Mythos Orchestre à Cordes [Conducteur et Parties séparées] - Facile FJH
By Soon Hee Newbold. Arranged by Soon Hee Newbold. Intermediate String Orchestra...(+)
By Soon Hee Newbold.
Arranged by Soon Hee
Newbold. Intermediate
String Orchestra. FJH
Developing Strings.
Famous myths, legends,
fairy tales, and stories
from all over the world -
including the ancient
Greeks, the Brothers
Grimm, and Hans Christian
Andersen - shapes
cultures, mold ethics,
teach lessons, and
entertain. Every popular
tale has a beginning
adventure, a fantasy, and
the ultimate conflict
between good and evil. I
wrote Mythos to include
these many themes, which
are inspired by age-old
fables, magical sagas,
and the epic dramas of
today. Score for this
title: ST6114S. Extra
part for this title:
ST6114P. String
Orchestra. Level: 2.5.
Score and Set of Parts.
Published by The FJH
Music Company Inc
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Voice and piano SKU: BR.DLV-5633 Composed by Jean Sibelius. Voice. Deutsc...(+)
Voice and piano
SKU:
BR.DLV-5633
Composed
by Jean Sibelius. Voice.
Deutscher-Lieder-Verlag.
Song; Early modern;
Late-romantic. Score. 8
pages. Breitkopf and
Haertel #DLV 5633.
Published by Breitkopf
and Haertel
(BR.DLV-5633).
ISBN
9790004802151. 9 x 12
inches. Swedish /
German.
Six single
editions: DLV 5631 -
1. Der Norden DLV 5632
- 2. Hennes Budskap -
Ihre Botschaft DLV
5632 - 3. Morgonen - Der
Morgen DLV 5634 - 4.
Fagelfangaren - Der
Vogelsteller DLV 5635
- 5. Sommernatten - Die
Sommernacht DLV 5636 -
6. Vem Styrde hit din vag
- Wer hat dich hergefuhrt
Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
Manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it.
Voice and piano SKU: BR.DLV-5634 Composed by Jean Sibelius. Voice. Deutsc...(+)
Voice and piano
SKU:
BR.DLV-5634
Composed
by Jean Sibelius. Voice.
Deutscher-Lieder-Verlag.
Song; Early modern;
Late-romantic. Score. 8
pages. Breitkopf and
Haertel #DLV 5634.
Published by Breitkopf
and Haertel
(BR.DLV-5634).
ISBN
9790004802168. 9 x 12
inches. Swedish /
German.
Six single
editions: DLV 5631 -
1. Der Norden DLV 5632
- 2. Hennes Budskap -
Ihre Botschaft DLV
5632 - 3. Morgonen - Der
Morgen DLV 5634 - 4.
Fagelfangaren - Der
Vogelsteller DLV 5635
- 5. Sommernatten - Die
Sommernacht DLV 5636 -
6. Vem Styrde hit din vag
- Wer hat dich hergefuhrt
Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
Manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it. Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it.
Violin SKU: HL.48023884 For Violin. Composed by Ursula Mamlok. Boo...(+)
Violin
SKU:
HL.48023884
For
Violin. Composed by
Ursula Mamlok. Boosey &
Hawkes Chamber Music.
Classical. Softcover. 6
pages. Bote & Bock
#M202534540. Published by
Bote & Bock
(HL.48023884).
9.25x12.0x0.053
inches.
This
composition for solo
violin was written in
1987 for the violinist
Roger Zahab who performed
the world premiere in New
York. As is typical of
Ursula Mamlok, the work
of about 5 minutes'
duration is very short.
In one movement, divided
into five short sections,
she sums up her musical
cause in an extremely
virtuoso manner: A
powerful opening theme,
which varies several
times, is followed by a
quiet, lyrical passage
which uses similar
musical ideas, however.
In the following, the
formal contrast
disappears due to the
increasing fusion of
opening theme and slower
episode before the main
theme is taken up again
in the final section in a
very dramatic form.
Orchestra SKU: HL.14025900 Composed by Bernard Herrmann. Music Sales Amer...(+)
Orchestra
SKU:
HL.14025900
Composed
by Bernard Herrmann.
Music Sales America.
Classical. Studyscore.
Music Sales #NOV750028.
Published by Music Sales
(HL.14025900).
0.453
inches.
