| Kaleidoscope Solos, Book 5 Piano seul [Partition] - Intermédiaire Alfred Publishing
By Jon George. For Piano. Piano Collection. Level: Intermediate (grade 4/5). Boo...(+)
By Jon George. For Piano.
Piano Collection. Level:
Intermediate (grade 4/5).
Book. 16 pages. Published
by Alfred Publishing.
$5.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Greek Scenes Piano seul - Facile Forsyth Publications
| | |
| Mixed Bag 1 Piano, 4 mains [Partition] - Intermédiaire Kjos Music Company
By Bill Evans. For 1 Piano four-hands. Piano. Level: Early Intermediate. Music B...(+)
By Bill Evans. For 1
Piano four-hands. Piano.
Level: Early
Intermediate. Music Book.
Published by Neil A. Kjos
Music Company.
$6.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Greek Dances Ensemble de cuivres [Conducteur et Parties séparées] Editions Marc Reift (Swiss import)
By Tailor. Brass Band. Swiss import. Level: 4. Score and parts. Published by Edi...(+)
By Tailor. Brass Band.
Swiss import. Level: 4.
Score and parts.
Published by Editions
Marc Reift. (EMR 3051)
$118.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Greek Dances, 5, Orch Conducteur de poche, d'étude [Conducteur d'étude / Miniature] Universal Edition
| | |
| Greek Dances Orchestre d'harmonie [Conducteur et Parties séparées] Editions Marc Reift (Swiss import)
By Tailor. Concert Band. Swiss import. Level: 4. Score and parts. Published by E...(+)
By Tailor. Concert Band.
Swiss import. Level: 4.
Score and parts.
Published by Editions
Marc Reift. (EMR 10291)
$128.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Tarantella Carl Fischer
Choral Double bass voice, Piano, Viola, Violin 1, Violin 2, SATB chorus SKU: ...(+)
Choral Double bass voice,
Piano, Viola, Violin 1,
Violin 2, SATB chorus
SKU: CF.CM9735
Jubilate Agno.
Composed by Z. Randall
Stroope. 16 pages.
Duration 0:03:05. Carl
Fischer Music #CM9735.
Published by Carl Fischer
Music (CF.CM9735).
ISBN 9781491161159.
UPC: 680160919741. Key: A
minor. Latin, English.
Christopher Smart and
ZRS. Origins of the
Tarantella The tarantella
is a popular southern
Italian dance with
origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(little spider), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the poison, the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately courtship.
Origins of the Text
Christopher Smart
(1722-1771), also known
as Kit Smart or Jack
Smart, was born in Kent,
England and suffered from
what is now believed to
be acute asthma and other
health issues as a child.
As such, he did not work
in the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke's Hospital
for Lunatics, though this
was based on his mounting
debt, and not on
insanity. (Confinement,
or debtor's prison, was
common during this period
if one's debts could not
be paid.) During his
confinement, he worked on
two of his most famous
works, Jubilate Agno and
A Song of David. (Part of
Jubilate Agno [Rejoice in
the Lamb] was set to
music by English
composer, Benjamin
Britten.) Smart's writing
style (which, at times,
bordered on the absurd),
along with his many
obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of Smart's
Jubilate Agno were used
in mm. 24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance: theraphosa
[teh-rah-fo-sa] a genus
of tarantula spiders
bellicose
[beh-lee-ko-sah] hostile;
aggressive odiosa
[o-dee-o-sa] hateful;
vexation tenebrosa
[teh-neh-bro-sa]
creeping; dark nemorosa
[neh-mo-ro-sa] wooded;
shady lapidosa
[lah-pee-do-sa] stony
area; gritty The
convergence, then, of the
medieval tarantella
(spider dance), the
writings of a brilliant
poet who bordered on the
absurd, and the infusion
of strong, descriptive
and otherwise random,
rhyming words,
synthesizes to make
dramatic lyrics for this
work. About the Composer
Z. Randall Stroope is an
American composer and
conductor. He has served
as Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. Performance Notes
Text: In Latin, the r is
flipped; use s instead of
z on endings such as
phosa, cosa, and so on;
the Latin o is a cross
between oh and aw; in the
transliteration above, I
chose to simply use an o
for consistency. The
director will blend the
oh and aw in the
rehearsals to his/her own
preference. Lastly,
tarantula is pronounced
tah-rah-n-too-lah (avoid
teh-ran-choo-luh) within
the confines of this
text. Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico. In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. The
tarantella is a popular
southern Italian dance
with origins in the 11th
century. (There is even
some mention of the
tarantella in ancient
Greek mythology.) Of the
possible sources of the
dance, the most popular
comes from the villages
of Tanto and Tarentum
(“little
spiderâ€), Italy.
