Oboe, Piano Accompaniment SKU: HL.14028681 Composed by Esa-Pekka Salonen....(+)
Oboe, Piano Accompaniment
SKU: HL.14028681
Composed by Esa-Pekka
Salonen. Music Sales
America. Post-1900. Sheet
Music, Instrumental Work.
With Text language:
English. 32 pages.
Chester Music #CH60917.
Published by Chester
Music (HL.14028681).
UPC: 884088810481.
8.5x11.0x0.094
inches.
Composer's
Note Second Meeting was
written in January 1992.
The first performance
took place in Stockholm
in February (Bengt
Rosengren, oboe and
Stefan Bojsten, piano).
The work belongs to a
planned series of
virtuoso duos,
ââ¬ÅmeetingsÃ
â¬Â. The first
one (from 1982) is
written for clarinet and
harpsichord. Formally,
Second Meeting is very
close to a familiar
ââ¬Åtheme and
variationsââ¬Â
category, although there
are seven themes, or
melodies, all quite
closely related. In the
autumn of the same year I
decided to write a
version of the piece for
oboe and a small
orchestra, trying to
remain reasonably
faithful to the original
(a la Ravel, perhaps).
The orchestral version is
called Mimo 1). Esa-Pekka
Salonen.
Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered ...(+)
Parts for String Quartet
No.3 'Angel's Music' by
Bent Sorensen (1988)
Premiered by the Arditti
String Quartet at the
Danish Radio Concert Hall
16 November 1988. Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angels Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on Angels
Music was started in
Rome, where I spent the
autumn of 1987 staying at
The Danish Academy.
Whether this stay has
influenced the quartet or
not is impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part ofthe
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of Angels
Music is divided into
three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the small
cells into the general
pattern.'
String Quartet SKU: HL.14030980 Parts. Composed by Bent Sorensen. ...(+)
String Quartet
SKU:
HL.14030980
Parts. Composed by
Bent Sorensen. Music
Sales America. Classical.
Set of Parts. Edition
Wilhelm Hansen #KP00249.
Published by Edition
Wilhelm Hansen
(HL.14030980).
ISBN
9788759871973.
12.0x16.0x0.285
inches.
Score
available: KP00250 The
composer writes: 'Even
when I was writing Adieu,
I knew that I wished to
write Angel's Music. The
title existed in an
incomplete form in my
mind and gradually more
and more ideas and a few
outlines became clear.
The actual work on
Angel's Music was started
in Rome, where I spent
the autumn of 1987
staying at The Danish
Academy. Whether this
stay has influenced the
quartet or not is
impossible to say.
however, it is true to
say that, in the Roman
churches I visited, I saw
countless angels playing
in the top of frescoes
and altars. Without these
angels, together with the
many crackled-gold
paintings in this city
and my general
fascination with the
Italian renaissance
painter Fra Angelico, (in
fact there are only a few
paintings by him in Rome,
but even his name..!) I
am not sure my quartet
would have been what it
is. Anyway I do feel that
there is a bit of Italy
in the piece. The angels
apart there are, in the
short rhythmic agitating
part of the quartet,
reminiscences of the
Italian medieval Trotto
dance, and in the most
expressive part of the
piece there are flashes
of Puccini-like music.
From the very beginning
of my work on the
quartet, the distant,
extremely muted sound in
the high register which
opens the piece, was on
my mind. A sound satiated
with a dense heterophonic
and polyphonic texture of
elegiac melody and
vibrating trills. I
imagined that little
songs (maybe angel songs)
could be created in this
density, these songs
constantly echoing
themselves. Gradually as
this sound got a more and
more concrete musical and
instrumental form, I
felt, that not only
should the little songs
be created, played and
die out in an echo, but
also that the general
pattern of the quartet
should give the feeling
of music which, from the
distance, is getting
closer and closer,
culminates and at last
disappears like an echo.
Related to this, the
general pattern of
Angel's Music is divided
into three: a pre-echo,
culmination and echo..
The relationship between
the three part is 5: 6:
4. The reason why I can
say this precisely and
prosaically is that it
was necessary to me to
mark the overall
guidelines before I
started to compose. I had
to do this in order to
enable the relationships
to crawl from the general
pattern almost
fractionally into the
smallest cells of the
music, or more correctly;
crawl from the small
cells into the general
pattern.'.
Taught by Larry Coryell. For Guitar (Flatpicking/Plectrum). Method. Grossman-Gtr...(+)
Taught by Larry Coryell.
For Guitar
(Flatpicking/Plectrum).
