| 100+ Solos For Violin Music Sales
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| Atlantic Odyssey Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44010826 Grade 5 - Score and Parts....(+)
Concert Band - Grade 5
SKU: HL.44010826
Grade 5 - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2010.
Duration 960 seconds.
Anglo Music Press
#AMP295010. Published by
Anglo Music Press
(HL.44010826). UPC:
884088555818.
9.0x12.0x1.738 inches.
English-German-French-Dut
ch. Atlantic
Odyssey was commissioned
by the band program at
Oakton High School in
Vienna, VA, and its
director, Dr. Cheryl
Newton. The piece is in
two extended movements
and seeks to portray an
imaginary yacht journey
off the eastern seaboard
of the USA. The first
movement, Sunrise at Sea
and the Ocean Awakes,
opens with an atmospheric
depiction of dawn at sea.
Floating woodwinds soar
above surging brass until
a climax heralds the
rising sun. Daylight
reveals distant horizons
and the prospect of a
calm voyage, but the sea
is never tamed and a
light breeze whips up
spray around the boat
until a couple of high
waves rock the boat
alarmingly. But the sea
soon calms again and the
journey continues
serenely. The second
movement, Homeward Bound
and Spindrift, sees us
turn for home, the boat
scything calmly through
the gentle waves in
perfect sailing
conditions. But once
again conditions change,
a stiff breeze tugs at
the sails and for a
moment we are once again
at the mercy of the wind
and waves. A moment of
calm returns but we are
suddenly sprayed by
spindrift as a gale picks
up. The boat is in danger
of overturning but we
manage to trim the sail
and take advantage of the
strong winds to enjoy and
exhilarating journey
home. $319.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Atlantic Odyssey Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band - Grade 5 SKU: HL.44010827 Grade 5 - Score Only. Comp...(+)
Concert Band - Grade 5
SKU: HL.44010827
Grade 5 - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2010.
Duration 960 seconds.
Anglo Music Press
#AMP295140. Published by
Anglo Music Press
(HL.44010827). UPC:
884088555825.
9.0x12.0x0.25 inches.
English-German-French-Dut
ch. Atlantic
Odyssey was commissioned
by the band program at
Oakton High School in
Vienna, VA, and its
director, Dr. Cheryl
Newton. The piece is in
two extended movements
and seeks to portray an
imaginary yacht journey
off the eastern seaboard
of the USA. The first
movement, Sunrise at Sea
and the Ocean Awakes,
opens with an atmospheric
depiction of dawn at sea.
Floating woodwinds soar
above surging brass until
a climax heralds the
rising sun. Daylight
reveals distant horizons
and the prospect of a
calm voyage, but the sea
is never tamed and a
light breeze whips up
spray around the boat
until a couple of high
waves rock the boat
alarmingly. But the sea
soon calms again and the
journey continues
serenely. The second
movement, Homeward Bound
and Spindrift, sees us
turn for home, the boat
scything calmly through
the gentle waves in
perfect sailing
conditions. But once
again conditions change,
a stiff breeze tugs at
the sails and for a
moment we are once again
at the mercy of the wind
and waves. A moment of
calm returns but we are
suddenly sprayed by
spindrift as a gale picks
up. The boat is in danger
of overturning but we
manage to trim the sail
and take advantage of the
strong winds to enjoy and
exhilarating journey
home. $56.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Die Donau Orchestre Barenreiter
Orchestra SKU: BA.BA06861 Sinfonie (1923-1928). Composed by Leos J...(+)
Orchestra SKU:
BA.BA06861
Sinfonie
(1923-1928). Composed
by Leos Janacek. Arranged
by Leoš Faltus and
Miloš Štedron. This
edition: complete
edition, urtext edition.
Linen. Complete Critical
Edition of the Works of
Leos Janacek H/3.
Complete edition, Score,
Set of parts. Duration 40
minutes. Baerenreiter
Verlag #BA06861_00.
Published by Baerenreiter
Verlag (BA.BA06861).
ISBN 9790260104211.
34.3 x 27 cm
inches. Leoš
Janácek’s
symphonic fragment Dunaj
(The Danube) dates from
the period of the
composition of
“Katya
Kabanovaâ€. The
composer was not
concerned with a
musical-picturesque
description of a river
landscape, but with the
mythical link between
women’s destinies
and
water.