During harvest, workers
in the field were
sometimes bitten by the
tarantula spider. To
combat the
“poison,†the
afflicted workers went
into a frenetic, almost
musical exorcism to sweat
the venom out of their
pores. In the millennium
since, the very energetic
nature of the dance has
remained, although the
curative focus of the
dance has given way to
more enjoyable endeavors,
even stately
courtship.Christopher
Smart (1722-1771), also
known as “Kit
Smart†or
“Jack Smart,â€
was born in Kent, England
and suffered from what is
now believed to be acute
asthma and other health
issues as a child. As
such, he did not work in
the fields, but spent
much time reading and
writing, a passion that
he nurtured for a
lifetime. Well known in
London literary circles,
his career as a writer
floundered due to
mounting debts and his
falling out of favor with
the literary
establishment: Sadly, he
was forced to confinement
at St. Luke’s
Hospital for Lunatics,
though this was based on
his mounting debt, and
not on insanity.
(Confinement, or
debtor’s prison,
was common during this
period if one’s
debts could not be paid.)
During his confinement,
he worked on two of his
most famous works,
Jubilate Agno and A Song
of David. (Part of
Jubilate Agno
[“Rejoice in the
Lambâ€] was set to
music by English
composer, Benjamin
Britten.) Smart’s
writing style (which, at
times, bordered on the
absurd), along with his
many obsessions, lead to
frequent misperceptions
of his work and his
lucidity. In this present
work, portions of
Smart’s Jubilate
Agno were used in mm.
24-31, 103-110 and
149-156. The remaining
text was gathered by the
composer, including the
rapid, almost
patter-like, delivery of
words from A-Z in the
alphabet. (Christopher
Smart had a preoccupation
with the alphabet.) These
words both rhyme and
accentuate the frenetic
nature of the spider
dance:The convergence,
then, of the medieval
tarantella (spider
dance), the writings of a
brilliant poet who
bordered on the absurd,
and the infusion of
strong, descriptive and
otherwise random, rhyming
words, synthesizes to
make dramatic lyrics for
this work.Z. Randall
Stroope is an American
composer and conductor.
He has served as
Professor of Music at
three universities (an
Endowed Professor at
two), conducted 47
all-state choirs, and
directed over 40 times at
Carnegie Hall, among
other American venues.
Randall guest conducts
full-time, and composes
from his home studios on
Merritt Island, Florida
and in Sandia Park, New
Mexico.In Latin, the
“r†is
flipped; use
“s†instead
of “z†on
endings such as
“phosa,â€
“cosa,†and
so on; the Latin
“o†is a
cross between
“oh†and
“awâ€; in the
transliteration above, I
chose to simply use an
“o†for
consistency. The director
will blend the
“oh†and
“aw†in the
rehearsals to his/her own
preference. Lastly,
“tarantulaâ€
is pronounced
“tah-rah-n-too-lah
€ (avoid
“teh-ran-choo-luhâ
€) within the
confines of this
text.Stomp: This can be
done by the entire
chorus, or just the first
row. It is as much visual
as it is auditory. The
string quartet is
preferred over piano when
that option affords
itself. I created a piano
score that is a viable
option and included it in
the piano/vocal score if
a performance uses
chorus/piano. $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Gymnopedie Vibraphone et Marimba Imagine Music
Composed by Erik Satie (1866-1925). Arranged by Jeff Gorbski. Score and Parts...(+)
Composed by Erik Satie
(1866-1925). Arranged by
Jeff Gorbski. Score and
Parts. Imagine Music
Publishing #PES183.
