First Sonata on Shakespearean Characters Solo Guitar. Composed by Hans Werner ...(+)
First Sonata on
Shakespearean
Characters Solo Guitar.
Composed by Hans Werner
Henze
(1926-). Edited by Marco
Minà.
Guitar. Classical.
Softcover.
48 pages. Duration 1500
seconds. Schott Music
#GA580.
Published by Schott Music
Piano, Voix [Partition] - Facile Alfred Publishing
(Easy Piano). Arranged by Dan Coates. For Piano. Book; Piano - Easy Piano Collec...(+)
(Easy Piano). Arranged by
Dan Coates. For Piano.
Book; Piano - Easy Piano
Collection; Piano
Supplemental. Top 50.
Broadway. Easy Piano. 208
pages. Published by
Alfred Music Publishing
Guitar SKU: UT.CH-363 An Anthology of Contemporary Music (Rodriguez, S...(+)
Guitar
SKU:
UT.CH-363
An
Anthology of Contemporary
Music (Rodriguez, Silva,
Zapata Bello) for
Guitar. Edited by
Piero Bonaguri. Piero
Bonaguri Collection.
Classical. Ut Orpheus #CH
363. Published by Ut
Orpheus (UT.CH-363).
I
welcome with great
enthusiasm the
publication of this
collection of music by
Venezuelan
guitarist-composers. I am
certain that my father
would also have been
happy, in that it shows
the productiveness and
continuity of the
Venezuelan school of
composition, ever careful
as to its own
individuality while
adhering to the canons of
so-called cultured
music. My thanks go to
Maestro Piero Bonaguri
who, with devotion and
gratitude towards one of
his teachers (whose birth
centenary occurs in
2023), has completed this
important work aimed at
spreading the new
Venezuelan musical
heritage, and I also
thank all the composers
who, with great
commitment, have wished
to honour their fellow
citizen:
Alirio. (Senio
Diaz)
I am very
happy with the release of
this anthology of pieces
written in homage to the
great guitarist Alirio
DÃaz in the
contemporary music series
that I manage. For
many years I attended his
summer courses, in Italy
and abroad, and meeting
Maestro DÃaz, who over
time also honoured me
with his friendship, was
fundamental for my
education. I was also
particularly pleased and
honoured when he invited
me to play with him in
Venezuela, and then to
have played, in the
church of the Artists in
Rome, on the sad occasion
of his funeral. The
pieces in this volume,
which by happy
coincidence comes out
near the hundredth
anniversary of the birth
of the great guitarist,
were written by composers
who are also guitarists
and demonstrate that
impressive integration in
the repertoire of the
cultivated guitar of
themes and colours of
Venezuelan folk music,
which is one of the
fundamental artistic
contributions of Alirio
DÃaz, who wrote that
folk music is as
important and cultivated
as cultivated music
itself. (Piero
Bonaguri).
Guitar; Methods and Music for Children SKU: UT.CH-106 Composed by Carlo d...(+)
Guitar; Methods and Music
for Children
SKU:
UT.CH-106
Composed by
Carlo de Nonno. Saddle
stitching. Classical. Ut
Orpheus #CH 106.
Published by Ut Orpheus
(UT.CH-106).
ISBN
9790215315921. 9 x 12
inches.
The first
impulse to compose these
3 Little Suites
for Guitar came from the
desire to offer very
young students
compositions not framed
by the usual features of
â??music for
childrenâ?? but, rather,
meant to introduce into
their musical horizon
sonorities, rhythms, and
expressive modalities not
generally experienced in
the more
â??traditionalâ??
courses of study. As
the compositions
developed, the project
underwent some slight
modifications, so that in
the end one could say
that the three suites
became progressively more
difficult, though
remaining, in their deep
essence, quite
â??simpleâ??. I
would recommend paying
careful attention to the
titles of the pieces and
to the expressive
markings. Although it was
not my intention to write
â??descriptiveâ??
music, I have tried to
handle these pieces like
stage scripts, giving
each a specific
â??characterâ??. For
this purpose my long
experience as a composer
of theatre music has been
very helpful. It would
give me great
satisfaction if
guitarists of every age
would enjoy performing
these suites. I would
like teachers to find in
them cues for proposing
to their pupils further
refinements concerning
both technique and
expression, never
forgetting how
inexpressible music truly
is. (Carlo de
Nonno).