“Pale
green waves of the
Danube! There are so many
of you, and one followed
by another. You remain
interlocked in a
continuous flow. You
surprise yourselves where
you ended up – on
the Czech shores! Look
back downstream and you
will have an impression
of what you have left
behind in your haste. It
pleases you here. Here I
will rest with my
symphony.†Thus
Leoš Janácek
described the idea behind
the composition project
which occupied him in
1923/24. However, after
further work, it remained
incomplete in 1926. His
“symphonyâ€
entitled Dunaj has
survived as a
continuously-notated,
four-movement bundle of
sketches in score form.
It is one of the works
which occupied him until
his death. The scholarly
reconstruction by the two
Brno composers Miloš
Štedron and Leoš
Faltus closely follows
the original
manuscript.
A
whole conglomeration of
motifs stands behind the
incomplete work. What at
first seems like a
counterpart to
Smetana’s Vltava,
in fact doesn’t
turn out to be a musical
depiction of the Danube.
On the contrary, the
fateful link between the
destiny of women, water
and death permeates the
range of motifs found in
the work. It seems to be
no coincidence that
Janácek, whilst
working on the opera
Katya Kabanova, in which
the Volga, as the river
bringing death plays an
almost mythical role,
planned a Danube
symphony, and that its
content was linked with
the destiny of women: in
the sketches, two poems
were found which may have
provided the stimulus for
several movements of the
symphony. He copied a
poem by Pavla
Kriciková into the
second movement, in which
a girl remarks that
whilst bathing in a pond,
she was observed by a
man. Filled with shame,
the young naked woman
jumps into the water and
drowns. The outer
movements likewise draw
on the poem
“Lola†by the
Czech writer Sonja
Špálová,
published under the
pseudonym Alexander
Insarov. This is about a
prostitute who asks for
her heart’s
desire: she is given a
palace, but then goes on
a long search for it and
is finally no longer
wanted by anyone. She
suffers, feels cold and
just wants a warm fire.
Janácek adds his
remark “she jumps
into the Danube†to
the inconclusive
ending.
To these
tangible literary models
is added Adolf
Veselý’s verbal
account which reports
that the composer wanted
to portray “in the
Danube, the female sex
with all its passions and
driving forcesâ€.
The third movement is
said to characterise the
city of Vienna in the
form of a
woman.
It is
evident that in his
composition, Janácek
was not striving for a
simple, natural lyricism.
The River Danube is
masculine in the Slavic
language –
“ten Dunajâ€
– and assumes an
almost mythical
significance in the
national character,
indeed often also a role
bringing death. The four
movements are motivically
conceived. Elements of
sound painting, small
wave-like figures in the
first movement, motoric,
driving movements in the
third are obvious
evocations of water. And
the content and the
literary level are easy
to discover. The
“tremolo of the
four timpaniâ€,
which was amongst
Janácek’s first
inspirations, appears in
the second movement. It
is not difficult to
retrace in it the fate of
the drowning bather. The
oboe enters lamentoso
towards the end of the
movement over timpani
playing tremolo, its
descending figure is
taken over by the flute,
then upper strings and
intensified considerably.
The motif of drowning
– Lola’s
despair – returns
again in the fourth
movement in the clarinet,
before the work ends
abruptly and
dramatically.
One
special effect is the use
of a soprano voice in the
motor-driven third
movement. The singer
vocalises mainly in
parallel with the solo
oboe, but also in
dialogue with other parts
such as the viola
d’amore, which
Janácek used in
several late works as a
sort of “voice of
loveâ€.
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
$249.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Barber of Baghdad Breitkopf & Härtel
Chorus (with soloists) and piano (solos: S. A. 7T. Bar. 4B - choir: SAATTBB - pi...(+)
Chorus (with soloists)
and piano (solos: S. A.
7T. Bar. 4B - choir:
SAATTBB - picc.2.2.2.2 -
4.2.3.0 - timp.perc(2) -
hp - str) SKU:
BR.EB-2066 Comic
Opera in 2 Acts.
Composed by Peter
Cornelius. Edited by Max
Hasse. Arranged by
Waldemar von (KA)
Baussnern. Choir;
Softbound. Edition
Breitkopf. Opera; Music
theatre; Romantic.
