| Quintessence II Orchestre d'harmonie [Conducteur et Parties séparées] C. Alan Publications
(Brass Quintet and Percussion Feature). By David Gillingham. For Soloist(s) with...(+)
(Brass Quintet and
Percussion Feature). By
David Gillingham. For
Soloist(s) with Concert
Band (Piccolo, Flute 1/2,
Oboe 1/2, Bassoon 1/2,
Clarinet in Bb 1,
Clarinet in Bb 2/3, Bass
Clarinet, Alto Saxophone
1/2, Tenor Saxophone,
Baritone Saxophone,
Trumpet i. Score and
Parts.
$160.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Buster's Last Stand Big band [Conducteur et Parties séparées] Jazz Lines Publications
By Claude Thornhill. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For jazz...(+)
By Claude Thornhill.
Edited by Jeffrey
Sultanof. Arranged by Gil
Evans. For jazz big band
(2 alto saxophones
(double clarinet), 2
tenor saxophones,
baritone saxophone,
clarinet (optional), 4
trumpets (4th alternate
for horn 1), 2 horns in
F, 3 trombones (3rd
alternate for horn 2),
guitar, piano, bass,
drums, 2 trombones).
Swing. Difficult. Score
and parts. Published by
Jazz Lines Publications
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| tellement froid que [Conducteur] Carus Verlag
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics,
Scene SKU:
CA.1631000
(georgiques I), fur
bass flute and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
(r)TELLEMENT FROID QUE-
(GEORGIQUES I). Full
score. Composed 1995-96.
66 pages. Duration 20
minutes. Carus Verlag #CV
16.310/00. Published by
Carus Verlag
(CA.1631000). ISBN
9790007242800. Language:
all
languages. 1989.
Stay in Aix-en-Provence,
France, doing a language
course. Reading,
discussing and analyzing
Les Georgiques; this
pursuit is going to be
the foundation of the
multiple intellectual and
literary levels of my
composing. 2. THE WOODEN
PLATFORM IS COVERED WITH
FINE WHITE SAND (OR
SALT), THE TWO SHELVES
WITH BLACK CLOTH ... At
the time I work on my
first serious piece,
still a far cry from the
under-standing of writing
music I have today. <<
tellement froid que >>
(georgiques I) for bass
flute, electronics and
scene (1995-96), sections
1-7. << comme si le froid
>> (georgiques II) for
baritone saxophone,
timpani and piano (1998),
sections 18-24. <<
n'etait le froid >>
(georgiques III) for
orchestra (2000-2002),
sections not yet decided.
3. THE INTERPRETER WILL
BE DRESSED IN BLACK AND
WHITE, MAINLY WHITE IF
BLUISH LIGHT IS AT HAND
... The enormously rich
vocabulary and the
accuracy of expression -
in temporal, spatial and
material terms - is
particularly impressive.
To comprehend all of it,
a reading on three
different levels is
called for: a first
reading of one passage,
then the acquisition of
unknown vocabulary;
thirdly a repeated -
knowing - reading, which
points out the utopia of
precise expression: The
text is treated in a
rather problematic (cold:
le froid?) manner: it's
not the semantic content
that is primarily
dominant, but rather the
outward appearance, the
mise en page and the
syntactic structure. 4.
THE INTERPRETER ENTERS
THE STAGE WITH ALL THE
FLUTES (S)HE WILL PLAY
DURING THE CONCERT AND
DEPOSITS THEM - EXCEPT
FOR THE BASS FLUTE - ON
SHELF B; IF (S)HE ONLY
PLAYS THIS PIECE, (S)HE
SHOULD PUT THE PROGRAMME
OF THE CONCERT THERE; IN
ANY CASE THE INSTRUCTIONS
IN BAR 195 MUST BE
FOLLOWED ... In concrete
terms the 10 centimetres
of a line in the minuit
edition correspond to 10
seconds of musical
structure (which is three
times as slow as the
average reading speed).
