| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flute Solos: The Ultimate Collection (Version 2.0)
Flûte traversière [CD Sheet Music] Subito Music
For Flute. (Flute Solos). CD Sheet Music (Version 2.0). PDF file on CD. 2000 pag...(+)
For Flute. (Flute Solos).
CD Sheet Music (Version
2.0). PDF file on CD.
2000 pages. Published by
Subito Music.
(10)$19.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| 2 Flutes in 3 Scenes 2 Flûtes traversières, Piano Theodore Presser Co.
(For 2 Flutes and Piano). By Gary Schocker. For 2 Flutes, Piano. Standard notati...(+)
(For 2 Flutes and Piano).
By Gary Schocker. For 2
Flutes, Piano. Standard
notation
$21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Piano Treasury of Classical Music Piano seul [Partition + CD] - Intermédiaire Music Sales
Edited by Amy Appleby. Collection and examples CD for solo piano. Over 125 great...(+)
Edited by Amy Appleby.
Collection and examples
CD for solo piano. Over
125 great masterpieces
from the Baroque,
Classical, Romantic, and
Modern eras. Series:
Piano Treasury Series.
399 pages. Published by
Music Sales.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Music For Solo Flute Flûte traversière Novello & Co Ltd.
By Trevor Wye. For Flute. Baroque, Classical. Sheet Music. 32 pages. Published b...(+)
By Trevor Wye. For Flute.
Baroque, Classical. Sheet
Music. 32 pages.
Published by Novello and
Co Ltd.
$17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Treasures for Flute and Piano Flûte traversière et Piano Carl Fischer
Chamber Music flute, piano SKU: CF.WF228 Philippe Gaubert. Compose...(+)
Chamber Music flute,
piano SKU:
CF.WF228 Philippe
Gaubert. Composed by
Philippe Gaubert. Edited
by Amy Porter. Arranged
by Amy Porter. Set of
Score and Parts. With
Standard notation.
104+1+32 pages. Carl
Fischer Music #WF228.
Published by Carl Fischer
Music (CF.WF228). ISBN
9781491153529. 9 x 12
inches. Compiled
and edited by Amy Porter,
Treasures for Flute and
Piano is acollection of
Philippe Gaubert’s
shorter works for flute
and piano. Gaubertwas a
multi-talented musician,
a marvelous flutist as
well as a
composer,teacher, and
master conductor. Over
his lifetime, he became
one of the mostimportant
musical figures in France
between the World Wars in
the first halfof the 20th
century. Trained in
theory and harmony at the
Paris
Conservatory,Gaubert was
also deeply influenced by
other composers at the
time, includingDebussy,
Fauré, and Dukas.
Editor Amy Porter is a
distinguished Professorat
The University of
Michigan School of Music,
Theatre & Dance, and
hasbeen praised by
critics for her
exceptional musical
talent and her passion
forscholarship. This
edition represents eleven
of the sixteen works from
AmyPorter and Dr.
Penelope Fischer’s
video study guide,
“The Gaubert Cycle:
TheComplete Works for
Flute and Piano by
Philippe
Gaubertâ€. Philip
pe Gaubert
(1879–1941) was a
very important teacher
and flutist in our
classical flute playing
lineage. In this edition
we have gathered his
beautiful, shorter
compositions for flute
and piano all in one
place, to be cherished as
“Gaubert’s
Treasures.â€Philippe
Gaubert personified the
modern French school of
flute playing as
introduced by his teacher
Paul Taffanel
(1844–1908) at the
Paris Conservatory.
Gaubert was a
multitalented musician, a
marvelous flutist as well
as a gifted composer,
teacher and master
conductor. Over his
lifetime he became one of
the most important
musical figures in France
between the World Wars in
the first half of the
twentieth century.
Gaubert’s musical
andpedagogical gifts to
us are passed along
through generations of
students and continue to
touch the hearts of many
who listen to his fine,
and refined,
music.Philippe Gaubert
studied composition at
the Paris Conservatory
with Raoul Pugno, Xavier
Leroux, and then for a
brief time with Charles
Lenepvu. It was after
this study that he won
the famous Prix de Rome
second prize in
composition. Even with
his schooling of theory
and harmony in Paris, he
was deeply influenced by
other composers of the
time, namely Debussy,
Fauré and Dukas.
Between the years of
1905–1914
Gaubert’s early
workswere arrangements
and short pieces written
for the year-end final
exam pieces at the
Conservatory.Between
1914–1918 Gaubert
served in the French Army
during World War I, most
notably in the battle of
Verdun in 1916. This was
considered one of the
largest battles against
the Germans in WWI. He
was wounded but his
creativity level was not
dampened. He was rewarded
for his service and
awarded medals for his
bravery. It was during
this time that he found
the energy to compose his
Deux Esquisses or 2
Scenes, and sketched out
his first flute
sonata.Gaubert composed
his remaining five flute
and piano works after
1922 in Paris, and
clearly his poetic soul
was transformed from the
earlier years. He took in
new forms and styles of
compositions such as a
Suite, a Ballade and a
Sonatine. He also
completed his Second and
Third Sonatas for Flute
and Piano, all of them
dramatic works in terms
of compositional
techniques and grandeur
of tone.Gaubert composed
music easily throughout
his lifetime, especially
during summer breaks when
the orchestra and Paris
Opera seasons were on
hiatus and he was not
conducting. He loved
literature and poetry
which inspired over
thirty vocal works from
1903 through 1938.He also
wrote twenty-six
instrumental chamber
works for other
instruments: oboe,
cornet, clarinet,
trombone, violin, viola,
cello, harp and
combinations of these
instruments with piano.