Piano/Vocal Score. 240
pages. Breitkopf and
Haertel #EB 2066.
Published by Breitkopf
and Haertel (BR.EB-2066).
ISBN 9790004160770.
7.5 x 10.5
inches. Text by the
composer Translation:
engl. (M. E. Browne)
Place: Bagdad Characters:
Der Kalif (baritone) -
Baba Mustapha, ein Kadi
(tenor) - Margiana, seine
Tochter (soprano) -
Bostana, eine Verwandte
(alto) - Nureddin (tenor)
- Abul Hassan Ali Ebn
Bekar, Barbier (bass) -
1. Muezzin (bass) - 2.
Muezzin (tenor) - 3.
Muezzin (tenor) - Ein
Sklave (tenor) - Vier
Bewaffnete (2 Tenore, 2
Basse) Corneliuss opera
got off to a bad start,
to say the least: the
scandal provoked at the
first performance in
Weimar in 1858 led to
protests and ultimately
to the resignation of
Franz Liszt as court
opera director. It was
not until 1904 that the
opera was played again in
that city and proved that
the scandal had not been
caused by the work but by
Liszts aesthetic views.
The score was long
considered as the ideal
example of a musical
comedy with a far too
complicated plot. Today,
however, many prominent
commentators beg to
differ: This is one of
the sunniest scores ever
written. Music in the
spirit of Mozart and
Mendelssohn: a highly
delicate mixture of
classical formal rigor
and romantic irony,
heightened with just a
touch of exquisite
sensuality that has just
wafted in from the
Orient. It is practically
incomprehensible how
Cornelius could have been
regarded as a composer of
the Wagner school for
practically a century.
With its intricate fusing
of comedy, lyricism and
sentimentality, it is
precisely the opera that
Schubert, Schumann,
E.T.A. Hoffmann and
Mendelssohn were unable
to write. (Hans
Zender). $75.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Lux et Umbra Orchestre à Cordes Editorial de Musica Boileau
String orchestra SKU: BO.B.3292 Composed by Jordi Cervello. Instrumental ...(+)
String orchestra SKU:
BO.B.3292 Composed by
Jordi Cervello.
Instrumental Sets.
Duration 17:35. Published
by Editorial de Musica
Boileau (BO.B.3292).
English
comments: This is
the definitive version of
Biogenesis, a piece that
Cervello had written in
1976, together with his
friend Jorge Wagensberg,
and which was awarded the
First Prize at the
Spanish Ministry for
Education and Science's
Permanent Composition and
Musical Research
Competition. The new
version was made at
1984-85 Lux et umbra is
written for a string
group consisting of four
first and four second
violins, three violas,
three cellos and a double
bass. The conceptual
battle between darkness
and light is represented
by the instability
between the notes B and
C, and by the
compartmentation of the
group of fifteen strings
into divisi that provide
an independent
arrangement for each
instrument, thus
bestowing great substance
upon the texture of the
music. A cello cadence
emerges from a slow and
straightforward
beginning. A process of
contrasts then begins,
culminating in a molto
vivace passage of a
scherzando nature, which
alludes to the Baroque
concerti grossi. The
music once again plays
with chiaroscuro until
reaching its climax, from
which point the
conclusion slowly begins,
establishing itself in
the high register until
fading away. The work was
first performed at
Barcelona's Palau de la
Musica by the English
Chamber Orchestra,
directed by Enrique
Garcia Asensio, in 1987.
