TB choir and piano SKU: LO.15-3635H Composed by Michael Ryan. Choral. Sec...(+)
TB choir and piano
SKU: LO.15-3635H
Composed by Michael Ryan.
Choral. Secular
Christmas. Octavo.
Heritage Music Press
#15/3635H. Published by
Heritage Music Press
(LO.15-3635H).
ISBN
9780787764135.
I
want that old-fashioned
Christmas, with a great
big Christmas tree, the
smell of pumpkin pies
that bake nearby, and
cinnamon potpourri. A
light swing groove brings
back memories of those
treasured Christmases of
decades ago in this
delightful choral
selection. The song
features mostly unison
vocal scoring with a few
easy harmonic break-out
passages.
By Donald Marsh. For Voices: Mostly unison (one 2-part section; one SATB). Instr...(+)
By Donald Marsh. For
Voices: Mostly unison
(one 2-part section; one
SATB). Instruments: C
instrument (flute,
violin, or even organ
stop, accordian, piano
II) (instruments
required). Keyboard
accompaniment. Music
Collection. Sacred,
Christmas. Easy. Text
language: English. 72
pages. Published by GIA
Publications
Edited by Carol Cuellar. Arranged by Tony Esposito. Instrumental collection (Alt...(+)
Edited by Carol Cuellar.
Arranged by Tony
Esposito. Instrumental
collection (Alto
saxophone). Level:
intermediate advanced. 20
pages. Published by
Warner Brothers.
Grade 1 SKU: CL.015-3471-00 Composed by Shaffer. Young Concert Band. Elem...(+)
Grade 1
SKU:
CL.015-3471-00
Composed by Shaffer.
Young Concert Band.
Elementary Series. Audio
recording available
separately (items
CL.WFR336 & CL.WFR344).
Solo. Score and set of
parts. Composed 2005.
Duration 2 minutes, 17
seconds. C.L. Barnhouse
#015-3471-00. Published
by C.L. Barnhouse
(CL.015-3471-00).
A very easy but
solid rock tune that
features the whole drum
section. Full of fun and
vitality and a great way
to let your young
drummers shine! Horn
parts are powerful and
provide a great backing
for the percussion. Sure
to be a big hit at any
concert performance but
mostly, this one is just
a ton of fun!!!!
Grade 1 SKU: CL.015-3471-01 Composed by Shaffer. Young Concert Band. Elem...(+)
Grade 1
SKU:
CL.015-3471-01
Composed by Shaffer.
Young Concert Band.
Elementary Series. Audio
recording available
separately (items
CL.WFR336 & CL.WFR344).
Extra full score.
Composed 2005. Duration 2
minutes, 17 seconds. C.L.
Barnhouse #015-3471-01.
Published by C.L.
Barnhouse
(CL.015-3471-01).
A very easy but
solid rock tune that
features the whole drum
section. Full of fun and
vitality and a great way
to let your young
drummers shine! Horn
parts are powerful and
provide a great backing
for the percussion. Sure
to be a big hit at any
concert performance but
mostly, this one is just
a ton of fun!!!!
Keyboard (NOTEN+CD) - easy to intermediate SKU: HL.49033068 Die modern...(+)
Keyboard (NOTEN+CD) -
easy to intermediate
SKU: HL.49033068
Die moderne
Klavierschule für
Jugendliche und
Erwachsene. Composed
by Hans Gunter Heumann.
This edition: Ring/Spiral
binding. Sheet music with
CD. Edition Schott.
German Edition, Method.
Edition with CD. 128
pages. Schott Music #ED
9399. Published by Schott
Music (HL.49033068).
ISBN 9783795756000.
9.0x12.0x0.664 inches.
German.
Whoever
pursues piano playing as
a hobby mostly focusses
on two things: playing
from music, with as wide
a range of works from
classical, pop and jazz
music as possible, and
playing without the book,
i.e. the ability to
accompany melodies with
chords, play songs by ear
and improvise freely. In
this volume, both topics
are dealt with thoroughly
and systematically.
Whereas most piano
methods prefer either
classical or popular
music, both kinds of
music are well-balanced
herein.Clearly structured
chapters cover a variety
of interesting topics:
the Baroque, Classical
and Romantic eras,
popular piano styles
(e.g. ragtime, boogie,
rock 'n' roll, pop
ballad), the blues and
the genres of opera,
operetta and ballet.
The New Oxford Book of Carols by Hugh Keyte; Andrew Parrott. Arranged by Cliffor...(+)
The New Oxford Book of
Carols by Hugh Keyte;
Andrew Parrott. Arranged
by Clifford Bartlett. For
Mostly SATB choir,
accompanied and a
cappella. Mixed Voices.
