!. $59.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Soaring Spirits 2 Flûtes traversières (duo) Hope Publishing Company
Arranged by Judy Nishimura. Instrumental parts. Hope Publishing Company #9061....(+)
Arranged by Judy
Nishimura.
Instrumental parts. Hope
Publishing Company #9061.
Published by Hope
Publishing
Company
$18.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Pearl Jam - The Complete Scores Partitions De Groupes Hal Leonard
Deluxe Box Set. By Pearl Jam. Transcribed Score. Hardcover. With guitar tabla...(+)
Deluxe Box Set. By Pearl
Jam. Transcribed Score.
Hardcover. With guitar
tablature. 816 pages.
Published by Hal Leonard
$99.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 100 Etudes, Exercises and Simple Tonal Phrases Volume 1 Piano seul - Facile Schott
Piano - easy to intermediate SKU: HL.49045014 For Piano. Composed ...(+)
Piano - easy to
intermediate SKU:
HL.49045014 For
Piano. Composed by
Nicholas Lens. This
edition: Saddle
stitching. Sheet music.
Piano. Classical, Etude.
Softcover. 86 pages.
Duration 75'. Schott
Music #ED 22049.
Published by Schott Music
(HL.49045014). ISBN
9790001202114. 9.0x12.0
inches. The Belgian
composer Nicholas Lens
presents extremely varied
etudes, exercises and
simple phrases with
wonderfully telling
titles from poetry and
everyday world for
children and adults. For
the most part the studies
are tonal and simple and
have no constructed line.
They are not based on any
educational concept but
leave the musical
dramatization to the
pupils and teachers:
'Notes and rhythms are
just notes and rhythms,
they do not have that
many rules, they do not
have any pretension, they
are just tools for you to
use to express what you
want to share'. $64.00 - Voir plus => Acheter | | |
| Reflections Piano seul Theodore Presser Co.
Scott Joplin Reconsidered. Composed by Scott Joplin (1868-1917). Edited by L...(+)
Scott Joplin
Reconsidered.
Composed by Scott Joplin
(1868-1917). Edited by
Lara
Downes. Collection.
Theodore
Presser Company
#440-40028.
Published by Theodore
Presser
Company
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Little Black Book of Beatles Songs for Ukulele Ukulele Hal Leonard
Lyrics/Chords Ukulele SKU: HL.232108 By The Beatles. Ukulele. Pop. Softco...(+)
Lyrics/Chords Ukulele
SKU: HL.232108 By
The Beatles. Ukulele.
Pop. Softcover. Composed
2014. 384 pages. Hal
Leonard #NO91894.
Published by Hal Leonard
(HL.232108). ISBN
9781783052738. UPC:
888680677329.
4.5x7.5x0.899
inches. Complete
lyrics and chords to 195
Beatles songs, including:
Across the Universe
• All My Loving
• All You Need Is
Love • And I Love
Her • Back in the
U.S.S.R. • The
Ballad of John and Yoko
• Birthday •
Blackbird • A Day
in the Life • Day
Tripper • Dear
Prudence • Drive My
Car • Eight Days a
Week • Eleanor
Rigby • Good Day
Sunshine • Got to
Get You into My Life
• A Hard Day's
Night • Help!
• Helter Skelter
• Here Comes the
Sun • Hey Jude
• I Saw Her
Standing There • I
Want to Hold Your Hand
• In My Life
• Let It Be •
The Long and Winding Road
• Lucy in the Sky
with Diamonds •
Penny Lane •
Revolution •
Something • Ticket
to Ride • Twist and
Shout • When I'm
Sixty-Four • While
My Guitar Gently Weeps
• Yellow Submarine
• Yesterday •
and more. 4-1/2 inches x
7-1/2 inches. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Got a Robe Chorale Unison Unison/2-parties, Piano Shawnee Press
Unison/opt. 2-Part Children's Choir (Unison/2-Part Treble) SKU: HL.527056 ...(+)
Unison/opt. 2-Part
Children's Choir
(Unison/2-Part Treble)
SKU: HL.527056
Arranged by Greg Gilpin.
Harold Flammer
WorshipSongs Jr.
Children, Children'S
Choir, Concert, Festival,
General Worship, Sacred,
Spiritual, Youth Choir.
Octavo. 12 pages.
Duration 135 seconds.
Published by Shawnee
Press (HL.527056).
ISBN 9781705166277.
UPC: 196288074991.
6.75x10.5x0.029 inches.
Revelation
7:9-10. Equally
suited for both church
and school settings, this
popular spiritual was
originally sung as a
protest song denouncing
slavery and hypocrisy.
The song's energetic
melody underscores an
uncompromising drive for
equality, justice, and
freedom. Repeated phrases
in the melody and text
make the piece an ideal
choice for any unison or
two-part choir. $2.15 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| All I Want For Christmas Chorale Unison Unison/2-parties, Piano [CD d'accompagnement] - Facile Brentwood-Benson
By Dennis Allen, Nan Allen. For Unison/2-part choir. Modern Christian. Sacred. L...(+)
By Dennis Allen, Nan
Allen. For Unison/2-part
choir. Modern Christian.
Sacred. Level: Easy.
Accompaniment Track
(Musical) - CD. Duration
40 minutes. Published by
Brentwood-Benson Music
Publishing.
$90.00 - Voir plus => AcheterDélais: 1 to 2 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 | | |
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