That same year, in the
newspaper El Pais, the
observations of the
composer and critic
Francesc Taverna-Bech
paid tribute to the
work's intelligence as
regards the use of and
search for instrumental
resources (in this case,
string instruments, about
which Cervello knows a
great deal), the skill
involved in endowing the
lyrical line with
tension, and a singular
touch that confers formal
essence upon the musical
discourse. In La
Vanguardia, Jordi Llovet
wrote that this is a work
in which, as is the case
with most of Cervello's
compositions, the
listener finds something
covertly religious, a
mysterious secret, a
transcendence linked to
the origins of
communication requiring
more than a single being,
which provides
excitement. In 1990, when
the Orquesta de Granada
(Orchestra of Granada)
performed the work at
Barcelona's Grec
festival, the critic
Cesar Calmell opined, in
the same newspaper, that
inch by inch, surely and
imperturbably, Cervello
built up a perfect world
that reflects the image
of the craftsman who, so
astonished at the
delights of his trade, is
unable to do anything but
turn the very backdrop of
tragedy into something
pleasant. Lux et umbra
was recorded by the
Orchestra Estatal of the
Hermitage, conducted by
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Music
critic
Comentari
os del Espanol: Se
trata de la version
definitiva de Biogenesis,
obra que habia escrito en
1976 en colaboracion con
su amigo Jorge Wagensberg
y que obtuvo el Primer
Premio, en el ano de su
creacion, en el Concurso
Permanente de Composicion
e Investigacion Musical
del Ministerio de
Educacion y Ciencia. La
nueva version fue
realizada en 1984-85. Lux
et umbra esta escrita
para un grupo de cuerda
integrado por cuatro
primeros violines, cuatro
segundos, tres violas,
tres violoncelos y un
contrabajo. El combate
filosofico entre la
oscuridad y la luz lo
lleva a cabo la
inestabilidad entre las
notas si y do y la
compartimentacion del
grupo de quince cuerdas
en unos divisi que llegan
a una escritura
independiente para cada
instrumento, otorgando
una gran importancia a la
textura sonora. De un
principio lento y
descarnado emerge una
cadencia del violonchelo.
A continuacion da
comienzo un proceso de
contrastes que culmina en
un pasaje molto vivace de
caracter scherzando que
alude a los concerti
grossi del barroco. La
musica juega de nuevo con
el claroscuro hasta
llegar a la cumbre sonora
iniciando el final
lentamente que se instala
en el registro agudo
hasta desvanecerse. La
estreno en el Palau de la
Musica de Barcelona la
English Chamber Orchestra
en el ano 1987 bajo la
direccion de Enrique
Garcia Asensio. Ese mismo
ano, en el periodico El
Pais, el compositor y
critico Francesc
Taverna-Bech reconocia en
sus comentarios la
inteligencia en el uso y
la busqueda de los
recursos instrumentales
-en este caso la cuerda,
de la que Cervello es
profundo conocedor-, la
destreza para revestir de
tension la linea lirica y
un tacto particular para
conferir entidad formal
al discurso sonoro. Jordi
Llovet, en La Vanguardia,
escribia que en esta
obra, se encuentra, como
en la mayor parte de la
produccion de Cervello,
algo secretamente
religioso, un arcano
misterioso, una
trascendencia vinculada a
los origenes de la
comunicacion
impracticable con el ser
unico que resulta
apasionante. En el ano
1990, cuando la Orquesta
de Granada la toco en el
Grec de Barcelona, era el
critico Cesar Calmell
quien, en el mismo
periodico consideraba que
Cervello construyo palmo
a palmo, segura e
imperturbablemente, un
mundo perfecto que
refleja la imagen del
artesano que, de tan
admirado con las delicias
de su oficio, no puede
hacer otra cosa que
convertir en agradable el
fondo mismo de la
tragedia. Lux et umbra
esta grabada por la
Orquesta Estatal del
Hermitage, dirigida por
Alexis Soriano (CD
SA01210 Fundacion Autor).
--Xavier Casanoves Danes
Critico musical. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Charles Camilleri: Piano Sonata No.2 Op.15 Piano seul Music Sales
Piano SKU: HL.14030704 Composed by Jean Joubert. Music Sales America. Pos...(+)
Piano SKU:
HL.14030704 Composed
by Jean Joubert. Music
Sales America. Post-1900.
Book [Softcover]. Music
Sales #NOV100230.
Published by Music Sales
(HL.14030704).
The second
sonata is on a much
larger scale than the
first, and has three
movements which develop
in intensity, reaching a
climax in the last
movement which is a
passacaglia. It is a
stormy work, in the sense
that it opens peacefully
and closes in a similar
manner, with a heavy
shower of notes and ideas
in between. There is
little hint of this in
the gentle opening of the
first movement, and
although it follows the
pattern of its previous
sonata in developing a
climax and releasing it
again, it is not until
the scherzo, with its
powerful motor rhythms,
that the full fury of the
storm breaks. The
concluding passacaglia is
built on repetition. The
nature of the form party
makes this inevitable,
but repetition becomes a
subtext, with the idea of
speeding up to a climax
being itself repeated,
the second time subsiding
into the peace of a storm
blown out. ~ John
Joubert. $28.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Country Hits Ligne De Mélodie, Paroles et Accords [Partition] Amsco Wise Publications
The Gig Book. By Adrian Hopkins_Tom Farncombe. The Gig Book. Country. Book Only....(+)
The Gig Book. By Adrian
Hopkins_Tom Farncombe.
