| Orchesterfragmente Orchestre Schott
Ce volume contient trois fragments de différentes périodes créatives dans la ...(+)
Ce volume contient trois fragments de différentes périodes créatives dans la vie de Schoenberg comme compositeur : la ' Serenade ' en ré majeur pour petit orchestre (1896), le poème symphonique ' Mort de Spring ' basé sur un poème de Nikolaus Lenau (1898) et un travail écrit presque 50 ans plus tard avec le titre 'Fanfare pour un bol de Concert sur des motifs de la Gurrelieder' pour cuivres et percussions (1945). La ' Sérénade ' en ré majeur et ' Mort de Spring ' est publiée ici pour la première fois. / Orchestre
78.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| LuÃs Tinoco: Before
Spring: Orchestra: Study
Score Orchestre [Partitions] University Of York Music Press
Study score for Lu s Tinoco's Before Spring for Symphony Orchestra.Originally co...(+)
Study score for Lu s Tinoco's Before Spring for Symphony Orchestra.Originally composed in 2010 this new Orchestral version was premièred by the Portuguese Symphony Orchestra under the baton of Joana Carneiro at the S. Carlos Theatre in Lisbon on the 18th of January 2014.'Before Spring' was originally scored for 16 players following a commission from the OrchestrUtopica to be performed as a tribute piece to Stravinky?s 'The Rite of Spring'. It was premièred on the 29th of May 2010 by the OrchestrUtopica conducted by Cesário Costa at the CCB Centro Cultural de Belém in Lisbon. Following a commission from OPART / Teatro Nacionalde São Carlos 'Before Spring' was later revised and scored for Symphony Orchestra. - Lu s Tinoco.
17.95 GBP - vendu par Musicroom GB | |
| LuÃs Tinoco: Before
Spring: Orchestra: Score Orchestre [Partitions] University Of York Music Press
A3 conductor's score for Lu s Tinoco's Before Spring for Symphony Orchestra.Orig...(+)
A3 conductor's score for Lu s Tinoco's Before Spring for Symphony Orchestra.Originally composed in 2010 this new Orchestral version was premièred by the Portuguese Symphony Orchestra under the baton of Joana Carneiro at the S. Carlos Theatre in Lisbon on the 18th of January 2014.'Before Spring' was originally scored for 16 players following a commission from the OrchestrUtopica to be performed as a tribute piece to Stravinky?s 'The Rite of Spring'. It was premièred on the 29th of May 2010 by the OrchestrUtopica conducted by Cesário Costa at the CCB Centro Cultural de Belém in Lisbon. Following a commission from OPART / TeatroNacional de São Carlos 'Before Spring' was later revised and scored for Symphony Orchestra. - Lu s Tinoco.
24.95 GBP - vendu par Musicroom GB | |
| Spring And Autumn
Symphonic Sketches, Op Orchestre [Conducteur] Wilhelm Hansen
Par VAN DER PALS LEOPOLD. Spring and Autumn Symphonic Sketches, Op. 14 (1910) co...(+)
Par VAN DER PALS LEOPOLD. Spring and Autumn Symphonic Sketches, Op. 14 (1910) composed by Leopold van der Pals / Date parution : 2023-10-31/ Répertoire / Orchestre
91.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| David Ott: Behold Spring:
Orchestra: Full Score Orchestre Lauren Keiser Music Publishing 59.99 GBP - vendu par Musicroom GB | |
| Enter Spring (Score)
(BRIDGE FRANK) Orchestre [Partition] Faber Music Limited
Par BRIDGE FRANK. Frank Bridge's rhapsody Enter Spring demonstrates, like his co...(+)
Par BRIDGE FRANK. Frank Bridge's rhapsody Enter Spring demonstrates, like his contemporaries, Respighi and Szymanowski, to be a master of sensuous chromaticism. It was received enthusiastically and provided welcome relief from the greater harmonic astringence of those before him. Study Score/ Répertoire / Conducteur
26.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Helen Grime: A Cold
Spring: Orchestra: Score Orchestre Chester
A Cold Spring by Helen Grime for Chamber Ensemble of Ten Players.Commissioned by...(+)
A Cold Spring by Helen Grime for Chamber Ensemble of Ten Players.Commissioned by Aldeburgh Music with funds provided by the Sue Knussen Composers Fund and the following individuals through BirminghamContemporary Music Group’s Sound Investment scheme.First performed by Birmingham Contemporary Music Group conducted by Oliver Knussen on 20 June 2009 at Snape Maltings Concert Hall.