Only seven years later is
the term / expression
casse ferique changed
into casse ferrique, and
thus its secret is
revealed, which almost
becomes - due to its
unreadability - the key
to the planned musical
cycle. The text is
measured from section to
section (big format: each
section is marked with a
continuous, ,,cold chord
by the bass flute, played
on tape recorder), from
full stop to full stop
(new entry of keynote
material), from comma to
comma (tripling of
continuous resonances)
etc. 5. DURING THE
PERFORMANCE UP TO BAR
195, THE INTERPRETER WILL
TRY - IN A KIND OF
THEATRICAL ADAPTATION -
TO EXPRESS HIS/HER OWN
FEELING OF IRREPRESSIBLY
GROWING FRUSTRATION; FROM
BAR 195 ONWARDS (S)HE
WILL DEFINITELY HAVE PUT
UP WITH THE BASS FLUTE
... Brackets in the text
bring about a reduction
of sound (the
differentiating micro
tones are no longer
used), the syntactical
progression to
subordinate clauses of
the remotest degree has
its immediate effect on
dynamics (degree of
volume). Then: the
perception of a logical
and yet erratic syntax,
vastly progressive layers
of subordinate clauses
and brackets (lowering
tone of voice?), a
polyphony of ,,memoire,
which leads to a
maelstrom of attention, a
tonally centric /
concentrated (main
material?) and
progressive (subordinate
and brackets-material?)
reading, listening and
proceeding. The different
levels are constantly in
touch - transferring the
sensuous moment of scenes
of bodily encounter
(Tryptique) that are
evoked again and again -
in perpetual excitement
of text and imagination,
memory and remembering
sensitivity. 6. THE BODY
MOVEMENTS AND FIXATION
(FIGE) , BOTH CLEARLY
PERCEPTIBLE, WILL EVOKE
AND SUPPORT THE SAME
EMOTIONS ... The basic
moods of the text will be
reflected in the
relationship (which is
very important here) of
the interpreter to the
music; (s)he is somehow
at the mercy of given
(and not always
transparent) structures
on the one hand and the
complexity of musical
sensations on the other,
which has to be defeated
inspite of exhaustion.
It's not only here that
semantic agreement
(besides the
materialistic structure)
of music and text can be
felt: On top of that
there's the existential
helplessness in view of
the mercilessly flowing
polyphony of levels and
events -- as a mirror of
this there are the
remembered scenes of the
Flemish cold in the
second chapter (Les
Georgiques). The
interpreters are
confronted with unusual
directions which
correspond to the
adjectives in the
respective passages of
the text: anachronique,
engourdi, glace et acre,
monotone et desert etc.
The possibilities of
interpretation are
amplified, the ability to
perceive and personal
reaction is opened. The
impression of this
inexorability is
multiplied in the
extremest way by the fact
that the particular
layers can be found in
Simon's complete works.
It's a continuous work of
art in which each novel
turns into a chapter of a
complex, cyclic whole;
its title denoting only
one main strand, as it
were. A personal comment
is made also as regards
the clearly defined
stage; the mise en scene
points out the
extra-musical elements
and the correlation
between text, human being
and music. 7. THE
INTERPRETER IS ASKED TO
MOVE FREELY WITHIN A
DEFINED SPOT WITHOUT
LOOKING ARTIFICIAL;
SOUNDS CAUSED BY THE FEET
MOVING ON THE SAND ARE
WELCOME DURING THE WHOLE
PIECE ... And here the
idea of a cycle is born,
an attempt to transfer
these nuances of
memorized structures,
this clarity and
coldness, to transform
the text into musical
material. Walter
Feldmann. $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Miss Otis Regrets Big band [Conducteur] Lush Life
By Bette Midler. Edited by Myles Collins. Jazz Vocal. Even 2-Beat. Full score an...(+)
By Bette Midler. Edited
by Myles Collins. Jazz
Vocal. Even 2-Beat. Full
score and parts.
Published by Lush Life
(JL.LL-2216).
$65.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| I Hope In Time A Change Will Come Big band [Conducteur et Parties séparées] Handelsware
Big band (Soprano Sax, Alto Sax 1, Alto Sax 2, Tenor Sax, Baritone Sax, Flugelho...(+)
Big band (Soprano Sax,
Alto Sax 1, Alto Sax 2,
Tenor Sax, Baritone Sax,
Flugelhorn/Trumpet 1-4,
Trombone 1-3, Bass
Trombone 4, Piano, Bass,
Drums) - advanced SKU:
M7.SMP-1112 Long
Version. Composed by
Oliver Nelson. Arranged
by Bob Curnow. Sheet
music. Score and parts.
Handelsware #SMP 1112.
Published by Handelsware
(M7.SMP-1112).
English. This
arrangement of I Hope In
Time a Change Will Come
came about through a
desire to hear/play more
than one chorus of this
stunningly beautiful
melody by Oliver Nelson.
The basis for this new
arrangement was Nelson's
original chart, but this
one is two choruses, not
one. Part of the second
chorus can be improvised.
The soloist throughout is
soprano saxophone (could
be played on tenor
saxophone or trumpet if
you so desire). This is a
slow, gorgeous ballad
that will thrill your
audiences. 5-4-4-3. $96.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
1 |