The Gig Book. Country.
Book Only. 274 pages.
Wise Publications
#MUSAM997502. Published
by Wise Publications
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Festival March Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78 Composed by
Victor Herbert. Symphonic
Band (SPS). Set of Score
and Parts. With Standard
notation.
3+12+12+6+6+3+12+24+24+6+
6+8+8+6+6+9+18+18+27+8+8+
8+8+9+9+9+9+12+3+6+6+40+6
pages. Duration 7:37.
Carl Fischer Music
#SPS78. Published by Carl
Fischer Music (CF.SPS78).
ISBN 9781491152553.
UPC: 680160910052. Key:
Bb major. Festival
March is presented in a
new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. Festival
March by Victor Herbert
was written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 . $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Festival March Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cymb...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe,
Percussion 1, Percussion
2, Piccolo, Snare Drum,
Timpani, Triangle,
Trombone 1 and more. -
Grade 5 SKU:
CF.SPS78F Composed by
Victor Herbert. Symphonic
Band (SPS). Full score.
With Standard notation.
40 pages. Carl Fischer
Music #SPS78F. Published
by Carl Fischer Music
(CF.SPS78F). ISBN
9781491153239. UPC:
680160910731. Festi
val March is presented in
a new edition arranged by
Richard Summers. It is a
tour de force composition
for advanced bands and
hearkens back to a bygone
era during the golden age
of the band movement.
Directors and students
will hear operatic music
from composer Victor
Herbert who is best known
for his Christmas
classic, Toyland. This
is a richly scored
masterpiece that deserves
to return to standard
status in concert band
repertoire. We are proud
to bring you this new
setting of this cherished
classic. About the
CompositionFestival March
by Victor Herbert was
written for the
Pittsburgh Symphony and
first performed under
Herbert’s
direction in Chicago on
Dec. 9, 1901 celebrating
the 12th anniversary
of Chicago’s
Auditorium Theatre. Also
known as the Auditorium
Festival March, he
included it many times
for programs of a
festival nature. The main
theme Auld Lang Syne, a
famous Scottish folk
song, is incorporated
many times along with
brass fanfares,
interludes and march
melodies. This band
arrangement is very
similar to the original
orchestral composition.
The missing string parts,
the addition of the
saxophone section and
other band instruments,
editing of the
superimposed triplets
against
sixteenth notes, to
one or the other, and
articulations suitable
for the band, were major
challenges. The style of
early twentieth-century
American music is
captured here. This
arrangement will give
band musicians access to
a fine piece of music
that could only be
appreciated by orchestra
musicians up to now.
Although suitable for
many occasions, this
piece is a great way to
begin or end a December
holiday concert.
 Notes to the
ConductorVictor
Herbert’s music
can be interpreted in a
romantic style, which is
the conductor’s
responsibility to read in
nuance and musicality.
The beginning and other
triple-tonguing sections
of this piece have a
March of the Toys quality
to it. Â The interludes
and Auld Lang Syne
sections are legato and
musical. The March
sections can also be
shaped musically.About
the ComposerVictor
Herbert was born in
Ireland in 1861 and
raised in Germany. When
he moved to America in
1886, he joined the
Metropolitan Opera as
principal cellist and
eventually composed many
works including
forty-three operettas
on Broadway from the
1890s to World War I,
including Naughty
Marietta and Babes in
Toyland. Victor Herbert
conducted the Pittsburgh
Symphony from 1898 to
1904 and then was the
conductor of his own
Victor Herbert Orchestra.
He formed ASCAP with a
group of composers in
1914 and was the director
until his death in 1924.
Among his thirty-one
compositions for
orchestra, Festival March
was a favorite of his and
was eventually published
by Carl Fischer Music.