Mixed choir (SSATBarB), children's voice, percussion and organ (Schlagzeug (4 Sp...(+)
Mixed choir (SSATBarB),
children's voice,
percussion and organ
(Schlagzeug (4 Spieler):
I gr. Tr. * Trgl. *
Amboss - II Kieselsteine
in 3 Sackchen * Crot. (ad
lib. Glsp.) - III
Donnerblech * Tamt. *
Glassplitter - IV
Rohrengl.) - intermediate
SKU: HL.49044344
Fur gemischten Chor
(SSATBarB), Kinderstimme,
Schlagzeug und Orgel.
Composed by Harald Weiss.
This edition: Saddle
stitching. Sheet music.
Edition Schott. Als Kind
schloss ich manchmal fur
langere Zeit meine Augen,
um mir vorzustellen, wie
es wohl ware, wenn man
die Welt vorwiegend durch
seine Ohren an sich
heranliesse. Bei dieser
Ubung machte ich immer
wieder und zunehmend
intensiver die
Feststellung, dass.
Softcover. Composed 2012.
48 pages. Duration 14'.
Schott Music #ED21663.
Published by Schott Music
(HL.49044344).
ISBN
9790001194143.
9.0x12.0x0.196 inches.
German.
As a child,
I sometimes closed my
eyes for an extended
period of time and
imagined what it would be
like to experience the
world exclusively through
my ears. In doing this
exercise, I found over
and over, with increasing
intensity, that my sense
of hearing enabled a far
denser differentiation of
images and information to
penetrate my soul. It is
my wish that audiences
listen to my composition
with their eyes closed,
at least partially.
Perhaps this would permit
a few particles of light
to appear in their mind's
eye. Harald Weiss.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
2nd
string quartet.
Composed by Joerg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and Parts. Composed
2003/2006. 32 pages.
Duration 16'. Schott
Music #ED9748. Published
by Schott Music
(HL.49033269).
ISBN
9790001136853. UPC:
884088567088.
9.0x12.0x0.092
inches.
My 2nd
string quartet is one
single slow movement. The
piece does not directly
reflect Joseph Haydn's
Seven Last Words but I
would not have been able
to write it without
knowing that work. The
movements in Haydn's
quartets (except the
final earthquake) are
slow movements of
shocking forcefulness.
What makes the work even
more unsettling for me is
the relaxed and cheerful
acceptance of death (the
'smile' of the A major
pizzicato thirds!). When
I made myself familiar
with the subject matter
of crucifixion I
discovered that terms
like 'walking' and 'the
last walk' were most
important to me. My piece
starts at the final stage
of this experience. It
contains a number of lost
sounds, phrases of
futility which come from
nowhere and lead to
nowhere. The horrifying
rubbing and sanding of
skin and wood become the
'theme' of the piece
which is combined with
tonal, choral-like
melodies. I am interested
in how to make noises no
longer symbolize
desolation and tonal
phrases no longer
represent confidence.-
Jorg Widmann.
Piano (Piano) SKU: HL.49045220 Solo Piano. Composed by Alexander G...(+)
Piano (Piano)
SKU:
HL.49045220
Solo
Piano. Composed by
Alexander Goehr. This
edition: Saddle
stitching. Sheet music.
Piano. Softcover.
Composed 2012. Op. 93. 18
pages. Duration 10'.
Schott Music #ED13558.
Published by Schott Music
(HL.49045220).
ISBN
9790220134173.
9.0x12.0x0.093
inches.