Method. Grossman-Gtr
Workshop. Jazz. Level:
Intermediate. DVD. Size
5.25x7.5. Duration 70
minutes. Published by
Grossman's Guitar
Workshop.
Dramma giocoso in two
acts. Composed by
Wolfgang Amadeus Mozart.
Edited by Faye Ferguson
and Wolfgang Rehm.
Arranged by Rasmus
Baumann. This edition:
urtext edition. Hardback.
Barenreiter Urtext. Vocal
Score. KV 588.
Baerenreiter Verlag
#BA04606_93. Published by
Baerenreiter Verlag
(BA.BA04606-93).
ISBN
9790006568864. 27.5 x 20
cm inches. Text Language:
Italian, German.
Translation: Kurt
Honolka. Lorenzo Da
Ponte.
In the space
of a few months, in the
autumn and winter of
1789, Mozart filled more
than 650 pages of a score
that shows practically no
signs of mental or
physical exertion. The
result was one of his
most profound operas,
Cosi fan tutte , which
has held listeners
spellbound with its blend
of bitterness and comedy
to the present
day.
Our
easy-to-play vocal score
is based on the volume
edited by Faye Ferguson
and Wolfgang Rehm for
theNew Mozart Edition(NMA
II/5/18) and on the
latest scholarly findings
from the critical
commentary published by
Henning Bey and Faye
Ferguson in 2003. Due
to numerous customer
requests, Barenreiter
will be successively
offering vocal scores to
major Mozart operas in
hardback editions again.
Sturdier hardcover
editions of important
repertoire works are more
likely to survive the
rigours of a musicians's
life.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
Bärenreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composerâ€â„
s intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
Piano Sonata. Composed by Leos Janacek (1854-1928). Edited by Jiri Zahradka. ...(+)
Piano Sonata. Composed by
Leos Janacek (1854-1928).
Edited by Jiri Zahradka.
Henle Music Folios.
Classical. Softcover. 21
pages. G. Henle #HN1174.
Published by G. Henle
Arranged by Charles
Tomlinson Griffes and
ed./arr. by Gregory
Vaught. Full Orchestra,
Conductor Score & Parts.
Nieweg Performance
Editions. Score and
Part(s). LudwigMasters
Publications #36-A296302.
Published by
LudwigMasters
Publications
(AP.36-A296302).
UPC:
659359760488.
English.
A dream
inspired Charles
Tomlinson Griffes
(1884-1920) to compose
The Pleasure Dome of
Kubla Kahn, based on the
poem by Samuel Taylor
Coleridge. The composer
originally wrote it for
piano in 1912. Four years
later, at the
encouragement of
Ferruccio Busoni, he
expanded it into a
shimmering symphonic
poem. Following the first
performance in the autumn
of 1919 under the
direction of Pierre
Monteux, it achieved
great success and remains
one of his most
frequently-performed
works today. The work
reveals the influence of
French impressionism,
meandering through the
lush gardens of the
legendary palace. This
edition by Gregory Vaught
is part of the Nieweg
Performance Editions
series. Instrumentation:
3(3rd
dPicc).2+EH.2+BCl.3:
4.3.3.1: Timp.Perc(3):
Hp(2).Clst.Pno: Str
(9-8-7-6-5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
The Seagull Piano, Voix [Vocal Score] Theodore Presser Co.
An Opera in Three Acts, Piano-Vocal Score. By Thomas Pasatieri. Text: Anton Chek...(+)
An Opera in Three Acts,
Piano-Vocal Score. By
Thomas Pasatieri. Text:
Anton Chekhov; Kenward
Elmslie. For Voice,
Piano. World premiere
March 5, 1974, Houston
Grand Opera, Houston,
Texas. Libretto. 158
pages. Duration 130:00.
Published by Theodore
Presser Company.
Piano, voice (solo and accompaniment) SKU: GH.GE-11797 Version for alt...(+)
Piano, voice (solo and
accompaniment)
SKU:
GH.GE-11797
Version for altsolo
och piano. Composed
by Benjamin Staern.
Transtromer Settings -
Version for solo alto and
piano. With Language:
Swedish. Duration 12
minutes. Gehrmans
Musikforlag #GE 11797.
Published by Gehrmans
Musikforlag
(GH.GE-11797).
ISBN
979-0-070-11797-5. A4
inches. Text: Tomas
Transtromer.
Four
poems from The Sorrow
Gondola by Tomas
Transtromer. For song and
piano.
Transtro
mersanger
(Transtromer Settings)
was commissioned by and
dedicated to Carina
Vinke, New European
Ensemble and Christian
Karlsen. It was
originally composed for
voice and ensemble (GE
11795, consisting of
clarinet, bass clarinet,
mandolin, guitar, violin,
viola and violoncello)
and later set for voice
and piano with the
instrumental intermezzi
left out.