29.99 GBP - vendu par Musicroom GB | |
| Aaron Copland:
Appalachian Spring Suite
(Study Score): Orchestra:
Study Score Orchestre Boosey and Hawkes
Written on commission from dancer/choreographer Martha Graham the music of Appa...(+)
Written on commission from dancer/choreographer Martha Graham the music of Appalachian Spring is at once characteristic of Copland's 'Americana' style of the late 1930s and the 1940s. It was first performed in May of 1945. This is the study score of the full orchestra version.
26.50 GBP - vendu par Musicroom GB Délais: En Stock | |
| Spring Rondo: Orchestra:
Score and Parts Orchestre Bosworth
Andrew Carter's arrangement for amateur and school orchestras of Mozart's Spring...(+)
Andrew Carter's arrangement for amateur and school orchestras of Mozart's Spring Rondo with Piano score and parts that are flexible to suit your own ensemble. The parts have also been designed to suit the enthusiastic amateur musician giving younger groups the opportunity to play Mozart's pastoral masterpiece.
42.50 GBP - vendu par Musicroom GB Délais: En Stock | |
| Daniel Kallman: Spring
Flings: Orchestra: Full
Score Orchestre Lauren Keiser Music Publishing 19.99 GBP - vendu par Musicroom GB | |
| Ernesto Lecuona:
Malaguena: Concert Band:
Score & Parts Orchestre Southern Music Ltd
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest seriou...(+)
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.
189.99 GBP - vendu par Musicroom GB | |
| Malaguena: Concert Band:
Score Orchestre Southern Music Ltd
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest seriou...(+)
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.
19.99 GBP - vendu par Musicroom GB | |
| The Rite Of Spring (Le
sacre du printemps) Orchestre [Partition] Schott 36.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| The Rite Of Spring:
Centenary Edition (Le
sacre du printemps) Orchestre Boosey and Hawkes
Le 29 mai 2013 voit le 100e anniversaire de la première à Paris d'un travail u...(+)
Le 29 mai 2013 voit le 100e anniversaire de la première à Paris d'un travail une fois-dans-un-siècle: Igor Stravinsky 'Le Sacre du Printemps'. Cette date, qui est monumentale pour la musique et le ballet historiographie semblables, marque la percée de l'ère moderne.Pour marquer cet événement, la Fondation Paul Sacher à Bâle qui maintient la succession Stravinsky publie une édition anniversaire en trois volumes: deux fac-similés annotés - la partition autographe ainsi que la version pour piano à quatre mains - et un livre avec des contributions par des chercheurs de pointe. Un enrichissante, sinon édition indispensable pour tous ceux qui s'intéressent à la musique et de l'art moderne! / Orchestre
580.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| ...Le Ciel, Tout A
L'Heure Encore Si
Limpide, Soudain Se
Trouble Horriblement...