My piece is
subtitled Homage to
Haydn. Why? Because it is
modelled on Haydns
Variations in F
minor/major. But modelled
does not imply pastiche
or imitation. From Brahms
onwards (if not before)
there are countless
examples of pieces
modelled on others in a
variety of ways. To do
this does not imply a
closeness to the
original, rather
inevitably a distance
from it. I dont know
whether alistener would
be the wiser for knowing
the original. In any case
a composition must stand
on its own feet.
Alexander Goehr.
Orchestra and Cobla SKU: BO.B.3260 Composed by Josep Ma Ruera. Instrument...(+)
Orchestra and Cobla
SKU: BO.B.3260
Composed by Josep Ma
Ruera. Instrumental Sets.
Duration 40:52. Published
by Editorial de Musica
Boileau (BO.B.3260).
ISBN
9788480207584.
Engl
ish comments:
Empuries is the result of
the interest Ruera showed
throughout his life for
the culture and music of
ancient Greece. As he
himself writes in the
introduction to the
composition: The motives
behind this work were
inspired by contemplating
and analysing the melos
of ancient Greece. The
few melodies that have
been discovered from
those far-off times
inspired the composer of
Empuries to create this
work, conceived with the
Greek modal system in
mind, and adapted to
modern instruments and
tastes. The tetrachord
and pentachords of these
forms are the very bases
of this work. The
descending drift of the
cadence, the harmonic
priority of the upper and
lower notes of the
tetrachords and the
displacement of these
chords to different
acoustic levels, make it
impossible to specify the
classic concept of a set
tonality which, within
the improvised musical
working of the piece,
leads to a naturally
intertonal or atonal
piece of music. Empuries
came to light in 1971,
when it won group A of
the Ciutat de Barcelona
prize. But one must, in
fact, go back to the
1930s to find its true
origins. Ruera made his
first foray into the
theme of ancient Greece
with the sardana,
Empuries, la grega, with
which he won first prize
in the Jocs Florals in
Girona, in 1931. Shortly
afterwards, he wrote a
piece of organ music
entitled Bucolics, in the
Greek modal style, which
was destroyed during the
Spanish civil war. Ruera
continued to work on the
theme and in 1936 he
presented his work Tres
moviments simfonics, for
a big band, inspired by
the ancient Greek modes,
at the XIV International
Festival of the ISCM held
in Barcelona. The work
was chosen to debut in
the festival's opening
concert on 19 April 1936
at Palacio de Bellas
Artes in Barcelona. In
1959, Ruera won the Pau
Casals Prize at the Jocs
Florals de la Llengua
Catalana, held at the
Sorbonne in Paris, for
his work, Empuries: poema
per a cobla i orquestra,
which would later become
the fourth movement of
Empuries. Nine years
later, in 1968, Barcelona
City Orchestra, conducted
by Antoni Ros Marba, gave
the first ever
performance of the
symphonic poem Pastoral,
written to be the first
movement of Empuries, in
Granollers. The final
step was when he finally
completed the work, won
the Ciutat de Barcelona
prize, opened in
Granollers on 2 May 1976
and recorded it for the
Columbia de Barcelona
label in 1977. Anna Maria
Piera
Comentario
s del Espanol: La
obra Empuries es fruto
del interes que el
maestro Ruera demostro a
lo largo de su vida por
la cultura y la musica de
la antigua Grecia. Como
el mismo escribe en la
cabecera de la
composicion: Los motivos
generadores de esta obra
estan inspirados en la
contemplacion y en el
analisis del melos de la
antigua Grecia. Las pocas
melodias que hasta el
momento se han podido
descubrir de aquellos
tiempos remotos sugieren
al autor de Empuries la
realizacion de esta obra,
concebida pensando en el
sistema modal griego,
adaptado a los
instrumentos y gustos
modernos. Los tetracordes
y pentacordes de dichas
modalidades son las
celulas en las que se
basa la obra. El sentido
descendiente de la
cadencia, la prioridad
armonica de la notas
extremas de los
tetracordes y el
desplazamiento de estos
acordes a varias alturas
acusticas, hacen que no
sea posible precisar el
clasico concepto de una
tonalidad determinada y
que lleven, dentro del
funcionamiento
contrapuntistico, a una
musica naturalmente
intertonal o atonal.