Published by Imagine
Music
Publishing
$8.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Hal Leonard Mandolin Fake Book Mandoline [Fake Book] Hal Leonard
300 Songs. Composed by Various. Mandolin. Softcover. 456 pages. Published by ...(+)
300 Songs. Composed by
Various. Mandolin.
Softcover. 456 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Ports of Call Theodore Presser Co.
Chamber Music Guitar, Violin 1, Violin 2 SKU: PR.114407260 A Mediterra...(+)
Chamber Music Guitar,
Violin 1, Violin 2
SKU: PR.114407260
A Mediterranean
Suite. Composed by
Samuel Adler. Set of
Score and Parts. With
Standard notation.
24+16+16+12 pages.
Duration 14 minutes.
Theodore Presser Company
#114-40726. Published by
Theodore Presser Company
(PR.114407260). UPC:
680160011209. Ports
of Call, a suite of five
movements for two violins
and guitar was written
for the Trio Triento for
their New York debut.
Composed in the Summer of
1992, it was premiered in
April 1993. 1992 was the
500th anniversary of the
1492 expulsion of the
Jews from Spain and, of
course, Columbus' trip to
America. To commemorate
these important events, I
was commissioned by
organizations in 20 major
cities to write an
oratorio. The result was
Ever Since Babylon. The
musical material was
greatly influenced by
tunes from around the
Mediterranean region.
These Sephardic melodies
took on treat meaning for
me, and I took five of
them and expanded them
into these five pieces
which are actually
dances. I felt that the
combination of two
violins and guitar lent
itself well as a vehicle
for this music. The names
of the cities are used
because the tunes
originated in these
particular locations.
Marseille, a typical
provencale dance with
naturally changing meters
and a light, airy, touch.
Alexandria, much more
mysterious and languid,
reflecting the heat and
inertia of that glorious
city in slow though
sometimes steady
movement. Salonika, a
wild dance in typical
Greek fashion celebrating
a holiday with abandon.
The whirling movement
goes relentlessly from
beginning to end. Haifa
is represented by two
beautiful chant-like
pastoral tunes which
introduce the beauty and
luminous quality of this,
one of the most beautiful
parts in the Eastern
Mediterranean. Valencia,
the last, a tribute to
medieval Spain. The music
is a culmination of the
influences of the three
great cultures, Moslem,
Christian, and Jewish,
which flourished there
for hundreds of years. It
is an uplifting dance
with just a tinge of
sadness in the center,
since the Golden Age of
which the tune was a
part, had come to a
tragic end in 1492.
--Samuel Adler. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Andromaque : Six Bongatelles (Oboe/Bassoon) Hautbois, Basson (duo) Stijl Music
By Jack Curtis Dubowsky. Duet. For Oboe, Bassoon. Contemporary. Sheet music. Com...(+)
By Jack Curtis Dubowsky.
Duet. For Oboe, Bassoon.
Contemporary. Sheet
music. Composed 2005.
Duration 12:00. Published
by De Stijl Music
$8.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gerakina Chorale 2 parties Alfred Publishing
Choir Secular (2-Part choir) SKU: AP.50232 Greek Folk Song. Arrang...(+)
Choir Secular (2-Part
choir) SKU:
AP.50232 Greek
Folk Song. Arranged
by Greg Gilpin.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Folk; Multicultural;
Secular; World. Choral
Octavo. 12 pages. Alfred
Music #00-50232.
Published by Alfred Music
(AP.50232). UPC:
038081574028. English.
Greek Folk
Song. Gerakina
(yeh-rah-kee-nah) is one
of the most popular folk
songs in Greece and the
inspiration for an annual
festival of the same
name. Developing singers
will enjoy the dance-like
lilt and the fun
drun-a-drun lyric,
representing the sound of
the title character's
jingling bracelets. Greg
Gilpin's percussion
suggestions both anchor
and enhance the bright
7/8 meter, and an
included pronunciation
guide aids with the Greek
text.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gerakina Chorale 3 parties SAB Alfred Publishing
Choir Secular (SAB choir/3-Part choir Mixed) SKU: AP.50231 Greek Folk ...(+)
Choir Secular (SAB
choir/3-Part choir Mixed)
SKU: AP.50231
Greek Folk Song.