Some of these were
commissioned jury pieces,
but many were for his
musician friends.Six
full-length stage works,
both ballets and operas
for the stage, several
tone poems and symphonies
were written throughout
his lifetime.This edition
represents eleven out of
the sixteen works from
our video study guide
“The Gaubert Cycle:
The Complete Works for
Flute and Piano by
Philippe Gaubertâ€
with guest pianist Tim
Carey. Omitted in this
edition are Sonatas Nos.
1–3, Ballade, and
Sonatine. $29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| The Ultimate Organ Book
Orgue [Partition] Hope Publishing Company
Arranged by Hal H. Hopson. Church-Worship, Funeral, Funeral & Memorial, Wedding ...(+)
Arranged by Hal H.
Hopson. Church-Worship,
Funeral, Funeral &
Memorial, Wedding and
Sacred. Print Music
Collection (Book). 407
pages. Published by Hope
Publishing Company.
Level: (Moderate).
(4)$79.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata No. 1 Harpe Theodore Presser Co.
Chamber Music harp SKU: PR.114415700 For Harp. Composed by Gary Sc...(+)
Chamber Music harp
SKU: PR.114415700
For Harp. Composed
by Gary Schocker. Sws.
Contemporary. Performance
Score. With Standard
notation. Composed August
5 2011. 12 pages.
Duration 8 minutes.
Theodore Presser Company
#114-41570. Published by
Theodore Presser Company
(PR.114415700). ISBN
9781598064711. UPC:
680160612284. 9x12
inches. Schocker's
first harp Sonata offers
three movements (1.
Changes; 2. Procession,
Remembering; 3.Facing
Forward) in approachable
form for advancing
students Perfect for
year-end recitals. For
intermediate to advanced.
Duration:
8'_______________________
________________SONATA
NO. 1 for Harp
(114-41570)With the same
spontaneous gift and
gusto that Gary Schocker
has offered the flute
world, providing a rich
library of solo works and
chamber music, Schocker
has recently turned his
creative generosity to
harp. The 8-minute SONATA
NO. 1 is within the reach
of intermediate players,
and set in three
movements: Changes;
Procession, Remembering;
and Facing
Forward. . $11.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 101 Classical Themes for Tenor Sax Saxophone Tenor Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Flute Flûte traversière Hal Leonard
Composed by Various. Instrumental Folio. Classical. Softcover. 88 pages. Publish...(+)
Composed by Various.
Instrumental Folio.
Classical. Softcover. 88
pages. Published by Hal
Leonard (HL.155315).
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata Harpe, Flûte (duo) Fatrock Ink Music Publishers
By Arnold Bax. Edited by Marcia Dickstein. For Flute and Harp. Chamber music. 3 ...(+)
By Arnold Bax. Edited by
Marcia Dickstein. For
Flute and Harp. Chamber
music. 3 movements. Early
20th Century. Duration
18:00. Published by
Fatrock Ink Music
Publishers. Level:
advanced.
(1)$22.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 101 Classical Themes for Violin Violon [Partition] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flute Sonatas (3) Volume 2 Flûte traversière et Piano [Livre + CD] Music Partner
By Johann Sebastian Bach. For flute, piano (cembalo). Print music available sepa...(+)
By Johann Sebastian Bach.
For flute, piano
(cembalo). Print music
available separately
(PE.P04461b).
Nos.4-6(BWV1033-1035)(C,e
,E).Harpsicho
accompaniment to the
Flute part recorded on
compact disc. Play Along.
Published by Music
Partner.
$37.25 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 101 Classical Themes for Viola Alto seul Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Cello Violoncelle [Partition] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Trumpet Trompette [Partition] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Trombone Trombone [Partition] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Clarinet Clarinette [Partition] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Alto Sax Saxophone Alto Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Classical Themes for Horn Cor Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Flute, Strings and BC in G-Major Flûte traversière - Intermédiaire Dowani
Flute - intermediate SKU: BT.DOW-05008-400 Composed by Johann Joachim Qua...(+)
Flute - intermediate
SKU:
BT.DOW-05008-400
Composed by Johann
Joachim Quantz. Dowani 3
Tempi Play Along.
Educational Tool. Set of
Books and Media. Dowani
#DOW 05008-400. Published
by Dowani
(BT.DOW-05008-400).
ISBN 9783905479300.
International. This
volume presents a piece
that belongs in the
standard repertoire of
every flautist: the
Sonata for flute and
harpsichord, BWV 1020, in
G minor by Johann
Sebastian Bach. This
publication is a
completely revised new
edition: the
harpsichordaccompaniment
has been newly recorded
at all three tempos and
the music has been newly
printed with solo part
and piano reduction. 1
Allegro assaiArioso e
mestoPresto. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Celesta,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Claves, Contrabass,
Contrabassoon, Cowbell,
Crotales, English Horn,
Glockenspiel, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Maracas, Marimba, Oboe
1 and more. SKU:
PR.11641737S Composed
by Steven Stucky. Study
Score. 68 pages. Duration
9 minutes. Merion Music
#116-41737S. Published by
Merion Music
(PR.11641737S). ISBN
9781491136133. UPC:
680160688432. Son
et lumière
(“sound and
light,†a kind of
show staged for tourists
at historic sites or
famous buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. Son et
lumière (“sound
and light,†a kind
of show staged for
tourists at historic
sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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