Forrest Gump Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by Various. Piano/Vocal/Chords Songbook (Arrangements for piano and vo...(+)
Performed by Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords). Size 9x12
inches. 128 pages.
Published by Hal Leonard.
Trombone, Cello SKU: BT.YE0001 Composed by Gioachino Rossini. Book Only. ...(+)
Trombone, Cello
SKU:
BT.YE0001
Composed by
Gioachino Rossini. Book
Only. Yorke Edition
#YE0001. Published by
Yorke Edition
(BT.YE0001).
It
was a chance visit to a
second hand bookshop in
Nottingham that set me on
the trail of Rossini's
now well-known Duetto for
cello and double bass.
But the story begins
earlier than that. In the
1960s I was studying the
double bass at the Royal
College of Music with
Adrian Beers, who was at
that time principal of
the English Chamber
Orchestra, on the front
desk of the Philharmonia
Orchestra, and a member
of the Melos Ensemble of
London (then one of the
leading ensembles of the
world). I was working on
the 'Dragonetti
Concerto', as most young
players do, and I wanted
to find out a bit about
it. My teacher said he
thought the autograph
manuscript might be in
the British Library,which
was all the encouragement
I needed to secure a pass
to the Reading Room so I
could go and see for
myself.
There,
sure enough, I found a
large collection of
Dragonetti's autograph
manuscripts, together
with other bound volumes
relating to his life. The
papers had been lovingly
collated and annotated by
Vincent Novello, one of
Dragonetti's closest
friends, then deposited
in the library before his
departure to Italy in
1848, two years after
Dragonetti's death. One
of the volumes included a
lot of letters about
various engagements and
music festivals, copies
of orders for strings
Dragonetti wanted from
Italy, details about
paintings he wanted to
buy, and numerous
invitations to private
functions. The manuscript
of the 'Dragonetti
Concerto', of course,
wasn't among the papers
â?? we now know it to
have been written by
Edouard Nanny a century
or so later.
One name that
came up regularly in the
documents was that of Sir
George Smart. Smart had
been a violinist in
Salomon's orchestra and
had played for Haydn at
his London concerts in
the 1790s. As a child he
had learnt much about
music from his father,
who had in turn been
present at many of
Handel's rehearsals when
he was preparing some of
his major works for the
first time. Smart was
also a fine keyboard
player, becoming organist
of the Chapel Royal in
1822. As a conductor.
For Vocal General. Contains printed music score in original German text ('Butter...(+)
For Vocal General.
Contains printed music
score in original German
text ('Butterflies' in
English), and a CD with
stereo accompaniments.
Published by Music Minus
One.
By David Huntsinger, Dottie Rambo. For Unison/2PT. Modern Christian. Sacred. Cho...(+)
By David Huntsinger,
Dottie Rambo. For
Unison/2PT. Modern
Christian. Sacred. Choral
Book. Duration 45
minutes. Published by
Brentwood-Benson Music
Publishing.
Featuring Large Music Notation, Lyrics, and Simplified Harmonies C Edition. C...(+)
Featuring Large Music
Notation, Lyrics, and
Simplified Harmonies C
Edition. Composed by
Various. Easy Fake Book.
Broadway, Pop, Standards.
Softcover. 176 pages.
Published by Hal Leonard
Meat Loaf---The Hits Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Featuring: Paradise by the Dashboard Light / Two Out of Three Ain't Bad...(+)
Featuring: Paradise by
the
Dashboard Light / Two Out
of
Three Ain't Bad /
I'd Do
Anything For Love (But I
Won't Do That).
Composed by
Jim Steinman. Arranged by
Patrick Roszell. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop
Concert Band. Form:
Medley.
Pop. Score and Parts. 256
pages. Duration 6:00.
Alfred
Music #00-47421.
Published by
Alfred Music
Wildflowers Flûte, Clarinette, Piano (trio) Theodore Presser Co.