Arranged by Greg Gilpin.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Folk; Multicultural;
Secular; World. Choral
Octavo. 12 pages. Alfred
Music #00-50231.
Published by Alfred Music
(AP.50231). UPC:
038081574011. English.
Greek Folk
Song. Gerakina
(yeh-rah-kee-nah) is one
of the most popular folk
songs in Greece and the
inspiration for an annual
festival of the same
name. Developing singers
will enjoy the dance-like
lilt and the fun
drun-a-drun lyric,
representing the sound of
the title character's
jingling bracelets. Greg
Gilpin's percussion
suggestions both anchor
and enhance the bright
7/8 meter, and an
included pronunciation
guide aids with the Greek
text.
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.05 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Plain and Fancy Flûte à bec Soprano - Débutant Forsyth Publications
By Cecily Lambert. For Treble and descant recorder. Elementary. Published by For...(+)
By Cecily Lambert. For
Treble and descant
recorder. Elementary.
Published by Forsyth
Publications
$10.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hellas Orchestre d'harmonie [Conducteur] - Intermédiaire EMB (Editio Musica Budapest)
Concert Band (Score) - Grade 5 SKU: HL.50490458 Greek Suite for Wind O...(+)
Concert Band (Score) -
Grade 5 SKU:
HL.50490458 Greek
Suite for Wind
Orchestra. Composed
by István Bogár.
EMB. Classical. Score. 56
pages. Duration 15:00.
Editio Musica Budapest
#Z14690. Published by
Editio Musica Budapest
(HL.50490458). ISBN
9790080146903. UPC:
884088561086.
9.0x12.0x0.158 inches.
Istvan Bogar. This
splendidly instrumented
work successfully
combines 20th-century
musical language with the
antique elements deriving
from its theme - for
example, in the first
movement we immediately
find an ancient Greek
asymmetrical rhythm. The
second movement takes us
on an adventurous journey
to those astonishing
geological wonders, the
Meteoras; the third
movement presents a
picture of the Delphic
dancers, in its title the
fourth movement indicates
the form used in it,
which preserves the unity
between the
thousands-of-years-old
building and its
contrasting environment,
echoing to the music of
the bouzouki. In the
suite the composer
expertly exploits the
possibilities of
instrumentation offered
by the wind orchestra,
this extremely effective
work can be a rewarding
concert piece for any
ensemble. (Recorded by
Mirasound on CD 'Salute
from Hungary' wwm 500.009
for World Wind Music
label -
www.worldwindmusic.nl
).
picc, 3 fl1, 3
fl2, ob1, ob2, 2 cl1 Bb,
2 cl2 Bb, 2 cl3 Bb, cl b
Bb, fg1, fg2, sax a Eb,
sax t Bb, sax bar Eb -
cor1, cor2, cor3, cor4, 2
flic1 Bb, 2 flic2 Bb,
flic t Bb, euf, tr1 Bb,
tr2 Bb, tr3 Bb, trb1,
trb2, trb3, tb1, tb2 - cb
- 3 timp, 6 perc (xyl,
glsp, trgl, tamb mil, 3
bongos, gong/tamt, ptti,
ptto sosp, gr c). $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chroniques de Thamyris Guitare [Conducteur] - Avancé Doberman
Guitar - Advanced SKU: DY.DO-1531 Composed by Atanas Ourkouzounov. Score....(+)
Guitar - Advanced SKU:
DY.DO-1531 Composed
by Atanas Ourkouzounov.
Score. Les Editions
Doberman-Yppan #DO 1531.
Published by Les Editions
Doberman-Yppan
(DY.DO-1531). ISBN
9782897963118. The
piece Chronicles of
Thamyris was written at
the request of Greek
guitarist Sotiris
Athanasiou for his
recording project with
pieces based on Greek
mythology. I chose the
myth of Thamyris who was
a musician of Thracian
origin. In each movement
I imagined an episode of
this myth. The first
movement is composed as a
narrative. The second, as
the title indicates, is
the episode of the
competition between
Thamyris and the Muses.