Empuries vio la luz en el
ano 1971, ganando el
Premio Ciutat de
Barcelona, grupo A, pero
en realidad tenemos que
retroceder hasta los anos
30 para encontrar sus
verdaderos origenes. La
primera incursion en el
tema de la antigua Gracia
la hizo con la sardana
Empuries, la grega, con
la que gano el primer
premio en los Jocs
Florals de Gerona del ano
1931. Poco despues
escribio una pieza para
organo titulada Bucolics,
en el estilo modal
griego, que fue destruida
durante la Guerra Civil
espanola. Ruera continuo
trabajando en el tema y
en el ano 1936 presento
su obra Tres moviments
simfonics, en version
para gran banda,
inspirada en las antiguas
modalidades griegas, en
el XIV Festival
Internacional de la SIMC
que se celebro en
Barcelona. La obra fue
escogida para ser
estrenada en el concierto
inaugural de dicho
festival, el 19 de abril
de 1936, en el Palacio de
Bellas Artes de
Barcelona. En el 1959,
Ruera gano el Premio Pau
Casals en los Jocs
Florals de la Llengua
Catalana celebrados en la
Sorbona de Paris con la
obra Empuries: poema per
a cobla i orquestra, que
sera con el paso del
tiempo el cuarto
movimiento de Empuries.
Nueve anos mas tarde, en
1968, la Orquestra Ciutat
de Barcelona, bajo la
direccion de Antoni Ros
Marba, interpreto en
Granollers la primera
audicion del poema
sinfonico Pastoral,
pensado como primer
movimiento de Empuries.
El ultimo eslabon fue
terminar definitivamente
la obra, ganar el Premio
Ciutat de Barcelona,
estrenarla en Granollers
el 2 de mayo de 1976 y
grabarla para la casa
discografica Columbia de
Barcelona, en 1977.
Guitar - fingerpicking - Intermediate SKU: MB.30015M Composed by John Mil...(+)
Guitar - fingerpicking -
Intermediate
SKU:
MB.30015M
Composed by
John Miller. Squareback
saddle stitch. Grossman
Audio. Blues. Book and
online audio. 120 pages.
Mel Bay Publications, Inc
#30015M. Published by Mel
Bay Publications, Inc
(MB.30015M).
ISBN
9781513465470. 8.75 x
11.75
inches.
Virtually
every country blues
recording made prior to
World War II that has
been recovered by the
collectors is
commercially available.
No one could have
anticipated how much of
the recorded legacy of
country blues would
become available to be
heard. It really is a
treasure trove of musical
history, and in listening
to the incredible breadth
and variety in the
country blues that this
re-issuing movement has
made possible, I stand in
awe of the magnitude and
scope of what the people
who played in this style
expressed in their music.
There really is something
for everyone in this
music, whether you like
your blues smooth and
sophisticated or down and
dirty. - John Miller.
Includes access to online
audio.
Orchestra SKU: HL.14011919 Composed by Karsten Fundal. Music Sales Americ...(+)
Orchestra
SKU:
HL.14011919
Composed
by Karsten Fundal. Music
Sales America. Score.
Music Sales #KP01477.
Published by Music Sales
(HL.14011919).
ISBN
9788759878644.
English-Danish.
Orc
hestration:
3(pic)(afl).2+ca.1+2bcl.2
+cbn/4.3.3.1/timp.2perc/h
p/pf/strParts are for
hire:
hire@ewh.dkProgramnote
Hush er et studie i morke
og lys, kold og varm lyd.