Herrmann
wanted to write a musical
portrait of his friend
and colleague Alfred
Hitchcok, so choose
motifs from the movie The
Trouble With Harry, one
of Hitchcock's more
personal and humorous
films. This
single-movement work for
Orchestra employs some of
the more familiar
elements of Herrmann's
compositional style:
short musical phrases
repeated and then
repeated again in other
positions, sharp use of
dynamics among them. From
the first note, the
creepiness begins.Bernard
Herrmann was among the
very greatest of all
composers of music for
cinema and there are many
who avow that he was the
greatest of all. A very
short list of the films
for which this
award-winning
composercreated
soundtracks includes
Citizen Kane, The Man Who
Knew Too Much, Vertigo,
Jason and Argonauts,
Fahrenheit 451, Obsession
and Taxi Driver. He had a
long and fertile
association with Alfred
Hitchcock during the most
productive period of
Hitchcock's career and
with Orson Welles from
the time of the Mercury
Theatre on the Air. In
addition to his
conducting and composing
work for the
entertainment world,
Herrmann wrote concert
pieces, including a
symphony, opera and
cantata.
Piano - Early Intermediate SKU: FJ.FJH2167 3. Composed by Helen Ma...(+)
Piano - Early
Intermediate
SKU:
FJ.FJH2167
3.
Composed by Helen Marlais
and Timothy Brown. Piano
Technique; Technique
Musicianship. The FJH
Pianist's Curriculum.
Book. The FJH Music
Company Inc #98-FJH2167.
Published by The FJH
Music Company Inc
(FJ.FJH2167).
ISBN
9781619282254. UPC:
241444387030.
English.
Use
Energize Your Fingers
Every Day to develop
natural, healthy
technique from the very
beginning! Students
develop healthy,
tension-free technique
through sets of short
exercises to be mastered
weekly. Engaging
illustrations and titles
help students connect
technique with music.
This series can be used
will all piano methods to
ensure excellent
technical skills.
Saxophone Quartet and Trombone - Advanced SKU: CY.CC3180 Composed by Jim ...(+)
Saxophone Quartet and
Trombone - Advanced
SKU: CY.CC3180
Composed by Jim Pugh.
Classical. Score and
Parts. Cherry Classics
#CC3180. Published by
Cherry Classics
(CY.CC3180).
ISBN
9790530119082. 8.5 x 11
in inches.
James
Pugh has written a short
work of chamber music in
one movement called Short
Scherz, Quintet for
Saxophone Quartet and
Trombone. This music is
appropriate for very
advanced performers and
is about 2 1/2 minutes in
length. The work begins
with a bouncy melody (A
Theme) that works it's
way up through the
instruments, comes to a
climax and continues on
into a languid melodic
section (B Theme) and
works its way by adding
speed and dynamics to the
conclusion (A Theme
repeated). This work was
written for and first
performed in 1989 by
George Marge and the
American Saxophone
Quartet with Mr.
Pugh.
String orchestra SKU: BR.PB-4879-07 Study score. Composed by Jean ...(+)
String orchestra
SKU:
BR.PB-4879-07
Study score.
Composed by Jean
Sibelius. Softcover.
Partitur-Bibliothek
(Score Library).
Sibelius composed this
short (only five minutes
long) Romance in C Op. 42
in 1903; the work was
first performed in Turku
in March 1904. The
Romance is not a concerto
movement in disguise, but
features the dark, dense
string writing typical of
Sibelius. Early modern;
Late-romantic. Study
Score. 8 pages. Duration
5'. Breitkopf and Haertel
#PB 4879-07. Published by
Breitkopf and Haertel
(BR.PB-4879-07).
ISBN
9790004206768. 5.5 x 7.5
inches.
Sibelius
composed this short (only
five minutes long)
Romance in C Op. 42 in
1903; the work was first
performed in Turku in
March 1904. The Romance
is not a concerto
movement in disguise, but
features the dark, dense
string writing typical of
Sibelius. Fast alle
Orchesterbearbeitungen
sind Jahre nach den
Originalkompositionen fur
Singstimme und Klavier
entstanden.
Trotz
der Tatsache dass sie
rasch hingeworfen sind
zeigt sich in allen
Liedern Sibelius'
Meisterschaft als
Orchesterliederkomponist.
Manchmal vermag er eine
dustere dramatische
Atmosphare (in ,,Pa
verandan vid havet) zu
erzeugen manchmal
gelingen ihm leuchtend
farbige Impressionen (in
,,Soluppgang) oder zart
transparente Gewebe (in
,,Varen flyktar hastigt)
- immer jedoch sind die
Lieder ganz aus deren
poetischer Idee heraus
gestaltet und
differenziert
nachgezeichnet. In den
meisten Fallen
beschrankte sich Sibelius
auf ein relativ kleines
Orchester. In ,,Varen
flyktar hastigt sind
neben den Streichern nur
zwei Floten und vier
Horner besetzt. Nearly
all of the orchestral
arrangements were made
years after the original
compositions for voice
and piano.