(A Trio for Piccolo (or Flute), Clarinet, and Piano). By Eric Ewazen. Piano trio...(+)
(A Trio for Piccolo (or
Flute), Clarinet, and
Piano). By Eric Ewazen.
Piano trio. For Piccolo
(or Flute), Clarinet in
Bb, Piano. Contemporary.
Score and part(s).
Standard notation. 40 12
pages. Duration 22
minutes. Published by
Theodore Presser Company
Composed by Ludwig van Beethoven (1770-1827). Edited by Clive Brown. This edi...(+)
Composed by Ludwig van
Beethoven (1770-1827).
Edited by Clive Brown.
This
edition: urtext edition.
Paperback. Barenreiter
Urtext. Volume I and
Volume
II. Classical. Score and
part.
Baerenreiter Verlag
#BA09036. Published by
Baerenreiter Verlag
Piano SKU: HL.368695 Composed by Herbert Howells. Piano. Classical. Softc...(+)
Piano
SKU:
HL.368695
Composed by
Herbert Howells. Piano.
Classical. Softcover. 132
pages. Novello & Co Ltd.
#NOV100463. Published by
Novello & Co Ltd.
(HL.368695).
ISBN
9781705141779. UPC:
840126969085.
9.0x12.0x0.289
inches.
This
collection of 27 pieces,
transcribed and edited by
the Howells scholar
Jonathan Clinch and
published for the first
time to coincide with
Matthew Schellhorn's
recording of the complete
piano music by Howells
for Naxos, reveals a
previously neglected
aspect of this celebrated
English composer. The
pieces chart the musical
development of Howells,
from his earliest known
work “The Arab's
Song,†written when
he as 16, to the
“Petrus
Suite,†completed
in his 80s, as well as
demonstrating his
fascination with French
music
(“Phantasy,â€
“Harlequin
Dreamingâ€) and the
Tudor period
(“Pavane†and
“Galliard.â€)
The volume also includes
the moving tribute to his
friend and fellow
composer Finzi.
Comprising a wide array
of pieces from
characterful miniatures
to more substantial
suites, the collection
will appeal to Howells
devotees and lovers of
20th century English
music, as well as to
anyone seeking fresh and
distinctive piano
repertoire. Includes: The
Arab's Song • To a
Wild Flower •
Romance • Melody
• Legend •
Summer Idyls: I.
Meadow-Rest • II.
Summer-Song • III.
June-Haze • IV.
Down the Hills • V.
Quiet Woods • VI.
Near Midnight •
VII. In the Morning
• Phantasy •
Harlequin Dreaming
• Minuet for Ursula
• My Lord
Harewood's Galliard
• Finzi: His Rest
• Siciliana •
“Comme le cerf
soupire...†•
Pavane and Galliard
• Petrus Suite:
Finnicle's Scherzo
• Gavotte •
Vagrant Flute •
Minuet • 'Sine
Nomine' •
Bassoonic's Dance •
Odd's Minuet •
Toccatina.
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello
SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410).
UPC:
680160687015.
In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch.
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann.
The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
Voice and Piano SKU: BT.MUSAM92045 TV-Film-Musical-Show. Book Only. Wise ...(+)
Voice and Piano
SKU:
BT.MUSAM92045
TV-Film-Musical-Show.
Book Only. Wise
Publications #MUSAM92045.
Published by Wise
Publications
(BT.MUSAM92045).
ISBN
9780711941755.
Some
of the most memorable,
poignant, shocking or
side-splitting film
moments are captured in
this specially selected
anthology of
silver-screen songs for
Piano, Voice and Guitar.
From classic movies such
as
CasablancaandGr
ease to modern-day
masterpieces like
Donnie Darko and
Moulin Rouge, a
great film song is often
so much more than just a
soundtrack, with many of
the songs featured here
becoming huge
chart-topping hitsintheir
own right!
Whether
you're looking for that
tear-jerking ballad,
sensational show-stopper
or vintage heart-warmer,
you'll find that magical
movie-song right
here.