Circinus Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By Shirl Jae Atwell. By Shirl Jae Atwell. For String Orchestra. String Orchestra...(+)
By Shirl Jae Atwell. By
Shirl Jae Atwell. For
String Orchestra. String
Orchestra. Highland
String Orchestra. Level:
Grade 3.5. Conductor
Score & Parts. Published
by Alfred Publishing.
(Dip In Series). By Various. For Piano/Keyboard. Piano Solo Songbook. Intermedia...(+)
(Dip In Series). By
Various. For
Piano/Keyboard. Piano
Solo Songbook.
Intermediate to Advanced.
Softcover. 128 pages.
Music Sales #AM998547.
Published by Music Sales
A Must-Have Collection of Well-Known Songs, Including Oboe Features!. Composed...(+)
A Must-Have Collection of
Well-Known Songs,
Including
Oboe Features!. Composed
by
Various. Instrumental
Folio.
Pop, Standards.
Softcover.
Published by Hal Leonard
Hortus Musicae Piano seul University Of York Music Press
Piano SKU: BT.MUSM570364459 Composed by Robert Saxton. Classical. Book On...(+)
Piano
SKU:
BT.MUSM570364459
Composed by Robert
Saxton. Classical. Book
Only. 24 pages.
University of York Music
Press #MUSM570364459.
Published by University
of York Music Press
(BT.MUSM570364459).
English.
Robert
Saxton 's Hortus Musicae
, Book 1 was commissioned
by Ian Richie for the
2013 City of London
Festival with funds
provided by the John S.
Cohen Foundation. The
first performance was
given by Clare Hammond on
June 24th 2013 at the
church of St Mary Le Bow.
The title, less 'literal'
in Latin than in the
vernacular, refers to the
idea of an
allegorical/metaphysical
garden (reference to a
'real', or existing,
garden might be implied
by Hortus Musicus) with
various facets. The
titles of the individual
pieces/movements, with
their respective garden
image, are as follows: 1)
Hortus Somniorum: a
fleeting vision of a
'magical' garden 2)
Hortus Temporis: a
reflection of/on the
floralclock described by
Andrew Marvell
(1621-1678) in his
[metaphysical] poem The
Garden: How well the
skilful gardener drew Of
flowers and herbs this
dial new Where from above
the milder sun Does
through a fragrant zodiac
run; And, as it works,
the industrious bee
Computes its time as well
as we. How could such
sweet and wholesome hours
Be reckoned but with
herbs and flowers! 3)
Hortus Cantus: A garden
in which nature 'sings'
(praises), in the manner
of a 'chorale prelude'
and ending with the
cantus firmus transformed
into bells. 4) Hortus
Infinitatis: A
meditative/formal garden
representing Time
suspended, in the form of
a palindromic prolation
canon combined with a
harmonic ground
(chaconne). 5) Saltatio
Hortensis: A (summer)
garden of dancing,
celebratory nature. Its
essence (and that of the
entire cycle, both
metaphorically and
structurally/formally) is
summed up in words spoken
by Miranda in WH Auden's
1944 Tempest
[Shakespeare]-inspired
poem The Sea And The
Mirror; So, to remember
our changing garden, we
Are linked as children in
a circle dancing.
Duration: 15 minutes.
Vol. 1.
Critical Edition.
Composed by Nicola
Fiorenza. Edited by
Giovanni Borrelli.
Hardback (Cloth Hard
Cover). Napoli e
l’Europa (Naples
and Europe). Classical.
Critical commentary. Ut
Orpheus #NAP 4. Published
by Ut Orpheus (UT.NAP-4).
ISBN 9790215318373. 9
x 12
inches.
Concerto
in Mi bem. magg. per
Violino principale, 2
Violini, Viola e Basso;
Concerto in Re min. per 2
Violini e Basso (1728);
Concerto in La magg. per
3 Violini e Basso
(1728)_x0008_; Concerto
in La min. per 3 Violini
e Basso (1727)_x0008_;
Concerto in La min. per 3
Violini e Basso; Sinfonia
in Fa min. a 2 Violini e
Basso; Sinfonia in Sol
magg. a 3 Violini e
Basso; Sinfonia fugata in
Fa min. a 3 Violini e
Basso; Sinfonia in Do
min. a 4 Violini e Basso;
Trio in Si min. per 2
Violini e
Cembalo
Nicola
Fiorenza (1700?-1764),
composer and virtuoso
Neapolitan violinist,
lived during the first
half of the 1700s. His
musical production, whose
manuscripts are preserved
for the big part in the
Library of the
Conservatorio di Musica
S. Pietro a Majella in
Naples, is composed of 15
concerts with different
instrumental organics, 9
symphonies whose
principal instrument is
the violin – that
sometimes proposes pieces
with a lot of
virtuosities typical of
the solo concert
–, some pieces for
one or two instruments
with continuo and two
cantatas. Skilled
virtuoso, Fiorenza had
assimilated both the
style of the elegant
Baroque of French school,
and the a terrazze style,
the improvised language
typical of the Venetian
composers. He knew the
style of the Concerto
Grosso of Corelli very
well, to which he joined
a dressy counterpoint
maybe too much present
for the style of that
time. Fiorenza elaborated
different styles,
filtering them through
his sensitive
predilection towards the
Neapolitan party music
and the popular melody,
developing a personal
composite language that
doesn’t consider
him belonging to one of
the schools of his time.
From a formal point of
view and for the choice
of the instrumental
organic, his compositions
have not a strong
stylistic individuality
in comparison with the
composite canons of the
first part of the XVIII
century, but the
production of Fiorenza
seems to reflect the
schemes and the composite
forms typical of the late
Baroque. His choice of
the incisive brevity of
the thematic figures is
typical of the XVII
century, that almost
never overcomes the
breath and the circle of
one or few beats.
Fiorenza’s solo
compositions show his
research of virtuosities,
but he never lapses into
a rash virtuosity, on the
contrary he maintains a
gallant taste.
SKU: LO.99-1970H Composed by Ruth Elaine Schram. Choral. Concert, General...(+)
SKU: LO.99-1970H
Composed by Ruth Elaine
Schram. Choral. Concert,
General.
Performance/accompaniment
CD. Heritage Music Press
#99/1970H. Published by
Heritage Music Press
(LO.99-1970H).
UPC:
000308111088.
Peace
go with you traveling far
and near. Remember us.
Think of all our smiling
faces here. Return to us.
Journey in a circle,
'round to where you
started. Don't forget
that we will wait for
you. The modal flavor and
added instrumentation
lend a hauntingly
beautiful touch to this
sensitive, emotional
arrangement. The chorus
also appears in canon,
making this piece easy to
learn and express.