 . $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Read and Burn Livre - Pas de partitions Jawbone Press
| | |
| Deidamia HWV 42 Chorale SATB Barenreiter
Solo voices, choir, orchestra (3Soprano Voice Solo, Mezzo Voice Solo, 2 Bass Voi...(+)
Solo voices, choir,
orchestra (3Soprano Voice
Solo, Mezzo Voice Solo, 2
Bass Voice Solo, SATB
Choir, 2 Ob, bassoon, 2
Hn, 2 Trp, timpani, Str,
Continuo) SKU:
BA.BA04070 Opera
in three acts.
Composed by George
Frideric Handel. Edited
by Terence Best. This
edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 41. Complete
edition, Score. HWV 42.
Duration 3 hours.
Baerenreiter Verlag
#BA04070_00. Published by
Baerenreiter Verlag
(BA.BA04070). ISBN
9790006495870. 33 x 26 cm
inches. Text Language:
Italian. Text: Paolo
Antonio
Rolli. Handelâ€
s
“Deidamiaâ€
was premièred on 10
January 1741 only a few
weeks after
“Imeneoâ€.
The librettist Paoli
Rolli , a previously
unsucessful librettist
for Handel, delivered
with his finest work
“Deidamiaâ€.
On 10 February 1741 the
third and final opera
performances of this work
took place under
Handel’s
direction. Oddly enough
“Deidamiaâ€
would not be performed
again until the beginning
of the 20th century. This
opera is based on the
themes of humour and
seriousness. The personal
harmonising of Heroism
(Achilles) and Love (
Deidamia ) build on the
essential dramatic
features of this work.
“Deidamia†is
the last great opera in a
series of masterpieces:
“Orlandoâ€,
“Poroâ€,
“Ezioâ€,
“Ariodanteâ€,
“Alcinaâ€,
“Serse†and
“Imeneoâ€. The
vocal score is based on
the Urtext of the Halle
Handel Editon.
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
$430.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mist Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Oboe 1,
Oboe 2, Percussion,
Timpani, Trombone,
Trumpet, Tuba, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.41641613L Composed
by Diane Wittry. Large
Score. With Standard
notation. Duration 16
minutes. Theodore Presser
Company #416-41613L.
Published by Theodore
Presser Company
(PR.41641613L). UPC:
680160642199. 11 x 17
inches. On the
island of Elba, off the
coast of Italy, I
composed this work as the
sun was rising over the
ocean in the mornings and
gently sifting through
the clouds against the
lingering fog. As the
piece developed, it took
on a shape of its own and
gradually became centered
around diminished chords
and the interval of a
tri-tone (diminished
5th). I love these chords
for their angst and for
their sadness, but also
for their flexibility. My
piece is very textural in
nature; and yes, it does
have a melody of sorts,
and yet, this melody
comes and goes, and is
never quite grasped until
the end. Portions of it
are repeated and spun out
creating layers of sound
without the heaviness of
form. It is indeed a
depiction of mist, where
one minute you see things
and the next they are
gone. As you move through
the piece, you find that
the trumpet is also an
antagonist, creeping in
with a haunting cry; a
reminder of things
unsettled. Throughout the
piece, we are quietly
searching. We search for
a tonal center for
stability, and also for a
melody that will make us
feel fulfilled. Once
found, we hold them for
an instant, and then like
the clouds and like life
itself, they are gone. We
are warmed by their
presence and saddened by
their loss. I hope that
you will reflect upon
your own memories of
life's quiet moments as
we enjoy the world
premiere of this new work
together. Mist is not a
piece to be analyzed, but
rather a piece to be
experienced and absorbed.
As you listen, release
your mind, embrace your
emotions, close your
eyes, and allow the mist
to creep in. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mist [Conducteur] Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Oboe 1,
Oboe 2, Percussion,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.416416130
Composed by Diane Wittry.
Full score. With Standard
notation. Duration 16
minutes. Theodore Presser
Company #416-41613.
