Orchestra (Violoncello) SKU: BA.BA07887-82 Composed by Gabriel Faure. Edi...(+)
Orchestra (Violoncello)
SKU: BA.BA07887-82
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 7
minutes. Baerenreiter
Verlag #BA07887_82.
Published by Baerenreiter
Verlag (BA.BA07887-82).
ISBN 9790006558537.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
By Georgi Vasilievich Sviridov. For chorus. (SATB (DIV), SOLI). Russian Title: ...(+)
By Georgi Vasilievich
Sviridov. For chorus.
(SATB (DIV), SOLI).
Russian Title: Tri hora
iz tragedii A. K.
Tolstogo "Tsar' Feodor
Ivanovich". Published by
Musica Russica. (CMR
001)
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Recorder; Methods and Music for Children; Early Music SKU: UT.HS-303 V...(+)
Recorder; Methods and
Music for Children; Early
Music
SKU:
UT.HS-303
Vol. 2:
Intermediate Level.
Edited by Nicola Sansone.
Saddle stitching.
Classical. Ut Orpheus #HS
303. Published by Ut
Orpheus (UT.HS-303).
ISBN 9790215327016. 9
x 12 inches.
This
two-volume anthology has
been designed on the
living experience of
teaching as material
intended for descant
recorder players at the
beginner and intermediate
level. The progressive
order allows an approach
to ensemble music,
starting from the use of
just the notes of the
left hand, and proceeds
with the acquisition of
the new positions
reaching the chromatic
range of an octave and a
sixth. The repertoire
used consists exclusively
of dance music from the
French and Flemish area
contained in various
collections published
between 1530 and 1583 by
various composers and
editors. This choice was
dictated by a number of
different factors: the
extremely clear and
symmetrical metric and
formal schemes typical of
the Renaissance dance
form, with due and useful
exceptions, help to
understand the concept of
musical phrase; the use
of coded and recurring
rhythmic formulas makes
it possible to perfect
the rhythmic division;
harmony based mostly on
the basic steps helps to
form an experience of
listening, intonation and
understanding of the main
harmonic functions. No
less significant are
other elements, such as
variety in the length of
the pieces, from a few
bars up to several dozen,
which favours the
development of
concentration and
attention, with the same
technical difficulties.
Above all, however, the
vastness of the
repertoire, more than 500
compositions, makes it
possible to choose and
order the pieces with an
idea of
​​technical
and musical
progressiveness
comparable to that of a
method. The edition
is produced in such a way
that all the pieces can
be performed in four
parts except for some in
five parts, in different
ensembles. The most basic
is in reduced three-part
form of descant, tenor
and bass, the latter two
are given respectively to
the right and left hand
of the keyboard player.
Since recorders play at
the octave above, the
tenor part is also
transposed in the same
way to make the sound of
the three upper voices
homogeneous, while the
bass retains its original
range. It is also
possible to enlarge the
group to play the full
four voices with the
addition of an alto or
tenor recorder playing
the alto part, available
in the separate part, and
two more instruments,
tenor and bass recorders
or others, performing the
respective lines alone or
doubling with the
keyboard.
Double bass SKU: BA.BA07887-85 Composed by Gabriel Faure. Edited by Robin...(+)
Double bass
SKU:
BA.BA07887-85
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 16
minutes. Baerenreiter
Verlag #BA07887_85.
Published by Baerenreiter
Verlag (BA.BA07887-85).
ISBN 9790006558544.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Orchestra (Viola) SKU: BA.BA07887-79 Composed by Gabriel Faure. Edited by...(+)
Orchestra (Viola)
SKU:
BA.BA07887-79
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 7
minutes. Baerenreiter
Verlag #BA07887_79.
Published by Baerenreiter
Verlag (BA.BA07887-79).
ISBN 9790006558520.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Orchestra Concert Band SKU: PR.416413660 For Violin and Orchestra....(+)
Orchestra Concert Band
SKU: PR.416413660
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Perfect. Contemporary.
Full score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366.
Published by Theodore
Presser Company
(PR.416413660).
ISBN
9781598063578. UPC:
680160601899. 9x12
inches.
Trained as
a violinist in his native
Tehran, composer Behzad
Ranjbaran eagerly drew
inspiration from the
traditional Persian
kamancheh and its
delicate, lyrical sound
when creating his
profoundly luscious and
brilliant Concerto for
Violin and Orchestra.