(JARRELL MICHAEL) En Français Orchestre [Partition] Lemoine, Henry
Par JARRELL MICHAEL. De la nature... du musical
Michael Jarrell, né en 1958, e...(+)
Par JARRELL MICHAEL. De la nature... du musical
Michael Jarrell, né en 1958, est l'un des compositeurs les plus en vue de sa génération. Dans une démarche toute personnelle, qui ne s'est inféodée à aucun mouvement, et dans une quête intérieure inlassablement poursuivie, il a opéré une synthèse de l'héritage des musiques d'après-guerre dont il a extrait certaines caractéristiques techniques pour les mettre au service d'une véritable poétique musicale. En effet, contrairement à ses aînés, il explore moins le langage pour lui-même, faisant des nouvelles techniques le lieu d'une mutation dans la pensée musicale, qu'il ne cherche à le mettre au service de l'expression. Aussi se méfie-t-il d'une conceptualisation excessive, et de l'utopie dont l'oeuvre serait porteuse, préférant mettre en valeur les vertus d'un artisanat qu'il enseigne par ailleurs à Vienne et à Genève, ainsi que lors de nombreux séminaires à travers l'Europe. Ses oeuvres, facilement identifiables dans l'abondante production contemporaine, sont toutes liées les unes aux autres, non seulement par une certaine forme de sensibilité, leur tonalité propre, mais aussi par la récurrence de certains traits que Jarrell retravaille dans des contextes différents. Il s'est ainsi très tôt constitué un univers qu'il ne cesse de remodeler, visant moins l'originalité apparente de chacune des pièces qu'un déplacement constant des perspectives dans lesquelles les mêmes idées, en elles, peuvent être appréhendées. 'Cent fois sur le métier...' voilà quelle pourrait être sa devise. On trouve ainsi dans chacune de ses oeuvres quelque chose de familier qui acquiert en même temps une certaine étrangeté, sentiment qui constitue peut-être un élément essentiel de son expressivité. La musique de Jarrell arpente les régions du rêve et de l'irréalité, à la recherche de son moment de vérité, souvent situé dans les sonorités les plus graves et tes plus lentes, là où le temps, ailleurs agité, s'immobilise. C'est peut-être ce qui confère à sa musique une forme de tendresse inséparable de la beauté sonore, allant jusqu'à un esthétisme raffiné, loin des recherches extrêmes et des formulations autoritaires. Chez lui, même les techniques instrumentales les plus inhabituelles, ou les sonorités électroniques, auxquelles il a souvent recours, sont rapatriées dans un monde sensible emprunt de pureté où ce sont les qualités expressives qui dominent. Celles-ci ne renvoient pas forcément au moi du compositeur, qui tend au contraire à s'effacer, mais davantage à l'essence même du musical, au phénomène en soi, porteur d'une présence singulière au monde.
On retrouve de telles qualités dans sa dernière oeuvre, ...Le ciel, tout à l'heure si limpide, soudain se trouble horriblement..., commandée par l'Orchestre de la Suisse Romande. Elle fait appel à un grand orchestre symphonique standard: 3 flûtes (dont alto et piccolo, 2 hautbois et cor anglais, 2 clarinettes et clarinette basse, 2 bassons et contrebasson, 4 cors, 3 trompettes, 3 trombones, tuba, harpe, timbales, 4 percussions (vibraphone, glockenspiel, cloches tubes, cymbales, bongos, tam-tam, grosse caisse, temple blocks, tom grave, spring coils, triangle, mark tree) et cordes. Malgré un titre qui pourrait sous-entendre un élément programmatique, l'oeuvre appartient à la catégorie de la musique pure. L'orchestre y est traité de façon conventionnelle, mais avec une virtuosité d'écriture, un raffinement dans la sonorité qui exige beaucoup de ses interprètes.
D'un seul tenant, l'oeuvre se divise en quatre parties principales d'inégale longueur, les deux premières étant plus importantes que les deux suivantes: la première est constituée d'un continuum de notes rapides réparties entre les cordes et Les bois, tandis que les trompettes, doublées par différents instruments, lancent une figure d'appel incisive qui s'allonge progressivement. L'écriture est d'une grande virtuosité, les figurations en triples croches passant d'un instrument ou d'un groupe à un autre. Les notes rapides se figent une première fois dans des oscillations jouées notamment par les cordes divisées, puis à travers des notes répétées qui traversent toute la texture orchestrale. Après un passage intermédiaire privilégiant les sons graves, l'écriture vive reprend jusqu'à un sommet dramatique marqué par des trilles, aussitôt suivi d'une désintégration qui mène à la seconde partie.