Yet
even though the
arrangements were made in
a very short period of
time Sibelius handled the
combination of solo voice
and orchestra in all
songs with equal mastery
sometimes creating dark
and dramatic atmospheres
(in Pa verandan vid
havet) sometimes radiant
colorful impressions (in
Soluppgang) or
light-colored transparent
textures (in Varen
flyktar hastigt) and
always basing his ideas
on the poetic idea of the
song while discovering
refined ways of
supporting it.
For Flute and Piano - Schott Student Edition. Composed by Emil Kronke. Edite...(+)
For Flute and Piano -
Schott
Student Edition. Composed
by
Emil Kronke. Edited by
Britta Bauer. Schott
Student
Edition. Repertoire.
Softcover. Schott Music
#SE1015. Published by
Schott
Music
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Piano SKU: AY.PN3176PM Composed by Leandro Turano. Keyboards - Piano. She...(+)
Piano
SKU:
AY.PN3176PM
Composed
by Leandro Turano.
Keyboards - Piano. Sheet
music. Duration 1'.
Periferia Publishing
#PN3176PM. Published by
Periferia Publishing
(AY.PN3176PM).
ISBN
9790543575066.
As
Moscas (The Flies) is a
very short piece (about 1
minute or less) with a
very strong effect for
the listeners. It's a
joke with the rhythm, bar
changes and dissonances.
Very fun, it sounds like
remembering an insect
flight. Leandro
Turano.
By Daniel Meyer. For Keyboard. Music Collection. Instructional. Level: Easy/Medi...(+)
By Daniel Meyer. For
Keyboard. Music
Collection.
Instructional. Level:
Easy/Medium. Book and CD.
Text language: English.
136 pages. Published by
GIA Publications.
The Triumph of Man Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1948-00 Short Suite for Band. Composed by Tatg...(+)
Grade 3
SKU:
CL.012-1948-00
Short Suite for
Band. Composed by
Tatgenhorst. Concert
Band. Audio recording
available separately
(item CL.WFR138). Score
and set of parts.
Composed 1980. Duration 4
minutes, 32 seconds. Opus
III Wind Orchestra
Publications
#012-1948-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-1948-00).
Five very short
segments titled,
``Discovery,’â€
™
``Adventure,’â€
™
``Love,’’
``Recreation,’â
™ and ``The
Future’’
are combined in this
minisuite. Highly
descriptive with lots of
dynamic contrast and
carefully scored for high
school groups.
Organ SKU: SU.80101363 For Organ. Composed by Michael Canales. Key...(+)
Organ
SKU:
SU.80101363
For
Organ. Composed by
Michael Canales.
Keyboard, Organ. Score.
Zimbel Press #80101363.
Published by Zimbel Press
(SU.80101363).
This
exceptionally useful
collection contains 20
short and easy organ
pieces, highly suitable
as preludes, interludes,
and postludes for
services. Canales's
appealing romantic style
draws especially on
Spanish influences, which
is very rare in the organ
literature. Ranging from
the dazzling Flamenco
Postlude in E to the
tender and mystical
Ascension Postlude in D,
this volume will provide
distinctive and engaging
organ literature for
service playing.
Instrumentation: Organ.
Composed: 2012-14
Published by: Zimbel
Press.
Jazz Ensemble - Grade 2 SKU: KN.SN70055S Composed by Sammy Nestico. Sammy...(+)
Jazz Ensemble - Grade 2
SKU: KN.SN70055S
Composed by Sammy
Nestico. Sammy Nestico
Young Jazz Series. Kendor
Music Inc #SN70055S.
Published by Kendor Music
Inc (KN.SN70055S).
UPC:
822795700558.
Play
this chart with a crisp
feel, treating short
notes very short. In
measures 18-19, 26-27 and
62-63 the 3rd and 4th
Trumpet parts can be
lowered if the written
lines are too
demanding.
SATB Chorus, a cappella SKU: SU.94010340 Composed by James Lee III. Vocal...(+)
SATB Chorus, a cappella
SKU: SU.94010340
Composed by James Lee
III. Vocal/Choral, Sacred
Choral. Choral Octavo.
Subito Music Corporation
#94010340. Published by
Subito Music Corporation
(SU.94010340).