This work was completed
in 1994 and premiered in
England by Joshua Bell,
who also gave the first
American and Canadian
performances. The
Concerto for Violin and
Orchestra is the
recipient of the Rudolf
Nissim Award from ASCAP,
and it was supported in
part by a grant from The
National Endowment for
the Arts. The solo part
with a piano reduction as
well as a large score are
available on custom
print. For advanced
players. Duration:
31'. From my early
years studying violin at
the Tehran Music
Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
Grade 3 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert. Score Only.
Composed 2006. Anglo
Music Press #AMP159.
Published by Anglo Music
Press (HL.44006712).
Not a great
deal is known about the
life of the artist and
poet Adriaen Valerius
(ca. 1575 - 1625). He is
mostly remembered today
for his collection of 79
songs for voice and lute
(or cittern) called the
Nederlandtsche
Gedenck-clanck (literally
Netherlands sound
memories). The book is a
collection of his poems,
set to already-existing
popular melodies, and is
significant in that it is
one of the earliest
published sources of the
Wilhelmus, the Dutch
National Anthem. The book
gained national
popularity during the
long war with Spain, a
popularity that was
revived for similar
reasons during German
occupation in World War
II.
August Moonrise Chorale SSAATTBB - Intermédiaire GIA Publications
SSAATTBB choir, piano accompaniment, cello - Intermediate SKU: GI.G-8187 ...(+)
SSAATTBB choir, piano
accompaniment, cello -
Intermediate
SKU:
GI.G-8187
Composed by
Blake R. Henson. Evoking
Sound. Music Education.
Octavo. 20 pages. GIA
Publications #8187.
Published by GIA
Publications (GI.G-8187).
UPC: 785147818700.
English. Text by Sara
Teasdale.
A setting
of a Sara Teasdale poem
that is an ode to beauty.
A performance piece for
SATB (with some divisi),
piano, and cello,
duration ca. 6:00. Though
it requires substantial
vocal forces, it is a
“big†work
that is not overly
difficult, staying within
the established tonality
and remaining mostly
homophonic.
Composed by Renata Bratt and Bert Ligon. For cello. Saddle-stitched. Beginning-I...(+)
Composed by Renata Bratt
and Bert Ligon. For
cello. Saddle-stitched.
Beginning-Intermediate.
Book and online
audio/PDF. Published by
Mel Bay Publications, Inc
Chamber Music Piano, soprano Saxophone SKU: PR.164002950 Fantasy after...(+)
Chamber Music Piano,
soprano Saxophone
SKU:
PR.164002950
Fantasy after
Mendelssohn. Composed
by Dan Welcher. Sws. Set
of Score and Parts. 20+8
pages. Duration 10
minutes. Theodore Presser
Company #164-00295.
Published by Theodore
Presser Company
(PR.164002950).
ISBN
9781491114568. UPC:
680160633449. 9 x 12
inches.
Dan
Welcher’s
fascinating work for
soprano sax is both a
refraction of
Mendelssohn’s
music for A Midsummer
Night’s Dream, and
his own incidental music
to Shakespeare’s
comedy. The work’s
title, AS LIGHT AS BIRD
FROM BRIER, quotes from
Oberon (King of the
Fairies) invoking revelry
at the play’s
climactic wedding scene.
Welcher’s fantasy
skips among the most
beloved themes of
Mendelssohn’s
Midsummer – giving
the saxophonist quite a
workout, and the listener
a midsummer
delight. AS LIGHT AS
BIRD FROM BRIER is
loosely based on
Shakespeare’s play
A Midsummer
Night’s Dream,
which has haunted me
since I was nine years
old. My parents
subscribed me to The
Children’s Record
Guild, and every month a
new 78rpm vinyl record
would arrive in the mail.
They were mostly fairy
tales and “kids
lit,†but in this
case it was a very
condensed performance of
the actual play, with
Mendelssohn’s
music. I loved it
immediately, and still do
– I saw a
performance in 2014 at
the Stratford Festival
that literally stalks my
dreams.When I was
commissioned by
saxophonist Stephen Page
to compose a work for
soprano saxophone and
piano two years later, I
channeled Mendelssohn as
an inspiration:
specifically, the
Overture, the Scherzo,
the Intermezzo, the
fairy’s song
“You spotted snakes
with double
tongue,†and the
Rustics’ Dance.
But it’s not a
pastiche – most of
the music is completely
my own, though attentive
listeners will detect
snatches of
Mendelssohn’s
haunting score
throughout.This piece
joins MILL SONGS and
FLORESTAN’S FALCON
among works honoring my
favorite 19th-century
composers (in those
cases, Schubert and
Schumann) without ripping
them off. As Stravinsky
did in his ballet
Pulcinella, I have
borrowed fragments of
melody from a much-loved
composer, and made a
fabric of harmonies and
scales that are
genetically related to
Mendelssohn, but
unmistakably Welcher.In
this work, the
saxophonist is Puck
– skittish,
dazzlingly fast, and
brilliant in the outer
parts, and a mischievous
Cupid in the long,
central Love Song.
