Composed by Nancy Galbraith (1951-). For Piano and Concert Band (solo piano; 3,1...(+)
Composed by Nancy
Galbraith (1951-). For
Piano and Concert Band
(solo piano; 3,1 2 3,bass
clarinet 2 2 alto sax,
tenor sax, baritone sax;
4331, euphonium; 5
percussion, contrabass).
Study Score. Duration
21'. Published by Subito
Music Corporation
Solo Piano, Male Choir, and Orchestra. Composed by Gavin Bryars (1943-). ...(+)
Solo Piano, Male
Choir, and Orchestra.
Composed by Gavin Bryars
(1943-). Study Score.
Softcover. 80 pages.
Schott Music #ED13529.
Published by Schott Music
(HL.49019799).
By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. For piano/orche...(+)
By Ludwig van Beethoven
(1770-1827). Edited by
Jonathan Del Mar. For
piano/orchestra. This
edition: Urtext edition.
Paperback. Score.
English/German. No. 1,
Op. 15. Published by
Baerenreiter Verlag
(Piano Solo And Chamber Ensemble). By Jason Eckardt (1971-). For piano solo, flu...(+)
(Piano Solo And Chamber
Ensemble). By Jason
Eckardt (1971-). For
piano solo, flute
(doubling piccolo),
clarinet in Bb, violin,
violoncello. Full score.
40 pages. Published by
Carl Fischer
String Orchestra and Piano SKU: BT.EMBZ14253 By Lajos Vigh. By Arpad Pejt...(+)
String Orchestra and
Piano
SKU:
BT.EMBZ14253
By Lajos
Vigh. By Arpad Pejtsik.
EMB Music for Beginners.
Educational Tool. Book
Only. Composed 2000. 92
pages. Editio Musica
Budapest #EMBZ14253.
Published by Editio
Musica Budapest
(BT.EMBZ14253).
Hungarian-English-Germ
an-French.
The
volume comprises works by
classical and romantic
masters for beginners.
The chamber ensemble
includes violin, viola,
violoncello and piano,
but if the viola is
missing, its part can be
played by a second violin
from the version enclosed
in the appendix. The
string parts do not go
beyond the first
position. As opposed to
the basso continuo part
that children are less
fond of, the piano
assumes a soloistic role
alternating with the
strings. A certain part
of the pieces can already
be played after two years
of serious studies. The
colourful music
containing dance
movements and larger
forms alike offers
possibilities of common
music making for string
players andpianists.
String Orchestra and Piano SKU: BT.EMBZ13550 Das klassische Trio. ...(+)
String Orchestra and
Piano
SKU:
BT.EMBZ13550
Das
klassische Trio. By
Arpad Pejtsik.
Educational Tool. Book
Only. Composed 1994. 230
pages. Editio Musica
Budapest #EMBZ13550.
Published by Editio
Musica Budapest
(BT.EMBZ13550).
At first sight,
this publication appears
to be a collection of
pieces, for the technical
studies, not too
attractive but so
characteristic of tutors,
are missing. Yet the
selection of the works,
their order according to
the development of
ensemble playing and the
advice includeed after
the foreword and
containig proposals for
the technical realization
of ensemble playing in
the case of certain
typical pieces these all
make this publication a
tutor.The works form a
cross-section of a longer
period of the history of
chamber music and offer
an insight into
thedifferent methods of
composition. Volume III
is approximately the same
grade of difficulty as
Volume II, but inViennese
Classicism a more
sophisticated handling of
the bow is required. In
addition to the works of
Haydn, Mozart and
Beethoven pieces by less
well-known masters are
also included.
Piano, Orchestra (2. Violin) SKU: BA.BA05386-75 Composed by Wolfgang Amad...(+)
Piano, Orchestra (2.
Violin)
SKU:
BA.BA05386-75
Composed by Wolfgang
Amadeus Mozart. Edited by
Paul Badura-Skoda. This
edition: urtext edition.
Stapled. Barenreiter
Urtext. Single part. K.
459, No. 19. 10 pages.
Baerenreiter Verlag
#BA05386_75. Published by
Baerenreiter Verlag
(BA.BA05386-75).
ISBN
9790006470235. 32.5 x
25.5 cm inches. Key: F
major.
About
Barenreiter Urtext
Orchestral
Parts
Why musicians
love to play from
B�¤renreiter Urtext
Orchestral
Parts
- Urtext
editions as close as
possible to the
composer�s
intentions - With
alternate versions in
full score and parts
- Orchestral parts in an
enlarged format of 25.5cm
x 32.5cm - With
cues, rehearsal letters,
and page turns where
players need them -
Clearly presented divisi
passages so that players
know exactly what they
have to play -
High-quality paper with a
slight yellow tinge which
does not glare under
lights and is thick
enough that reverse pages
do not shine
through
(with original Cadenzas) Piano reduction by Hans Kann, composed by Ludwig van Be...(+)
(with original Cadenzas)
Piano reduction by Hans
Kann, composed by Ludwig
van Beethoven
(1770-1827), edited by
Hans-werner Kuthen.