In the third, according
to the myth, Thamyris
will become blind and
will break his lyre. The
last movement is an
imaginary dance from his
native Thrace.
La
pièce «Chroniques de
Thamyris» a été
écrite à la demande du
guitariste grec Sotiris
Athanasiou pour son
projet d’enregistrement
avec des pièces basées
sur la mythologie
grecque. J’ai choisi
le mythe de Thamyris qui
était un musicien
d’origine Thrace. Dans
chaque mouvement j’ai
imaginé un épisode de
ce mythe. Le premier
mouvement est composé
comme un narratif. Le
deuxième comme le titre
l’indique, est
l’épisode de la
compétition entre
Thamyris et les Muses.
Dans le troisième, selon
le mythe,Thamyris va
devenir aveugle et va
briser sa lyre. Le
dernier mouvement est une
danse imaginaire de son
pays natal la Thrace. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Phaedrus Violon et Piano Theodore Presser Co.
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan W...(+)
Chamber Music Clarinet,
Piano, Violin SKU:
PR.164002390 Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
Composed 1995. 26+14+14
pages. Duration 14
minutes. Theodore Presser
Company #164-00239.
Published by Theodore
Presser Company
(PR.164002390). UPC:
680160038091. I
became interested in the
work of Plato through my
friend and collaborator,
the writer and
philosopher Paul
Woodruff. Paul's new
translation, with
Alexander Nehamas, of the
Symposium gave me
insights into ancient
Greek ways of thinking
about Love, Beauty, and
Wisdom -- and managed to
keep the earthy, and
often bawdy side of it
all in full view. But
their new translation of
Plato's later dialogue
Phaedrus went even
further: the beauty of
the speeches is
breathtaking, and the
discourse itself is
enough to keep one awake
at night. Basically the
Great Speech of Socrates
in the Phaedrus dialogue
has to do with the place
of Eros in the world, and
with the conflict in the
soul between fleshly
pleasure and philosophic
discovery. I will not
attempt to encapsulate
this brilliant discourse
in a program note:
suffice it to say that
reading it gave rise to
my two-sided work for
clarinet, violin, and
piano, Phaedrus. The
first movement represents
the Philosophic life, and
is thus subtitled
Apollo's Lyre (Invocation
and Hymn). It begins with
an unaccompanied melody
for the clarinet, which
(after a pair of
harp-like flourishes for
the piano, expands into
an accompanied canon. The
voices in the dialogue
(clarinet and violin)
follow each other by a
prescribed number of
beats, but the music is
totally devoid of any
meter at all. The piano,
representing the lyre,
accompanies this lyric
love-feast with repeated
strummed chords. The
canon has three large
sections, and ends with
violin echoing the
unaccompanied clarinet
invocation as the sound
of the lyre fades. The
second movement, called
Dionysus' Dream-Orgy
(Ritual Dance) presents,
after a brief
introduction, another
kind of unmetered music.
Rather than long lyric
flights of philosophic
song, however, this time
we hear a unison dance of
unbridled energy and
sensual transport. The
piece soon forms itself
into a loose arch form,
with contrasting metered
dance sections divided by
the unison unmetered orgy
tune. Midway through the
movement, Apollo's melody
returns from the first
movement, but it is a
temporary reminiscence.
The orgiastic dance
returns, reaches a
climax, and ends with a
stomping of feet. While
Plato asserts that a
proper balance between
lust and reason is
necessary in all men, he
(naturally) gives the nod
to Philosophy as the
better choice in which to
live. Not so in my music:
the two sides are meant
to coexist and to
complement each other. No
sides are taken. Phaedrus
was commissioned of the
Verdehr Trio by Michigan
State University. It is
dedicated to the Vedehr
Trio with great affection
and admiration. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music for Native American Flute Flûte traversière [Partition + Accès audio] ADG productions
Composed by Jessica Walsh. Saddle stitch. Native American/Flute Instruction. Boo...(+)
Composed by Jessica
Walsh. Saddle stitch.
Native American/Flute
Instruction. Book and
Downloadable audio.
Duration 55 minutes.
Published by ADG
Productions
$21.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
1 Page suivante 31 61 |