Score. Composed by
Bryce Dessner. Music
Sales America. Classical,
Contemporary. Softcover.
34 pages. Chester Music
#CH83688. Published by
Chester Music
(HL.14043596).
12.0x16.75x0.445
inches.
This is the
full score of Aheym For
Orchestra , composed by
Bryce Dessner , best
known as the guitarist of
The National, but also an
acclaimed composer in his
own right. If so desired,
this work can be
performed with Strings
alone: the Wind and
Percussion instruments
are optional. Composed in
2009 for the Kronos
Quartet for their
performance in Brooklyn's
Prospect Park for the
Celebrate Brooklyn!
festival, Aheym (meaning
'homeward' in Yiddish)
was directly inspired by
his parents' migration to
Brooklyn. The score in
this edition was first
performed by the London
Sinfonietta at the
Southbank Centre in
London on the 9th of
October 2012. The work
lasts around 8 minutes
and isfilled with dynamic
tempo changes, a mix of
staccato and smooth
playing and all-round
excitement. It's a
fantastic piece to play
and the genius
composition will keep
audiences on their
toes.
Peter Schickele : Quintet #2 Piano Quatuor: Instruments de chambre mixtes [Conducteur et Parties séparées] Theodore Presser Co.
For Piano and String Quartet - Score and Parts. By Peter Schickele. Text: Peter ...(+)
For Piano and String
Quartet - Score and
Parts. By Peter
Schickele. Text: Peter
Schickele. Piano quintet.
For Piano, Violin I,
Violin II, Viola, Cello.
First performance:
Athens, October 27, 1997.
Score and parts. Composed
1997. 72 pages. Duration
26:00. Published by
Theodore Presser Company.
Little Mushrooms 1 Piano, 6 mains [Conducteur] Theodore Presser Co.
Little Mushrooms. (Suite for Piano, Four Hands, Celebrating the 200th Anniversar...(+)
Little Mushrooms. (Suite
for Piano, Four Hands,
Celebrating the 200th
Anniversary of
Schubert'). By Peter
Schickele. Piano 4-hands.
For Piano I, Piano II.
First performance:
Neighborhood Church in
Pasadena on March 30,
1998 as part of one of
the annual concerts of
Schickele's chamber music
presented by the
Armadillo String Quartet.
Performance score.
Standard notation.
Composed OCTOBER 27 1997.
24 pages. Duration 14
minutes. Published by
Theodore Presser Company
Piano Quartet SKU: BR.BG-1221 Based upon a Czech Farm Labourer Song(+)
Piano Quartet
SKU:
BR.BG-1221
Based
upon a Czech Farm
Labourer Song.
Composed by Norbert
Linke. This edition:
paperback. Chamber music;
Softcover. Edition Gerig.
World premiere Munich,
October 19, 1976. Music
post-1945. Score.
Composed 1975. 40 pages.
Duration 15'. Breitkopf
and Haertel #BG 1221.
Published by Breitkopf
and Haertel (BR.BG-1221).
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra
SKU: PR.11641373S
Composed by Peter
Schickele. Full score.
Duration 24 minutes.
Theodore Presser Company
#116-41373S. Published by
Theodore Presser Company
(PR.11641373S).
UPC:
680160680344.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra
SKU: PR.11641373L
Composed by Peter
Schickele. Large Score.
Duration 24 minutes.
Theodore Presser Company
#116-41373L. Published by
Theodore Presser Company
(PR.11641373L).
UPC:
680160680337.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.