Celle-ci débute avec des quintes jouées par les cordes graves divisées et colorées par les percussions (les contrebasses, qui doivent modifier leur accord, jouent des sons harmoniques). La musique semble vouloir repartir d'un point originel, elle se réinvente à partir d'une structure élémentaire, dans une extrême douceur. L'impétuosité du début laisse place à une grande délicatesse des sonorités. C'est un trait que l'on retrouve dans de nombreuses pièces de Jarrell: après l'effervescence d'une écriture brillante, agitée, nerveuse, que l'auditeur suit dans sa course folle, vient un moment réflexif et profond, qui nécessite une réorientation de l'écoule, une plongée dans la nature même du phénomène sonore. La trame qui se déploie dans un tempo lent offre ainsi une autre image de la sonorité orchestrale, comme si une musique des origines, au caractère de litanie, était soudain dévoilée sous la couche éclatante du début. Elle donne le sentiment d'avoir commencé bien avant son moment d'apparition, comme si elle provenait des couches profondes de la conscience, d'une mémoire archaïque. D'ailleurs, Jarrell réélabore ici un passage d'une pièce antérieure, Music for a While, lui reprenant son matériau de base. Le sentiment de profondeur est dû au formidable ralentissement du temps, qui nous met soudainement en apesanteur, mais aussi à une forme en spirale, qui tranche avec la musique directionnelle qui précédait. L'effet que provoque la distance sensible entre de tels contrastes est onirique: on ne sait plus si la première partie, qui nous échappe en se projetant vers l'avant, n'était qu'une forme illusoire, ou si nous entrons, avec la partie lente, dans une sorte de rêve éveillé.
Un passage central, dans cette seconde partie, s'organise autour de guirlandes sonores à la harpe et aux cloches que tout l'orchestre remplit de sonorités suaves. Les arpèges descendants des vents doublés par des pizzicatos de cordes, que transpercent des notes répétées aux trompettes et aux cors, dans un climat encore doux, annoncent la reprise du mouvement frénétique. Mais cette fois, ce sont moins des figures virevoltantes qui passent à travers les pupitres que des blocs de notes joués par la masse des instruments: des figures qui s'élancent vers le haut aboutissent à des notes répétées, en une forme d'antiphonie, et mènent à un sommet d'intensité. Après quoi, en guise de coda, une quatrième partie nous conduit à une fin mourante: l'harmonie se fige, les polyrythmes annulent toute sensation de mesure, les longues tenues des instruments graves chutent chromatiquement, les percussions jouant des figures rituelles, en résonance, jusqu'à l'immobilité finale.
Le titre de la pièce provient de Lucrèce (De la nature). Il n'a pas de signification structurelle immédiate, comme souvent chez Jarrell, mais exprime en quelques mots l'idée qui avait présidé au morceau. Le trouble s'apparente ici à une forme d'étrangeté, à quelque chose d'inquiétant qui n'apparaît pas de façon narrative, tel un vent d'orage dans un ciel serein, mais comme l'essence même de l'articulation formelle entre deux types d'écriture, deux types d'expression qui exigent des temporalités opposées l'une à l'autre. La soudaineté, c'est le renversement entre les deux. Pourtant, on retrouve un même noyau entre les parties vives et les parties lentes, la quinte jouant dans les deux cas un rôle structurel, et le mib apparaissant comme une note polaire (toute la musique de Jarrell est aimantée par des pôles qui orientent l'écoute). Si le passage du limpide au trouble se traduit par la sonorité orchestrale, par le maniement très sensible des timbres qui provient en grande part de la tradition orchestrale française, il se manifeste aussi par des figures qui évitent tout profil thématique, toute forme mélodique au sens traditionnel du terme, et qui composent la texture. L'auditeur a directement à faire avec la matière sonore. Et celle-ci est composée de part en part.