Published by Theodore
Presser Company
(PR.416416130). UPC:
680160642182. 9 x 12
inches. On the
island of Elba, off the
coast of Italy, I
composed this work as the
sun was rising over the
ocean in the mornings and
gently sifting through
the clouds against the
lingering fog. As the
piece developed, it took
on a shape of its own and
gradually became centered
around diminished chords
and the interval of a
tri-tone (diminished
5th). I love these chords
for their angst and for
their sadness, but also
for their flexibility. My
piece is very textural in
nature; and yes, it does
have a melody of sorts,
and yet, this melody
comes and goes, and is
never quite grasped until
the end. Portions of it
are repeated and spun out
creating layers of sound
without the heaviness of
form. It is indeed a
depiction of mist, where
one minute you see things
and the next they are
gone. As you move through
the piece, you find that
the trumpet is also an
antagonist, creeping in
with a haunting cry; a
reminder of things
unsettled. Throughout the
piece, we are quietly
searching. We search for
a tonal center for
stability, and also for a
melody that will make us
feel fulfilled. Once
found, we hold them for
an instant, and then like
the clouds and like life
itself, they are gone. We
are warmed by their
presence and saddened by
their loss. I hope that
you will reflect upon
your own memories of
life's quiet moments as
we enjoy the world
premiere of this new work
together. Mist is not a
piece to be analyzed, but
rather a piece to be
experienced and absorbed.
As you listen, release
your mind, embrace your
emotions, close your
eyes, and allow the mist
to creep in. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Electricity Orchestre d'harmonie [Conducteur] - Facile FJH
Concert Band Concert Band - Grade 2 SKU: FJ.B1410S Score Only. Com...(+)
Concert Band Concert Band
- Grade 2 SKU:
FJ.B1410S Score
Only. Composed by
Brian Balmages. Concert
Band. FJH Young Band.
Score. Duration 3:30. The
FJH Music Company Inc
#98-B1410S. Published by
The FJH Music Company Inc
(FJ.B1410S).
English. Experie
nce the thrill of a
single electron racing
through a circuit at
mind-boggling speeds! The
wild ride begins
immediately with two sets
of bells creating an
invigorating metallic
backdrop. The intensity
continues until a
blackout occurs without
warning, shutting down
power to the entire
circuit. The simple
effect of a water gong
creates the effect of a
machine grinding to a
halt. The circuit soon
becomes live again as the
electron races on.
Absolutely stunning!
About FJH
Young
Band Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5 $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music For Flute And Electronic Sounds Theodore Presser Co.
Chamber Music Electronics, Flute SKU: PR.114409570 Composed by Larry Nels...(+)
Chamber Music
Electronics, Flute
SKU: PR.114409570
Composed by Larry Nelson.
Performance score. With
Standard notation.
Composed 1987. 11 pages.
Duration 13 minutes.
Theodore Presser Company
#114-40957. Published by
Theodore Presser Company
(PR.114409570). UPC:
680160014330. As
the title suggests, Music
for Flute and Electronic
Sounds explores the
relationships between the
flute - lyrical, then
percussive; sometimes
sustained, other times in
sweeping lines - and
electronic sounds -
sometimes pitched,
sometimes more clangorous
and bell-like. The
individual electronic
sounds were designed and
built using editors that
are now readily available
for synthesizers. This
made it possible to
produce accompanimental
sounds that support and
blend with the
articulation and timbre
of the flute in a way
that until recently was
awkward to accomplish. In
addition to the
electroacoustic blending,
the flute and electronic
sounds also share
compositional structure,
both rhythmic and
melodic. There are two
musical ideas that are
germinal to the pitch and
structure of the work.
The first is a four-pitch
interval set (in two
pairs) of descending
minor third, intervening
ascending major second,
and concluding ascending
major third. This gesture
is presented at the
outset. The second idea
is a palindromic interval
set which appears for the
first time in measure 25.
Formally, the work is in
three parts. Part One is
used to introduce several
musical characters, most
of which are generated
from the materials just
mentioned. Part Two
consists of a
juxtaposition of two of
these characters. One is
jazzy and is generated
entirely by the
synthesizers while the
flute joins the electric
sounds in a serene
chorale. The flute
additionally has the
responsibility of
interrupting the fast
motion of the jazzy
character so that the
chorale can be heard.
Part Three recalls the
first part but also
includes a cadenza, which
uses the serene character
of Part Two as basic
material. After the
cadenza there is a short
section that again
recalls the beginning.
The work closes with a
cadenza-like
flourish. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violin Concerto Orchestre, Violon [Conducteur d'étude / Miniature] Schott
Orchestra; Violin (Study Score) SKU: HL.49045166 Study Score. Comp...(+)
Orchestra; Violin (Study
Score) SKU:
HL.49045166 Study
Score. Composed by
Ryan Wigglesworth. This
edition: Saddle
stitching. Sheet music.