Single piece and for 2
Pianos four-hands. With
introductory text and
fingerings. Piano
Reduction-paper bound.
100 pages. Published by
G. Henle.
By Sergei Prokofiev (1891-1953). Arranged by Douglas McLain. For piano and conce...(+)
By Sergei Prokofiev
(1891-1953). Arranged by
Douglas McLain. For piano
and concert band. Baton
Music Instrumental
Series. Opus 10. Grade 5.
Full score and parts.
Duration 16:00. Published
by Baton Music
Piano and orchestra SKU: FG.55011-372-5 Composed by Matthew Whittall. Stu...(+)
Piano and orchestra
SKU:
FG.55011-372-5
Composed by Matthew
Whittall. Study score.
Fennica Gehrman
#55011-372-5. Published
by Fennica Gehrman
(FG.55011-372-5).
ISBN
9790550113725.
Imag
es of the sea figure
prominently throughout my
life and memories: from
holidays on the Atlantic
coast during my Canadian
childhood to my current
Baltic home, and the
imagined, only later
experienced Mediterranean
of my ancestral heritage.
As an immigrant (son of
an immigrant) bound to
two northern countries,
the sea is emblematic of
my twin homelands, from
the expanses of water
surrounding them to those
separating them. A Mari
usque ad Mare. The sea is
also an enduring image of
the unknown, of expanses
unexplored, of the raw
power of nature and, for
too many currently, of
terror holding a hope of
refuge - or the pain of
loss. Such disparate
ideas were captured for
me in the seascapes of
the New York painter
MaryBeth Thielhelm, whom
I met in 2008 during a
residency on the Gulf of
Mexico. Her vast,
abstract, nearly
monochromatic depictions
of imaginary seas in
wildly varying moods were
the catalyst for a
concerto where the piano
is frequently far from a
hero battling a
collective, but rather
acts as a channel for
elemental forces surging
up from the orchestra,
floating - sometimes
barely so - on its
constantly shifting
surface. There are few
themes to speak of,
beyond a handful of
iconic ideas that
periodically cycle
upward. Rather, the
piano's material is
largely an ornamentation
of the more primal
rhythmic and harmonic
impulses from the
orchestra below - a
poetic interpretation, if
you will, of the more
immediate experience of
facing the vastness of
some unknown body of
water. The title
Nameless Seas is borrowed
from one of Thielhelm's
exhibitions, as are those
of the four movements,
which are bridged
together into two halves
of roughly equal weight -
one rhapsodic and free,
the other more
single-minded and direct,
separated only by a short
breath. The opening
movement, Nocturne, is
predominantly calm, if
brooding, darkness and
light alternating
throughout. Lyrical
arabesques sparkle over
gently lapping
cross-currents in the
strings and mirrored
timpani, the piano's full
power only rarely
deployed. The waves
gradually build, drawing
in the full orchestra for
a meeting of forces in
Land and Sea, a brighter,
more warmly lyrical scene
that unfolds in series of
dreamlike, sometimes even
nostalgic visions, which
for me carry strong
memories of sitting on
rocks above surging
Atlantic waves. The third
movement, Wake, is a
fast, perpetual-motion
texture of glinting,
darting rhythms and
sudden shafts of light,
with a prominent part for
the steel drums, limning
the piano's quicksilver
figurations. An ecstatic
climax crashes into a
solo cadenza that grows
progressively calmer and
more introspective rather
than virtuosic. Much of
the tension finally
releases into Unclaimed
Waters, a drifting,
meditative seascape in
which the piano is
progressively engulfed by
a series of ever-taller
waves, ultimately
dissolving into a
tolling, rippling
continuum of sound.
It has been a great
privilege to realize such
a long-held dream as this
piece, and to write it
for not one, but two
great pianists.
Risto-Matti Marin and
Angela Hewitt, both of
whose friendship and
support have been
unfailing and humbling,
share the dedication.
Nameless Seas was
commissioned by the
PianoEspoo festival and
Canada's National Arts
Centre, with the
premieres in Ottawa and
Helsinki led by Hannu
Lintu and Olari Elts.
Thanks are due also to
the Jenny and Antti
Wihuri fund, whose
generous grant provided
me with much-needed time,
and Escape to Create in
Seaside, Florida, the
source to which I
returned to do a large
part of the work.