L'adjectif poétique vient à l'esprit pour définir une invention qui s'écarte aussi bien des formes illustratives que des constructions schématiques, et qui repose essentiellement sur l'organisation des hauteurs au détriment des effets, des sonorités bruiteuses ou des gestes iconoclastes. Et malgré les passages brillants, malgré les explosions sonores toujours maîtrisées et un maniement virtuose de l'orchestre, cette poétique révèle un caractère fondamental plutôt intimiste.
Philippe Albèra / contemporain / Répertoire / Orchestre
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Poul Ruders: Symphony
No.3 - Dream Catcher:
Orchestra: Score Orchestre Wilhelm Hansen
For Orchestra. Premiered by The Royal Danish Orchestra conducted by Michael Sch...(+)
For Orchestra. Premiered by The Royal Danish Orchestra conducted by Michael Schonwandt Koncerthuset DR 29th May 2009.Commissioned by and written for The Serge Koussevitzky Music Foundation in the Library of Congress.Dedicated to the memory of Serge and Natalie Koussevitzky.Instrumentation.3 Flutes 3rd doubling Piccolo3 Oboe 3rd doubling Cor Anglais3 Clarinets in Bb 3rd doubling Bass Clarinet In Bb3 Bassoons 3rd doubling Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba3 Percussion (three players)1 - Triangle Mark Tree Tubular Bells TamTam (Large) Glockenspiel Snare Drum Lion's Roar.2 - TamTam (Large) Chinese Cymbal Spring Coil (Mounted) TamTam (Large) Reco-Reco.3 - Bass Drum (Large) Antique Cymbals (full range) Spring Coil (mounted) TamTam (large) Cymbal (suspended) Reco-Reco.The three large TamTams should differ slightly in pitch.Strings (minimum 16-14-12-10-8)
87.99 GBP - vendu par Musicroom GB | |
| Concerto Amoroso, Op. 80,
#2 Le Printemps (Po) En Français Orchestre [Partition] Chant du Monde
Solo for Oboe or Violin. Par BACRI NICOLAS. The title only appears frivolous to ...(+)
Solo for Oboe or Violin. Par BACRI NICOLAS. The title only appears frivolous to those who have lived little. With the passage of time, the seasons that pass, the differences in quantity and quality of light, of temperature and weather, become of ever greater importance in the meaning of our individual existence. This transformation follows the path of our lives and often mimes in front of our very own eyes, incredulous and wondrous, events that we can only experience once in a lifetime: our birth, our blossoming, our aging and our death. Such a subject could well take up ten years of my life. This was the case. Nevertheless, everything started very innocently with a proposition from my friend François Leleux to write him a double concerto that he could play with Natalia Gutman, initially named ‘Musica Concertante’. It was with this second proposition from François for another double concerto, this time with Lisa Batiashvili, that the idea came to me for a cycle of four concertos with, each time, a different instrument from the string quartet to join the oboe. The automnal colours of the cello are a perfect match for the retrospective nature of the first completed concerto in the cycle. ‘concerto nostalgico, l’automne’, whilst the love and the first child of the Leleux-Batiashvili couple could only bring Spring to mind, hence the ‘Concerto amoroso, le printemps’, was born. When Jean-Marc Bador asked me to be an associate of the Ensemble Orchestral de Paris for two years, it was quite naturally that I thought of completing this cycle for François Leleux, with winter ‘Concerto tenebroso’, created in January 2010 with Lise berthaud playing the viola. All that remained was for me to conclude, with a work that reunited all four protagonsits. It was summer, the ‘Concerto luminoso’, which took on this role’./ Répertoire / Orchestre
41.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Florentiner March (F/O) Orchestre Alfred Publishing
This fantastic concert march was written in 1907 and is regarded by many as one ...(+)
This fantastic concert march was written in 1907 and is regarded by many as one of Fucik's finest works. The triumphant ending makes it a great finale to any concert, leaving your audience with a smile on their face and a spring in their step! (4:00) / Orchestre
104.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Doors On Tour, The (F/O) Orchestre Alfred Publishing
The Doors, a psychedelic rock group of the 1960s, return in this arrangement fea...(+)
The Doors, a psychedelic rock group of the 1960s, return in this arrangement featuring three of their biggest and most well known hits, 'Light My Fire,' 'People Are Strange' and 'Hello, I Love You.' An exciting closer for your pop program or spring concert. (4:30) / Orchestre
101.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Kammersymphonie op. 9
(SCHOENBERG ARNOLD) Orchestre Universal Edition
Fassung für Orchester. Par SCHOENBERG ARNOLD. Composed between the spring of 19...(+)
Fassung für Orchester. Par SCHOENBERG ARNOLD. Composed between the spring of 1906 and July of the same year, the Chamber Symphony op. 9 for 15 solo instruments represents a point of culmination in Schoenberg's artistic development, the consequences of which not even the composer himself initially recognised.'
