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| Horn Concertos (MOZART
WOLFGANG AMADEUS)
Conducteur de Poche [Partition]
Barenreiter
Par MOZART WOLFGANG AMADEUS. Réunis dans une seule partition de poche sont les ...(+)
Par MOZART WOLFGANG AMADEUS. Réunis dans une seule partition de poche sont les concertos KV 417, 447, 495, 412. TP 324 remplace respectivemente remplacera au moment d'être épuisé les partitions de poche TP 307, 308, 309 et 310. Pour la première fois le Rondo KV 412 dans la version inachevée de Mozart est publié./ Répertoire / Conducteur de Poche
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| Violin Concerto
Conducteur De Poche
Boosey and Hawkes
Lindberg's writing in this concerto has been compared to that of the Sibelius vi...(+)
Lindberg's writing in this concerto has been compared to that of the Sibelius violin concerto. According to the Boston Globe, the composer 'shows that it is possible to wed lyricism and virtuosic display with bracingly fresh sounds and musical ideas of substance?. Since the premiere in 2006 by Lisa Batiashvili the work has established itself in the repertoire, with over 50 performances to date. / Conducteur De Poche
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| Introduction, Rondo
Capriccioso Et Havanaise
Op. 28 U. Op. 83
Conducteur De Poche
Eulenburg
His acquaintance with the violinist Sarasate inspired Saint-Saëns to compose vi...(+)
His acquaintance with the violinist Sarasate inspired Saint-Saëns to compose virtuoso works in a Spanish style. The finest examples of these works include his Introduction et Rondo capriccioso and Havanaise. / Conducteur De Poche
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| Concerto Pour Piano #2 En
Si Bémol Majeur
Op. 83
 En Français
Conducteur De Poche
G. Henle
Shortly after a rather unsuccessful performance of his Piano Concerto #1, Johann...(+)
Shortly after a rather unsuccessful performance of his Piano Concerto #1, Johannes Brahms wrote to Joseph Joachim in 1859: '... a second one will sound different?. Nevertheless, a good 20 years elapsed before that second concerto finally took form, and only in 1881 was he able to announce: 'I wanted to tell you that I have written a very small piano concerto with a tiny little delicate Scherzo?. Our study edition of this by no means small symphonic concerto is based on the musical text in the recently published volume that is part of the Brahms Complete Edition (HN 6020). It is a companion to our piano reduction (HN 1231) and offers all those who wish to study the complex score of this great piano concerto an ideal, practical and affordable means of doing so. / Conducteur De Poche
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| 4 Hymns
Conducteur De Poche
Boosey and Hawkes
The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on...(+)
The Four Hymns are in similar vein to the Five Mystical Songs (1911) although on a smaller and more intimate scale. Together with the Fantasia on a Theme of Thomas Tallis these form a succession of works displaying a strong mystical, meditative content.The first of the hymns, 'Lord! come away!', employs vigorous Purcellian recitative in a setting of a Palm Sunday text from Bishop Jeremy Taylor's Golden Grove (17th century). 'Who is this fair one?' (Isaac Watts, 1674-1748) is a dialogue for the tenor and viola about divine love. As described by Christopher Palmer, 'Come Love, come Lord' (Richard Crashaw, c1613-49) 'breathes that spirit of mystical remoteness later to inform A Pastoral Symphony?. The final 'Evening Hymn' is a radiant setting of a translation from pre-4th century Greek by Robert Bridges, notable for its contrapuntal expertise over a bell-like basso ostinato.Four Hymns is also available in the version for tenor, viola and piano (979-0-060-02852-6), and the score (978-0-85162-908-7) serves as the vocal score for use with the orchestral version. However, the solo viola part of the orchestral version is incompatible with that for the piano version.Suitable for advanced standard performers. / Conducteur De Poche
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| Tryst
Conducteur De Poche
Boosey and Hawkes
Tryst, for chamber orchestra, was composed in 1989 and has since established its...(+)
Tryst, for chamber orchestra, was composed in 1989 and has since established itself both in the concert hall and as a ballet score. The composer explains the genesis of the work in the form of a love poem by William Soutar written in broad Scots, called The Tryst, which he set to a very simple melody. This melody has persistently appeared, in various guises, in many works composed since - the congregational St Anne's Mass, a tiny fragment for violin and piano (After the Tryst), in the music theatre piece Búsqueda, and in the choral Miserere. Not only did it crop up again in Tryst, but it has provided both the title and the emotional core of the music. 'Its melodic characteristics, matching the original words, seem to imply many very strong associations - commitment, sanctity, intimacy, faith, love, but it is also saturated with a sadness as if all these things are about to expire.?Suitable for advanced standard performers. / Conducteur De Poche
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