Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano
SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202.
What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement.
Piano (Piano) SKU: HL.48186472 Composed by Isabelle Aboulker. Leduc. Soft...(+)
Piano (Piano)
SKU:
HL.48186472
Composed
by Isabelle Aboulker.
Leduc. Softcover. 32
pages. Alphonse Leduc
#AL30732. Published by
Alphonse Leduc
(HL.48186472).
Following on
the success of her two
operatic works for
children and teens ?
Douce et Barbe Bleue, Les
Fables Enchantees, Little
Thummie and Cendrillon
(based on Perrault), as
well as the adaptation of
Maupassant?s short story
The Dumpling (2014) ?
Isabelle Aboulker once
again hits the bull?s eye
with Myla and the
Boat-Tree, a commission
from the Villecroze Music
Academy. In 2015, this
musical tale for
narrator, children?s
choir and instrumental
accompaniment, was
awarded the ?Music for
Young Performers Prize?
by the French Music
Publishers Association.
Both in the French
version and Marci Meth?s
excellent English
translation, it provides
the material for an
enthralling educational
adventure in which
children between the ages
of five and eight are
invited into their first
experience of opera and
choir singing. With her
trademark finesse and
sensitivity, the composer
tells the story of a
little girl dealing with
the death of a person
she?d cherished above
all: her grandfather.
Written for choir in
unison, this tale wafts
shimmering melodies over
an instrumental
accompaniment suffused in
turn with gentle
melancholy and light
humour. An art that
speaks from an open
heart. The work was
written in three
versions:? for narrator,
children?s choir and
piano (AL 30 732)? for
narrator, children?s
choir and trio (clarinet
in B b, cello and piano:
AL 30 733)? for narrator,
children?s choir and
instrumental ensemble
(flute, oboe, clarinet in
B b, bassoon, horn,
trumpet in C, trombone,
percussion, 2 violins,
alto, cello, bass: AL 30
734) Choral score: AL 30
743 .
The Christmas Cobweb by Pam Wedgwood. Book; CD; Classroom/Pre-School; Musicals; ...(+)
The Christmas Cobweb by
Pam Wedgwood. Book; CD;
Classroom/Pre-School;
Musicals; Musicals and
Programs. Faber Edition:
Junior Spotlight Series.
Children; Christmas;
Winter. Elementary. 32
pages. Published by Faber
Music
Chamber Music Piano SKU: PO.PE161 Composed by Vincent Ho. Saddle stitch. ...(+)
Chamber Music Piano
SKU: PO.PE161
Composed by Vincent Ho.
Saddle stitch.
Performance Score.
Promethean Editions
#PE161. Published by
Promethean Editions
(PO.PE161).
ISBN
9781877564567. 30.5 x 22
cm
inches.
Nostalgia
was originally intended
as an encore piece for
Ho's percussion concerto
The Shaman. Now it is
available as a
stand-alone arrangement
for solo piano. The
evocative and lyrical
lines of the original
work for vibraphone also
lends well to the
sustained resonance of
the piano. Ho expresses a
sense of nostalgia
throughout the work with
simple melody lines and
ebbing accompaniment. The
work also has virtuosic
flare with fast cascading
lines and textural
flourishes. Nostalgia is
an excellent work for
creating a beautiful and
thoughtful point within
recital programmes.
Nostalgia also exists in
a version for solo
vibraphone.
Piano Picture Chords composed by Laura Heim. For piano. This edition: Paperback....(+)
Piano Picture Chords
composed by Laura Heim.
For piano. This edition:
Paperback. Reference.
Chords. Book. Text
Language: English. 128
pages. Published by
Santorella Publications
Solo piano (Solo) SKU: OU.9780193563896 Composed by Gabriel Erkoreka. Pia...(+)
Solo piano (Solo)
SKU:
OU.9780193563896
Composed by Gabriel
Erkoreka. Piano (Solo).
20 pages. Duration 11'.
Oxford University Press
#9780193563896. Published
by Oxford University
Press (OU.9780193563896).
ISBN 9780193563896. 12
x 8 inches.
For
solo piano This consists
of two pieces, played in
an order the performer
chooses. The number five,
closely related to the
nature of the zortziko, a
Basque dance in 5/8, has
been applied to several
musical parameters such
as repetition of pitches,
superposition of five
separate layers,
fragments of pentatonic
scales and the metrical
structure. The piece
explores extensively the
percussive and resonant
nature of the piano.
Composed by Johann Strauss Jr. Anacrouse. Transcription pour piano Biographie ...(+)
Composed by Johann
Strauss Jr. Anacrouse.
Transcription pour piano
Biographie Notes sur
l'oeuvre. Score. Editions
Bourges #EBRA102.
Published by Editions
Bourges (BU.EBRA102).
ISBN 9790560153803. 8.58
x 12.48 inches.
La collection ANACROUSE
offre aux pianistes
novices et confirmés un
large choix d’œuvres
classiques, allant de la
Renaissance à
l’époque moderne.
Proposer tout à la fois
des « incontournables »
du répertoire classique
et des pièces de
compositeurs parfois
oubliés, toutes d’une
valeur pédagogique
indéniable, tels sont
les objectifs que nous
nous sommes fixés.
Chaque pièce, vendue à
l’unité, a fait
l’objet d’un travail
éditorial attentif, tant
sur le plan de
l’établissement du
texte musical que de sa
gravure, afin de garantir
aux musiciens les
conditions indispensables
aux plaisirs tirés du
commerce fréquent de ces
œuvres.
Les partitions sont
proposées sous la forme
d’ouvrages
traditionnels (feuillets
papier), et disponibles
également par
téléchargement.
Trish Trash Polka ou
Tritsh Tratsh Polka (op.
214) est une polka
écrite en 1858 par
Johann Strauss II, après
qu'il ait effectué une
tournée en Russie. Le
titre peut être
interprété comme
`Chit-chat` et peut
référer à une certaine
passion viennoise pour
les ragots. Johann
Strauss II a peut-être
également fait
référence à la seule
pièce burlesque « Der
Tritsch-Tratsch » du
dramaturge et acteur
autrichien Johann Nepomuk
Nestroy. D'autres
prétendent que le titre
ait pu être le nom du
chien de la première
épouse de Strauss…
La polka est une danse
originaire de République
Tchèque, à deux temps,
de tempo assez rapide,
aux rythmes bien
articulés. Avec ses 160
numéros d'opus, Johann
Strauss II est sans aucun
doute le maître de la
polka de la fin du
XIXème siècle.
Ici, l'atmosphère de
cette courte pièce est
désinvolte et
intrépide, comme
beaucoup de polkas de
Johann Strauss II. Trish
Trash Polka est très
contrastée au niveau des
nuances, et les appuis
sont donnés par les
percussions, très
présentes dans cette
pièce drôle et
légère.