Ulrich Krämer
'The 1914 version is not chamber music - however its sound is simply less aggressive than the later version. It is more limpid, lucid, less incisive, and that allows the voices to emerge more clearly.' (Philippe Jordan, 2012)/ Répertoire / Orchestre
74.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| James MacMillan: Symphony
No.3: Orchestra: Study
Score Orchestre [Partition] Boosey and Hawkes
The inspiration for this work came from the novel Silence by the great Japanese ...(+)
The inspiration for this work came from the novel Silence by the great Japanese writer Sh saku End (1923 96). His book asks profound philosophical questions and resonates with one of the most anguished questions asked 2 000 years ago ???My God my God why have you abandoned me'??? End ???s ???silence??? is the silence of God in the face of terrible events springing from the merciless nature of man: torture genocide holocaust. For End though this silence is not absence but presence a notion that has many musical analogies. The emptiness and solitude of a composer???s silence is nevertheless pregnant with the promise of possibility and potency. The connections between music andsilence are made palpable in this single-movement symphony; the work begins in silence and the climax is a prolonged fermata. The final event is a bar of silence the conception and metaphorical point of the entire work.
32.50 GBP - vendu par Musicroom GB | |
| How Great Thou Art:
Orchestra: Parts Orchestre Shawnee Press
Orchestration-One of the most performed sacred songs of our time is brilliantly ...(+)
Orchestration-One of the most performed sacred songs of our time is brilliantly arranged and orchestrated by master composer Mark Hayes. The words of Psalm 8 spring to life in this modern classic made all the more powerful by the arranger'stheatrical approach to the anthem. The full orchestration and the track options provide choirs of every size the opportunity to sing this amazing testament of praise!
49.99 GBP - vendu par Musicroom GB | |
| Silvestre Revueltas:
Sensemay? (1938):
Orchestra: Score Orchestre Schirmer
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for cham...(+)
Score-Silvestre Revueltas' ‘Sensemaya’ was written in 1937 for chamber orchestra; one year later the composer transcribed it for a huge orchestra of twenty-seven wind instruments fourteen percussion instruments and strings. The rhythms are laid out precisely and have considerable visceral impact very much in a manner that recalls Igor Stravinsky's The Rite of Spring. However Revueltas' masterful orchestration and ability to evoke the ancient Maya civilization with decidedly modern music are uniquely his own. It is a unique orchestral spectacle something only Revueltas could have written and in its way it is one of the most brutal works of its time. The workbegins with a low note in the bassoon as the percussion plays the sinuous syncopated rhythm that drives the work. Soon a solo horn enters playing the first of this work's two major themes a muscular ominous motif. Other horns join the first one to play the theme growing louder and more emphatic but rigorously yoked to the underlying rhythm. Eventually the horns blast as loudly as they can with obsessive trills on the bassoon far underneath and the violins enter with the slashing second theme. The horns take up this new theme and bring it to a climax after which the music returns to its opening texture. This recapitulation brings with it a mood of foreboding. The rhythm becomes even more obsessive and finally the music reaches a massive climax during which both themes are played overlapping sometimes in part and sometimes in whole by woodwinds brass and violins in what sounds like a musical riot. The coda feels like the final dropping of a knife.