Christmas, Choral
Collection, Sacred.
Paperback. 744 pages.
Published by Oxford
University Press
Chorale SATB SATB, Piano [Vocal Score] Oxford University Press
100 Carols for Choirs by David Willcocks; John Rutter. For Mostly SATB and piano...(+)
100 Carols for Choirs by
David Willcocks; John
Rutter. For Mostly SATB
and piano. Mixed Voices.
. . . for Choirs
Collections. Advent,
Christmas, Epiphany,
Easter, Sacred, Secular.
Paperback. 388 pages.
Published by Oxford
University Press
Hey Fiddle Fiddle! Orchestre à Cordes [Conducteur et Parties séparées] - Facile FJH
By Brian Balmages. Beginning String Orchestra. FJH Beginning Strings. This fun-s...(+)
By Brian Balmages.
Beginning String
Orchestra. FJH Beginning
Strings. This
fun-spirited fiddle tune
begins with a unison
statement of the theme,
then gradually expands in
harmony until the entire
ensemble is into the
groove. While the theme
develops, the initial
pizzicato in the low
strings serves as the
rhythm section of the
group. Other members of
the orchestra take over
this rhythm section,
including violas (and
optional violin 3),
stomping and clapping as
the hoedown begins to
roar. As is
characteristic of much
fiddle music, Hey Fiddle
Fiddle! is based mostly
on open 4ths and 5ths.
These intervals become
the focus of the piece at
measure 49, where violins
and violas trade phrases
back and forth with low
strings. One final build
brings the tune back for
a stirring conclusion.
Score for this title:
ST6120S. Extra part for
this title: ST6120P.
String Orchestra. Level:
1.5. Score and Set of
Parts. Published by The
FJH Music Company Inc.
Solo and SS choir divisi (a cappella) - Early Intermediate SKU: MN.56-0031(+)
Solo and SS choir divisi
(a cappella) - Early
Intermediate
SKU:
MN.56-0031
Composed
by Howard Goodall. 21st
Century. Instrument
parts. Duration 4
minutes, 39 seconds.
MorningStar Music
Publishers #56-0031.
Published by MorningStar
Music Publishers
(MN.56-0031).
Written for
the Enchanted Voices CD,
this is one of many
settings of texts either
from the Beatitudes (or
springing from them)
available from this
composer. For Solo and SS
divisi, a cappella, the
music has a light,
ethereal feeling.
ââ¬ÅBeatiââ
¬Â can be taken as
a sort of
ââ¬ÅBlessed are
theyââ¬Â prefix
for the movements which
are not direct quotes
from the Beatitudes. This
movement is a unison,
chant-like setting of the
Latin texts for Genesis
20:13 (ââ¬ÅThou
shalt do me this
kindnessââ¬Â¦Ã
â¬Â) and Numbers
11:17 (ââ¬ÅAnd
I will take of thy
spiritââ¬Â).
The soloist begins and
sometimes takes over from
the choral voices. Mostly
unison except for about
ten measures (out of the
69) in two-part texture
and four measures in
three parts. Duration
4:39
By David Willcocks; John Rutter. For Mostly SATB and piano. Mixed Voices. . . . ...(+)
By David Willcocks; John
Rutter. For Mostly SATB
and piano. Mixed Voices.
. . . for Choirs
Collections. Christmas
Choral Collection. Pack
of 10 copies. 384 pages
By David Len Allen. Text: David Len Allen. For SATB Choir. Level: Medium / Mediu...(+)
By David Len Allen. Text:
David Len Allen. For SATB
Choir. Level: Medium /
Medium-Difficult
(accompaniment). Duration
3:45. Published by
Jackman Music
Corporation.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
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).
Composed
by Peter Schickele. Full
score. Duration 26
minutes. Theodore Presser
Company #114-42131S.
Published by Theodore
Presser Company
(PR.11442131S).
UPC:
680160681006.
A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten.
Love-Free Chorale 3 parties SSA, Piano Carl Fischer
Choral SSA Choir and Piano SKU: CF.CM9706 Composed by Meredith Tompkins. ...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9706
Composed by
Meredith Tompkins. 12
pages. Duration 2:45.
Carl Fischer Music
#CM9706. Published by
Carl Fischer Music
(CF.CM9706).
ISBN
9781491160022. UPC:
680160918621. Key: D
minor. English. Sara
Teasdale, adapted by
Meredith
Tompkins.
Sara
Teasdale was a celebrated
American poet who lived
at the turn of the
twentieth century, known
for her classical style
and pure, openhearted
writing. At the young age
of twenty-three, she
became a published author
and went on to release a
total of eight
award-winning collections
of poetry in her
lifetime. Love-Free is a
reflective poem that
appears in Part I of
Rivers to the Sea,
published in 1915. In the
text, the narrator
experiences a range of
emotions centering around
lost love and the desire
to either separate from
or rekindle it.