String. Classical.
Softcover. Composed 2011.
72 pages. Duration 16'.
Schott Music #ED13695.
Published by Schott Music
(HL.49045166). ISBN
9790220135002. UPC:
888680724214.
8.25x11.75x0.276
inches. Violin
Concerto is scored for a
Classical-sized
orchestra, with the
addition of a harp and
celeste, and lasts around
17 minutes. Although the
work sets out to explore
the lyrical
characteristics of the
solo instrument, it is
only gradually that the
violin finds its full,
lyric voice, and thence,
as the work progresses, a
more dominant role. This,
in one sense, is the
'journey' of the piece.
The work's
straightforward formal
scheme consists of three
movements (roughly
fast-slow-fast) framed by
a reflective introduction
and epilogue. However,
these formal divisions
exist within a single,
unbroken arc. Such an
overall symmetrical shape
places the slow Arioso
(itself divided into
three subsections) at the
midpoint, sandwiched
between the two Allegro
movements. The dramaturgy
of the piece centers on a
twofold search. First
there is the ongoing
pursuit to recapture the
simple melodic material
stated by the solo violin
- accompanied by thar
harp's bass register -
during the opening bars.
Whilst aspects of this
melody are invoked
frequently throughout
(especially in the violin
cadenza which closes the
Arioso movement), it is
only with the final and
most important climax of
the work that the melody
appears again in its
complete form, now
accompanied by violent,
orchestral stabs. The
second search is for a
tonal resting place, the
arrival of which is
delayed until the close
of the epilogue. The
original version of the
Violin Concerto,
commissioned by the
Netherlands Chamber
Orchestra, was premiered
in Amsterdam in February
2012 with Gordan Nikolic
as soloist. The present,
revised version was
created for Barnabas
Kelemen and the
Halle. $43.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Magnificat in C major Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2
bassoons, 2 trumpets,
timpani, 2 violins,
viola, basso continuo
SKU: CA.7005311
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Violin 1.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Violin 1.
Composed 1815. D 486. 8
pages. Duration 9
minutes. Carus Verlag #CV
70.053/11. Published by
Carus Verlag
(CA.7005311). ISBN
9790007228286. Key: D
major. Language:
Latin. With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Magnificat in C major Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2
bassoons, 2 trumpets,
timpani, 2 violins,
viola, basso continuo
SKU: CA.7005312
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Violin 2.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Violin 2.
Composed 1815. D 486. 8
pages. Duration 9
minutes. Carus Verlag #CV
70.053/12. Published by
Carus Verlag
(CA.7005312). ISBN
9790007228293. Key: D
major. Language:
Latin. With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Magnificat in C major Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SATB vocal soli, SATB choir, 2 oboes, 2 bassoons, 2 trumpets, timpani, 2 violins...(+)
SATB vocal soli, SATB
choir, 2 oboes, 2
bassoons, 2 trumpets,
timpani, 2 violins,
viola, basso continuo
SKU: CA.7005313
Composed by Franz
Schubert. Edited by
Salome Reiser. This
edition: urtext.
Stuttgart Urtext Edition:
Stuttgart Schubert
Edition. Viola.
Innovative practice aids,
Sacred vocal music,
Magnificats, Advent,
Christmas, Feasts of the
Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary, Daily hours.
Single Part, Viola.
Composed 1815. D 486. 4
pages. Duration 9
minutes. Carus Verlag #CV
70.053/13. Published by
Carus Verlag
(CA.7005313). ISBN
9790007228309. Key: D
major. Language:
Latin. With a
duration of about 10
minutes, Schubert's
Magnificat D 486 in C
major is one of the more
concise settings of the
well-known Marian
canticles, originally for
the service of Vespers.
It was composed in late
summer 1815, and is
therefore probably one of
a series of church music
works Schubert wrote in
his youth for Lichtenthal
Parish Church. The work
requires a large-scale
orchestra with strings,
woodwind, and brass. The
four-part choir contrasts
with four soloists; this
quartet sings the
peaceful middle section
of the three-section
work. For the Carus
edition Schubert's own
autograph manuscript of
his Magnificat was
consulted again for the
first time since 1888.
Until 1989 this had been
thought to be lost. This
work is now available in
carus music, the choir
app! Score and part
available separately -
see item CA.7005300. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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