19.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Philip Glass: Low
Symphony: Orchestra:
Score Orchestre [Partition] - Intermédiaire Dunvagen Music Publishers
The ’Low’ Symphony composed in the spring of 1992 is based on th...(+)
The ’Low’ Symphony composed in the spring of 1992 is based on the record ‘Low’ by David Bowie and Brian Eno first released in 1977. The record consisted of a number of songs and instrumentals and used techniqueswhich were similar to procedures used by composers working in new and experimental music. As such this record was widely appreciated by musicians working both in the field of ‘pop’ music and in experimental music and was alandmark work of that period.Having taken themes from three of the instrumentals on the record and combining them with material of his own Glass has used them as the basis of three movements of this Symphony.Thisis the Full Score of Glass’ orchestral work.
79.99 GBP - vendu par Musicroom GB | |
| Gaetano Donizetti: La
fille du régiment:
Orchestra: Score Orchestre [Conducteur] Ricordi
Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fil...(+)
Edizione critica a cura di Claudio Toscani (testi in italiano e inglese). La fille du régiment, always one of Donizetti?s most popular stage works, was first performed at the Théâtre de l?Opéra-Comique in Paris on 11 February 1840. It was composed by Donizetti, to a libretto by Saint-Georges and Bayard, in 1839, for the French debut of soprano Juliette Bourgeois. Later on, Donizetti prepared an Italian version as well, using a libretto adaptation by Calisto Bassi, and making several alterations to the French version of the score (the premiere of the new version, entitled La figlia del reggimento, took place at La Scala Theatre in Milano on 3 October 1840). The opera enjoyed tremendous success ? at the Opéra-Comique alone, more than one thousand performances were given between 1840 and 1917 ?, and was widely staged in the major European and American opera houses.
Owing to the lack of available autograph music sources ? only a few score sketches and fragments survive, kept at the Bibliothèque Nationale de France ?, the principal source for this edition is the printed score prepared by the Parisian publisher Georges Schonenberger during the spring of 1840. Together with the full score, Schonenberger also engraved and printed the orchestral parts. Previously, the publishing house had printed the piano vocal score of several selected numbers from La fille du régiment, as well as the complete score reduction of the work. The Schonenberger edition constitutes, however, a problematical source. The engravers had to work under great pressure - the score was assembled in less than a month -, and the final product turned out to be of mediocre quality, abounding in imperfections, errors, and inconsistencies affecting both the literary and the musical texts. This critical edition has therefore been realized, first of all, through a careful reconstruction process: the text handed down by tradition was compared with a number of sources (including the manuscript scores of the Italian version) that have enabled the editor to address the multiple problems posed by the principal source. The spoken dialogues, missing in the printed music sources, are derived from the libretto used for the première.
The critical edition of La fille du régiment reinstates Tonio?s romance «Pour me rapprocher de Marie» from Act Two, included in the original libretto and actually sung at the première, but expunged from the Schonenberger edition of the score. Donizetti himself cut the romance soon after the première, possibly because of the tenor?s poor performance - as a result, the omission became customary. The appendices to this critical edition present, additionally, two unpublished variants, handed down in form of complete and autograph score: these pieces, crossed out or modified through the compositional process, add fresh new possibilities to current performance practices. The first one is a duet for Marie and Tonio that Donizetti had originally devised for Act Two, but later deleted from the score. The second one is a preliminary draft of the Act Two Finale, later expunged and replaced, in both music and literary text, by the final version.