Reminiscent of an antique
music box, the text is
paired with a waltz-like
accompaniment in a
lilting 3/4 pattern.
Melodic exploration of
the natural minor scale
is achieved through
mostly step-wise motion
and some carefully
placed, text-painted
leaps ranging from a
minor third to a sixth.
With some unison, SA, and
SSA sections, this piece
can show off the wide
array of colors and
textures available to
treble choirs. Sara
Teasdale was a celebrated
American poet who lived
at the turn of the
twentieth century, known
for her classical style
and pure, openhearted
writing. At the young age
of twenty-three, she
became a published author
and went on to release a
total of eight
award-winning collections
of poetry in her
lifetime. Love-Free is a
reflective poem that
appears in Part I of
Rivers to the Sea,
published in 1915. In the
text, the narrator
experiences a range of
emotions centering around
lost love and the
desire to either separate
from or rekindle it.
Reminiscent of an antique
music box, the text is
paired with a waltz-like
accompaniment in a
lilting 3/4 pattern.
Melodic exploration of
the natural minor scale
is achieved through
mostly step-wise motion
and some carefully
placed, text-painted
leaps ranging from a
minor third to a sixth.
With some unison, SA, and
SSA sections, this piece
can show off the wide
array of colors and
textures available to
treble choirs.
Composed by Behzad
Ranjbaran. Premiered by
the Philadelphia
Orchestra, Yannick
Nezet-Seguin, Music
Director, Jeffrey Khaner,
flute; Verizon Hall,
Philadelphia.
Contemporary. Large
Score. With Standard
notation. Composed 2013.
Duration 28 minutes.
Theodore Presser Company
#416-41515L. Published by
Theodore Presser Company
(PR.41641515L).
UPC:
680160621750.
The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions. In writing my
flute concerto, I aimed
not only to highlight the
modern flautist's ability
to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages. Two prominent
characters permeate the
first movement of my
concerto. They are marked
in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively. The
lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others. In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. The solo flute is
left out in an agitated
middle section that
references the first
movement. In the third
section of the movement
the solo flute returns in
meditative fashion
culminating in a duet
with the harp. The third
movement is written as
one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
Some of the materials
from the earlier
movements are presented
again with joyous
character. The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy. The
melancholic tone of the
Ney (the Persian bamboo
flute) is known for its
alluring sound, emulating
the human voice. Â In
Persian literature, the
Ney is considered a
mystic instrument capable
of expressing deep human
emotions.In writing my
flute concerto, I aimed
not only to highlight the
modern flautist’s
ability to play agile and
brilliant passages but
also to emulate the
delicate sound of the
Ney, particularly in
extended solo flute
passages.Two prominent
characters permeate the
first movement of my
concerto. Â They are
marked in the score as
lamentoso, and con
spirito, expressing grief
and loss, and joy of
living respectively.
 The lament is mostly
expressed in several
extended cadenzas for
solo flute while the con
spirito consists of
robust and energetic fast
sections played by all
forces of the orchestra.
 Apart from these two
characters there are
moments of mystery,
comedy and the grotesque,
among others.In the
second movement, the
lyrical and poetic
character of the flute is
prominently presented in
dream-like passages
surrounded by shimmering
and tender orchestral
colors. Â The solo
flute is left out in an
agitated middle section
that references the first
movement. Â In the
third section of the
movement the solo flute
returns in meditative
fashion culminating in a
duet with the harp.The
third movement is written
as one continuous quasi
scherzo, challenging the
limits of agility and
brilliance of the flute.
 Some of the materials
from the earlier
movements are presented
again with joyous
character. Â The coda
elevates the concerto
into its brightest and
most festive character,
driving to the end with
relentless energy.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.49047040 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.49047040
30
Concert and Salon Pieces
for Cello and Piano.
Composed by Various.
Edited by Beverley Ellis
and Rainer Mohrs. String.
Classical. Softcover. 192
pages. Schott Music
#ED22414. Published by
Schott Music
(HL.49047040).
ISBN
9783795711436. UPC:
196288116332.
9.0x12.0x0.535
inches.
(9 Spicy Sequential Solos for Developing 4-Mallet Marimba Chops). By Brett Jones...(+)
(9 Spicy Sequential Solos
for Developing 4-Mallet
Marimba Chops). By Brett
Jones. For Marimba
(4-mallet) (marimba
(4.3-octave)). Medium
easy to medium. Duration
20:00. Published by C.
Alan Publications