The
work has been widely
performed on tour with
the New European Ensemble
in the autumn of 2010 in
Sweden, and in Holland at
Pulchri Studio in The
Hague and at White Crow
Music Festival in
Leiden.
By Franz Schubert (1797-1828). Edited by Walther Durr. For piano. This edition: ...(+)
By Franz Schubert
(1797-1828). Edited by
Walther Durr. For piano.
This edition: Paperback,
Urtext edition.
Performance score,
Anthology. Text Language:
German/English. 84 pages.
Published by Baerenreiter
Verlag
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
Orchestra (Orchestra) SKU: HL.48187751 Composed by Wolfgang Amadeus Mozar...(+)
Orchestra (Orchestra)
SKU: HL.48187751
Composed by Wolfgang
Amadeus Mozart. Leduc.
Classical. Softcover. 38
pages. Heugel & Cie
#HE31552. Published by
Heugel & Cie
(HL.48187751).
UPC:
888680868031.
5.5x7.5x0.208
inches.
Mozart
composed two new
symphonies in the Autumn
of 1773, after having
returned to Salzburg from
Vienna. The first of the
two was the
<I>Symphony No.24
In B Flat K.182, and the
second was the Symphony
No.25 in G Minor
K.183<BR><BR>
This symphony was one of
two which Mozart composed
in a minor key ? the
other being the Symphony
No.40 in G Minor
K.550</I>. The
latter can be identified
with some of Mozart?s
most troubled and
agitated music,
reflecting those
difficult moments in his
life. However, the
twenty-fifth symphony is
thought to have been
composed as part of a
sudden wave of minor-key
symphonies which appeared
in the later 1760s and
early 1770s ? among
others were composed by
Vanhal, Ordonez, and
Joseph Haydn.Available
here is the study score
for one of Mozart?s two
symphonies composed in a
minor key, the Symphony
No.25 in G Minor
K.183</I>. This
score is ideal for study
and perusal usage..
Chorus (with soloists) and piano (SATB - pno) SKU: BR.CHB-16000-02 Urt...(+)
Chorus (with soloists)
and piano (SATB - pno)
SKU:
BR.CHB-16000-02
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Bernd
Wiechert. Choir; stapled.
Chor-Bibliothek (Choral
Library). Romantic
period. Choral score. 48
pages. Breitkopf and
Haertel #ChB 16000-02.
Published by Breitkopf
and Haertel
(BR.CHB-16000-02).
ISBN 9790004413272.
7.5 x 10.5 inches.
German.
Between
melancholy and
exuberanceDuring his
summer vacation in 1891
Brahms composed six vocal
quartets which would
appear in print later
that autumn. This set, to
become Brahms's opus 112,
clearly falls into two
groups. The first two in
the melancholic tone of
the poems Sehnsucht
(Longing) and Nachtens
(At Night) by Franz
Kugler come upon four
Zigeunerlieder (Gypsy
Lieder) bursting with
vitality and power. The
first public performances
of the work were very
positively received. Even
while Brahms was still
alive, the work was
performed not only by the
four solo voices
originally intended, but
also by choruses.
Breitkopf & Hartel's new
practical edition of the
Quartette follows the
music text of the
critical edition of the
Johannes Brahms Complete
Edition.
Arranged by Charles
Tomlinson Griffes and
ed./arr. by Gregory
Vaught. Full Orchestra,
Conductor Score. Nieweg
Performance Editions.
Score. LudwigMasters
Publications #36-A296301.
Published by
LudwigMasters
Publications
(AP.36-A296301).
ISBN
9798892702249. UPC:
659359924736.
English.
A dream
inspired Charles
Tomlinson Griffes
(1884-1920) to compose
The Pleasure Dome of
Kubla Kahn, based on the
poem by Samuel Taylor
Coleridge. The composer
originally wrote it for
piano in 1912. Four years
later, at the
encouragement of
Ferruccio Busoni, he
expanded it into a
shimmering symphonic
poem. Following the first
performance in the autumn
of 1919 under the
direction of Pierre
Monteux, it achieved
great success and remains
one of his most
frequently-performed
works today. The work
reveals the influence of
French impressionism,
meandering through the
lush gardens of the
legendary palace. This
edition by Gregory Vaught
is part of the Nieweg
Performance Editions
series. Instrumentation:
3(3rd
dPicc).2+EH.2+BCl.3:
4.3.3.1: Timp.Perc(3):
Hp(2).Clst.Pno: Str
(9-8-7-6-5 in set).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.