(Remember how Puck
anoints Titania’s
eyes with the juice from
a magic flower, which
causes her to fall in
love with Bottom the
weaver, who has been
bewitched and wears a
donkey’s head?)
The music traces
Puck’s magic
flight, the finding of
the flower,
Titania’s
love-scene with Bottom
and her fairies, and the
rustic players –
whose rehearsal of the
funniest
play-within-the-play in
literature is interrupted
by Puck’s dirty
tricks.I greatly enjoyed
the process of writing
this piece, and often
found myself quite moved
even as I was writing
it... which rarely
happens. Stephen Page,
who commissioned the
work, is a consummate
artist (and a bit of a
Puck himself). The title
comes from
Oberon’s final
speech in the
play:Through the house,
give glimmering light,By
the dead and drowsy
fire.Every elf and fairy
spriteHop as light as
bird from brier,And this
ditty, after me,Sing, and
dance it trippingly.
String Quartet SKU: FG.55011-574-3 Composed by Kalevi Aho. Score+parts. F...(+)
String Quartet
SKU:
FG.55011-574-3
Composed by Kalevi Aho.
Score+parts. Fennica
Gehrman #55011-574-3.
Published by Fennica
Gehrman (FG.55011-574-3).
ISBN
9790550115743.
Kale
vi Aho (b.1949) was only
18 years old when he
completed his String
Quartet no. 1 in g minor
(1967). Nonetheless it
was already the second
one of its kind: the
earlier string quartet in
a minor got christened
String Quartet No. 0 and
banned from performing.
The g minor quartet was
heard the first time only
50 years after it was
born, when the Kamus
Quartet premiered it at
the Musica Kalevi Aho
Festival in Forssa on
June 28, 2019. In Aho's
home town, Forssa, it was
not possible to study
composition with a
teacher: My model in this
and the other works I
composed while I was at
school was all the mostly
tonal music I had
personally played on the
violin or heard on the
radio. The first
movement, Moderato,
begins in variation form,
until followed by a fugue
based on the variation
theme. The initially
lyrical second movement
has a quick, virtuosic
and light middle section.
The third movement is a
very quick scherzo that
becomes dramatic, and the
work ends with a
chorale-like finale. The
composer tells: When I
got to study composition
at the Sibelius Academy
in autumn 1968 and showed
the quartet to my
teacher, Einojuhani
Rautavaara, he said there
was no point my studying
tonal harmony and tonal
formal constructions any
longer; that I could do
the exams in them
straight away and start
the courses in modern
music resources there and
then..
A Prayer of St. Patrick Chorale SATB SATB, Orgue - Intermédiaire MorningStar Music Publishers
SATB choir and organ - Intermediate SKU: MN.50-8012 Composed by Paul M. F...(+)
SATB choir and organ -
Intermediate
SKU:
MN.50-8012
Composed
by Paul M. French.
Cathedral Series.
Catholic Year C Holy
Trinity; Catholic Year C
Ordinary14. Trinity,
Lent, Organ Dedication,
21st Century, Morning,
Prayer, Trust/Guidance.
Octavo. MorningStar Music
Publishers #50-8012.
Published by MorningStar
Music Publishers
(MN.50-8012).
By Kim Williams. For Piano. Duet or Duo; Piano Duet (1 Piano, 4 Hands); Sheet. S...(+)
By Kim Williams. For
Piano. Duet or Duo; Piano
Duet (1 Piano, 4 Hands);
Sheet. Signature Series.
Early Intermediate. 8
pages. Published by
Alfred Music Publishing
Orchestra (Score) - advanced SKU: HL.49001770 Full Score. Composed...(+)
Orchestra (Score) -
advanced
SKU:
HL.49001770
Full
Score. Composed by
Wilhelm Friedemann Bach.
Edited by Walter
Lebermann. This edition:
Saddle stitching. Sheet
music. Concertino
(Chamber Orchestra).
Classical. Score. 16
pages. Duration 8'.
Schott Music #CON 14.
Published by Schott Music
(HL.49001770).
ISBN
9790001021197. UPC:
073999293562.
9.25x12.0x0.07
inches.
Though A.E.