Jeg har ogsa i dette
stykke forsogt at
introducere staerke
folelsesmaessige udtryk,
ved brug af instrumentale
farver og tonale
virkemidler. Titlen Hush
er forbundet med et slags
indre digt jeg har haft i
tankerne medens jeg
komponerede. Da jeg jo
ikke er digter i ord, er
det ufuldstaendigt og
utilstraekkeligt i sin
form, men derfor
alligevel meget godt
beskrivende for stykkets
vaesen. Det lyder
nogenlunde sadan her i
mit hoved:Hush little
heart- hush.!!was time
running too fast or did
the hours sometimesseem
long?,Were your beats too
many or were they too few
in the end?Hush little
heart- hushdid you see
too little or did you
sometimes see too
much?,was life too small
or was it sometimes
larger than life?was your
thirst quenched or did
you end up drained?hush,
hush, little heart-
hush!!,Don't be afraid,
maybe you knew all the
time:that one day you
would have to be still-or
maybe you didn't?Is that
why you were beating so
fast?hush, hush little
heart-hush,- be
comforted, 'cause even as
you feel so small Your
very existence is strange
and beautiful - so, hush,
hush, be comforted, be
still my beating
heart.
Piano - difficult SKU: HL.49045470 For Piano Solo. Composed by Thi...(+)
Piano - difficult
SKU:
HL.49045470
For
Piano Solo. Composed
by Thierry Pecou. This
edition: Saddle
stitching. Sheet music.
Piano. Classical.
Softcover. Composed 2004.
44 pages. Duration 20'.
Schott Music #ED22075.
Published by Schott Music
(HL.49045470).
ISBN
9790001201353.
9.0x12.0x0.15
inches.
These seven
settings for piano solo,
like the original chamber
music cycle, are
evocative of the
unscrupulous period of
the slave trade: 'For me,
the meaning of this work
lies in the lasting
remembrance, the reverent
ceremony, not solely the
emotionalism and
contemplation of the
prayer, but contemplation
of the mind. Beyond the
confines of memory, I
would like to express the
inconceivable, but in the
greatest possible
concentration without
effects and
dramatisation, like 'a
mute tocsin bell'.
(Thierry Pecou).
Timba: Modern Cuban Conga Rhythms. Composed by Tomas Cruz, with Kevin Moo...(+)
Timba: Modern Cuban
Conga Rhythms.
Composed by Tomas Cruz,
with Kevin Moore, Mike
Gerald and Orlando Fiol.
Squareback saddle stitch.
Book and online video.
Published by Mel Bay
Publications, Inc
(MB.20301M).
27 Solos from Hymns, Poems, and Scriptures. For voice with keyboard. Includes sa...(+)
27 Solos from Hymns,
Poems, and Scriptures.
For voice with keyboard.
Includes saddle-stitched
book for the singer, and
a foldout page book for
the accompanist. 2 books.
Published by Darcey
Press.
SATB Choir SKU: BT.MUSMF272 Composed by Blandet Kor Antologi. Arranged by...(+)
SATB Choir
SKU:
BT.MUSMF272
Composed
by Blandet Kor Antologi.
Arranged by Svend-G.
Asmussen and Thomas
Alvad. Hymns & Chorals.
Book Only. Composed 2013.
184 pages. Edition
Wilhelm Hansen #MUSMF272.
Published by Edition
Wilhelm Hansen
(BT.MUSMF272).
ISBN
9788774840954.
Anth
ology for mixed choir.
Suitable for use
colleges, high schools
etc.
Unison Voices SKU: HL.14006275 Catches (Paperback). Composed by He...(+)
Unison Voices
SKU:
HL.14006275
Catches
(Paperback). Composed
by Henry Purcell. Music
Sales America. Secular.
Book [Softcover]. Music
Sales #NOV151103.
Published by Music Sales
(HL.14006275).
ISBN
9780711986237. UPC:
884088435141. 7.75x11
inches.
The first
complete volume of Henry
Purcell's Catches to
appear in Purcell Society
Edition since 1922. The
new edition lays
particular emphasis on
accuracy and performance
and includes a
comprehensive commentary.
Cloth edition available:
NOV151103-01.