Tehillim to
Yahweh is a very short
paraphrase of part of
Psalm 150, and in English
is translated to Psalms
to the Lord. It is meant
to be of an easy level
for an average church
choir and is intended to
be used as an introit in
the divine worship
service. There is a
declamatory opening
followed by a short
passage of canonical
entrances; the end of the
work employs a small use
of chromaticism. SATB
Chorus, a cappella
Duration: 1 ' Composed:
2013 Published by: Subito
Music Publishing Minimum
order quantity: 8 copies.
Perusal copies are
available by contacting
(include the
organization name with
your request). To order
quantities fewer than
8.
The Triumph of Man Orchestre d'harmonie - Intermédiaire Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-1948-01 Short Suite for Band. Composed by Tatg...(+)
Grade 3
SKU:
CL.012-1948-01
Short Suite for
Band. Composed by
Tatgenhorst. Concert
Band. Audio recording
available separately
(item CL.WFR138). Extra
full score. Composed
1980. Duration 4 minutes,
32 seconds. Opus III Wind
Orchestra Publications
#012-1948-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-1948-01).
Five very short
segments titled,
``Discovery,’â€
™
``Adventure,’â€
™
``Love,’’
``Recreation,’â
™ and ``The
Future’’
are combined in this
minisuite. Highly
descriptive with lots of
dynamic contrast and
carefully scored for high
school groups.
Cantata for a wedding. Composed by Johann Sebastian Bach (1685-1750). Edi...(+)
Cantata for a
wedding. Composed by
Johann Sebastian Bach
(1685-1750). Edited by
Solvej Donadel. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas;
Wedding. Full score.
Composed 1708. 36 pages.
Duration 14 minutes.
Carus Verlag #CV
31.196/00. Published by
Carus Verlag
(CA.3119600).
Orchestra Soli STB, Coro SATB, 2 Vl, Va, Vc, Bc SKU: CA.3119607 Cantat...(+)
Orchestra Soli STB, Coro
SATB, 2 Vl, Va, Vc, Bc
SKU: CA.3119607
Cantata for a
wedding. Composed by
Johann Sebastian Bach.
Edited by Solvej Donadel.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Wedding.
Study score. Composed
1708. BWV 196. 36 pages.
Duration 14 minutes.
Carus Verlag #CV
31.196/07. Published by
Carus Verlag
(CA.3119607).
ISBN
9790007242411. Language:
German/English.
Esp
ecially due to the early
date of its composition,
from the pen of the just
turned 22-year-old Johann
Sebastian Bach, the
cantata The Lord careth
for us BWV 196 has its
charm, and through its
conciseness, as well as
its simple scoring, it is
quite accessible for
performance by ensembles
with only modest means.
The cantata was composed
on the occasion of a
wedding in the 1797/08,
the details of which
cannot be exactly
ascertained. The text of
the libretto contains no
freely written poetry,
rather is drawn solely
from the Bible (Psalm
115:12-13), there are no
recitatives, and the
arias are kept very
short. The scoring is
also of modest
propoportions: In addtion
to the solo voices
soprano, tenor and bass,
as well as a four-voice
choir, only strings and
basso continuo are
requried. The cantata
begins, as is typical
early Bach cantatas, with
a short instrumental
sinfonia and ends, not
with a chorale, but with
a choral movement. Score
available separately -
see item CA.3119600.
Cantata for a
wedding. Composed by
Johann Sebastian Bach.
Edited by Solvej Donadel.
This edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Wedding. Set of Orchestra
Parts. Composed 1708. BWV
196. Duration 14 minutes.
Carus Verlag #CV
31.196/19. Published by
Carus Verlag
(CA.3119619).
ISBN
9790007210496. Text
language:
German/English.
Esp
ecially due to the early
date of its composition,
from the pen of the just
turned 22-year-old Johann
Sebastian Bach, the
cantata The Lord careth
for us BWV 196 has its
charm, and through its
conciseness, as well as
its simple scoring, it is
quite accessible for
performance by ensembles
with only modest means.
The cantata was composed
on the occasion of a
wedding in the 1797/08,
the details of which
cannot be exactly
ascertained. The text of
the libretto contains no
freely written poetry,
rather is drawn solely
from the Bible (Psalm
115:12-13), there are no
recitatives, and the
arias are kept very
short. The scoring is
also of modest
propoportions: In addtion
to the solo voices
soprano, tenor and bass,
as well as a four-voice
choir, only strings and
basso continuo are
requried. The cantata
begins, as is typical
early Bach cantatas, with
a short instrumental
sinfonia and ends, not
with a chorale, but with
a choral movement. Score
and parts available
separately - see item
CA.3119600.