398.10 GBP - vendu par Musicroom GB | |
| Aaron Copland: The Music
of an Uncommon Man: Score
and Parts Orchestre Hal Leonard
Lessons and Activities Based on the Works of Aaron Copland-We are pleased to ann...(+)
Lessons and Activities Based on the Works of Aaron Copland-We are pleased to announce the launch of the Leonard Bernstein Young People's Classics a new series for the music classroom that presents essential selections from the Leonard Bernstein recorded library with units of study builtaround them. The first in this series features some of the more popular works of Aaron Copland including Fanfare for the Common Man and his ballets Billy the Kid Appalachian Spring and Rodeo.Makemusic listening engaging and active with beautifully-designed full-color listening maps easy-to-follow lesson plans and full-length recorded orchestral versions of Copland's music. Included in the Classroom Kit is the BernsteinCentury Copland CD featuring Leonard Bernstein conducting the New York Philharmonic. The Enhanced CD in the Teacher book contains audio folksong recordings full-color PDFs of the student booklet student handouts and bonusmaterials all for duplication or projection.Part II features an in-depth study of Copland's ballet Rodeo specifically 'Hoe-down ' based on the Artful Learning transformative learning system inspired byLeonard Bernstein. Working together in learning centers students engage in cross-curricular activities that are incorporated into the music lessons. Available separately: Teacher Book/Enhanced CD Student Book 5-Pak theBernstein Century Copland CD and a Classroom Kit (1 Teacher Edition/Enhanced CD 20 Student Books 1 Copland CD). Suggested for Grades 5-9.
174.99 GBP - vendu par Musicroom GB | |
| Peter Maxwell Davies:
Sinfonietta Accademica:
Orchestra: Miniature
Score Orchestre [Partition] Chester
This work written by Maxwell Davies in 1983 for chamber orchestra was commissi...(+)
This work written by Maxwell Davies in 1983 for chamber orchestra was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by EdwardHarper in October 1983. Duration c. 29mins.This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney on a fine Spring afternoon after Maxwell Davies had played theharmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries the more recent ones with familiar names largely of people who lived in houses now ruinous crofters fishermen clerics sea-captains. Next to it stood the chief farmhouse the Bu going back to Viking times. He thought of the lives and deaths encompassed there expressed through hundreds of years of music in thechurch and in the big barn of the farm.The plainsongs ‘Dies Irae’ and ‘Victimae Paschali Laudes’ are used throughout the work the first concerning the Day of Judgement from the Mass for the Dead the second particular toEaster Sunday and the Resurrection. These are subject to constant transformation the intervallic contour slowly changes from one into the other and their notes are made to dance through Renaissance astrological ‘magic square’patterns.The orchestra consists of double woodwind two horns two trumpets and strings.
15.99 GBP - vendu par Musicroom GB | |
| Aaron Copland: Ballet
Music: Orchestra: Score Orchestre Boosey and Hawkes
Billy The Kid Suite-Four Dance Episodes From Rodeo-Aaron Copland's Ballet Music ...(+)
Billy The Kid Suite-Four Dance Episodes From Rodeo-Aaron Copland's Ballet Music is now published in The Masterworks Library. Available for the first time in full score format at pocket score prices with introductory notes illustrations and photographs.Ideal for students conductors performers libraries CD collectors and general music enthusiasts. Contains Billy the Kid Suite. Four Dance Episodes from Rodeo and Appalachian Spring Suite.
40.99 GBP - vendu par Musicroom GB | |
| Rued Langgaard: Symphony
No.2 'Vaarbrud' - Orig.
version: Orchestra: Score Orchestre [Partitions] - Intermédiaire/avancé Rued Langgaard Edition
Symphony No.2 'Vaarbrud' ('Awakening Of Spring') - Original version (1912-14). I...(+)
Symphony No.2 'Vaarbrud' ('Awakening Of Spring') - Original version (1912-14). Instrumentation: Soprano solo + 2.2.2.2/4.3.2.0/timp/perc/str (soprano only in 2nd movement). BVN53a. 1912-14.
51.95 GBP - vendu par Musicroom GB | |
Page suivante 1 31 |
|