Brachvogel's portrayal of
the failed genius in his
biography about W.F. Bach
drew an impressive
picture of the inner
turmoil of the eldest
Bach son's personality,
it is rather unproductive
for the understanding of
his music. However,
legends often or mostly
contain a core of truth:
There is no doubt that
the highly gifted
musician failed because
of the overwhelming
example of his father (as
composer) particularly
since he was on the
threshold from one epoch
to another.In the adagio,
both flute parts rising
above the string
orchestra are assigned a
quality of expression
that can already be
related to the
sentimental age whereas
the second movement, a
more or less strict
string fugue, is rooted
in the
tradition-conscious
baroque period.
First violin (1. Violin) SKU: BA.BA07887-74 Composed by Gabriel Faure. Ed...(+)
First violin (1. Violin)
SKU: BA.BA07887-74
Composed by Gabriel
Faure. Edited by Robin
Tait. This edition:
urtext edition. Folded.
Barenreiter Urtext.
Single part. Opus 50. 3
pages. Duration 7
minutes. Baerenreiter
Verlag #BA07887_74.
Published by Baerenreiter
Verlag (BA.BA07887-74).
ISBN 9790006558506.
32.5 x 25.5 cm
inches.
The
popularity of Faure's
Pavane is mostly
attributed to its many
arrangements but the
original version for
orchestra is being
published here for the
first time. Shortly after
completing the orchestral
work, Faure began work on
a version for choir,
which was actually
premiered before the
orchestral
version.
This new
Barenreiter edition
offers conductors and
orchestras a reliable
Urtext edition of the
Pavane's original
orchestral version which
will surely enhance
symphonic concert
programmes
everywhere.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Concert Band/Harmonie - Grade 3 SKU: BT.AMP-159-140 Variations on a me...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.AMP-159-140
Variations on a melody
by Adriaen Valerius
(1575-1625). Composed
by Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Score
Only. Composed 2006.
Anglo Music Press #AMP
159-140. Published by
Anglo Music Press
(BT.AMP-159-140).
9x12
inches.
English-German-French-Dut
ch.
Dutch composer,
artist and poet Adriaen
Valerius is mostly
remembered today for his
collection of 79 songs
for voice and lute or
cittern, published
posthumously in 1626.
Philip Sparke has taken
one melody from this
collection that tells of
the War of Independence
with Spain. The beautiful
slow melody is followed
by a series of lively
variations to form an
extremely entertaining
piece that will bring
great joy to all who
perform and listen to it.
De dichter
Adriaen Valerius (ca.
1575-1625) is vooral
bekend om zijn collectie
van 79 liederen voor zang
en luit of citer (postuum
gepubliceerd in 1626): de
Nederlandtsche
Gedenck-clanck. Het
boek is een verzameling
van degedichten die hij
had gemaakt op reeds
bestaande populaire
melodieën. Het is een
van de vroegst
gepubliceerde bronnen van
het Wilhelmus. Voor
Valerius
Variations is de
bekende melodie gebruikt
van Merck toch hoe
sterck,waarvan de
tekst vertelt over de
Nederlandse
onafhankelijkheidsoorlog
tegen
Spanje.
Variati
onen über eine Melodie
von Adriaen Valerius
Philip Sparke entdeckte
die Melodie, die er in
Valerius
Variations
verwendete, in einer
Sammlung des
holländischen Poeten
und Künstlers Adriaen
Valerius aus dem 16.
Jahrhundert. In
Valerius’ Sammlung
gehörte sie zu einem
Lied über den
holländischen
Unabhängigkeitskrieg
mit Spanien, Valerius
selbst nennt als Quelle
ein Lied namens
Comediantendans und
zuvor wurde sie
vermutlich schon von
englischen Seeleuten
gesungen. Philip Sparke
setzte die bewegte
Geschichte dieser
offensichtlich über
Jahrhunderte allseits
beliebten Melodie mit
dieser Variationsreihe
fort.
L’art
ista e poeta olandese
Adriaen (Adrianus)
Valerius (ca. 1575-1625)
deve la sua notoriet ad
una raccolta di 79 canti
poetici per voce, liuto o
chitarra raccolti in
un’opera postuma
pubblicata nel 1626 con
il nome di
Nederlantsche
Gedenck-clank> (Memorie
sonore olandesi).
Valerius
Variations è
basato su un canto
patriottico olandese il
cui testo evoca la guerra
d’Indipendenza
contro la Spagna. Questa
melodia deriva in effetti
da un antico canto marino
inglese. Adriaen Valerius
gli diede il nome di
Comediantendans
(La danza dei
commedianti).