Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
(Choral Medley). By Marvin Hamlisch, Edward Kleban. Arranged by Ed Lojeski. (SA...(+)
(Choral Medley). By
Marvin Hamlisch, Edward
Kleban. Arranged by Ed
Lojeski. (SATB). Pop
Choral Series. Size
6.7x10.5 inches. 32
pages. Published by Hal
Leonard.
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
By Joseph M. Martin. For SATB Choir. Choral, Orchestration, Arrangements, Genera...(+)
By Joseph M. Martin. For
SATB Choir. Choral,
Orchestration,
Arrangements, General
Use, Incorporating Hymn
Tunes, All Saints Day,
Homecomings, Reformation,
Tracks and Sacred.
Octavo. Text language:
English
SATB choir SKU: ST.EM18 Composed by Thomas Tomkins. Edited by Edmund H Fe...(+)
SATB choir
SKU:
ST.EM18
Composed by
Thomas Tomkins. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Paperback.
Madrigals. Collection.
Stainer & Bell Ltd.
#EM18. Published by
Stainer & Bell Ltd.
(ST.EM18).
ISBN
9790220216930.
Thou
gh better known as a
composer of church and
keyboard music, Tomkins
wrote secular vocal music
that offers a compendium
of all the various
styles: canzonets,
balletts, madrigals and
'sacred songs'. Each was
dedicated to one of his
relatives, a friend or a
colleague. The names of
these 28 dedicatees form
a fascinating list at the
end of the
book.
CONTENTS
Adieu, ye city-poisoning
towers (SSATB)
Cloris, whenas I woo
(SSATB) Come,
shepherds sing with me
(SSATB) Fond men,
that do so highly prize
(SST (or A)) Fusca,
in thy starry eyes
(SSATB) How great
delight (SST) It is
my well-beloved's voice
(SSATTB) Love, cease
tormenting (SSA (or
T)) Music divine
(SSATTB) No more I
will thy love (SATB)
O let me die for true
love (SATB) O let me
live for true love
(SATB) Oft did I
marle (SSAATB) Our
hasty life away dost post
(SST) Oyez! Has any
found a lad? (SATB)
Phyllis, now cease to
move me (SSATB)
Phyllis, yet see him
dying (SSATB) See,
see the shepherds' Queen
(SSATB) Sure there is
no god of love (SSA)
The fauns and satyrs
tripping (SSATB) To
the shady woods
(SSATB) Too much I
once lamented (SSATB)
Turn unto the Lord
(SSATTB) Was ever
wretch tormented? (ST (or
A) TB) Weep no more,
thou sorry Boy (SATB)
When David heard
(SAATB) When I
observe (SSAATB) Woe
is me (SSATBB) Yet
again, as soon revived
(SAT (or A) B).
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.
Arranged by Margaret Goldston and Bernadine Johnson. For Piano. Piano Collection...(+)
Arranged by Margaret
Goldston and Bernadine
Johnson. For Piano. Piano
Collection. Learning
Link. Ballet. Level: Late
Elementary / Early
Intermediate. Book. 56
pages. Published by
Alfred Publishing.
Romantic drama in four
acts. Composed by
Franz Schubert. Edited by
Christine Martin and
Walther Durr. This
edition: complete
edition, urtext edition.
Linen. New Schubert
Edition II, 9. Complete
edition, Score. D 797.
Duration 50 minutes.
Baerenreiter Verlag
#BA05570_01. Published by
Baerenreiter Verlag
(BA.BA05570-01).
ISBN
9790006497386. 33 x 26 cm
inches. Language: German.
Preface: Christine
Martin. Text: Helmina von
Chezy.
On 20
December 1823 Helmina von
Chezy'sRosamundereceived
its premiere performance
at Vienna's Theater an
der Wien.
Unfortunately the
Viennese version of this
drama with ghosts,
pirates, attempted
poisonings and other
horrifying ingredients
has not survived - unlike
Schubert's popular
incidental music which
also includes choruses
and dances. This music
was already highly
praised by contemporary
critics, with special
acknowledgment given
tothe genius of this
much-loved master. As
evidence of its
popularity, the overture
and theHunters' Chorushad
to be encored at the
premiere.
Now
Barenreiter is issuing
one of Schubert's
best-known compositions
in a complete vocal score
with piano
reduction.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
Orchestra SKU: BA.BA05822-01 Composed by Christoph Willibald Von Gluck. E...(+)
Orchestra
SKU:
BA.BA05822-01
Composed by Christoph
Willibald Von Gluck.
Edited by Irene
Brandenburg. Arranged by
Carlo Bernardi and
Gasparo Angiolini. This
edition: complete
edition, urtext edition.
Linen. Complete edition,
Score. Baerenreiter
Verlag #BA05822-01.
Published by Baerenreiter
Verlag (BA.BA05822-01).
ISBN 9790006567454. 33
x 26 cm inches. Preface:
Brown, Bruce
Alan.
To conclude
Series II (Dance Dramas)
from the Gluck Complete
Edition (GGA), this
volume of Christoph
Willibald Gluck's
earliest contributions to
the genre comprises six
ballet scores from 1759
(La Promenade, Les
Jardiniers, Les Turcs,
Les Savoiards, Les Amours
de Flore et Zphire, and
Le Suisse) as well as the
ballet music for Les
Vendanges, which dates
from 1761. These works
belong to the
compositions â also
called Krumau ballets
because of their musical
transmission â which
Gluck created in Vienna
between 1759 and 1765 for
the court theatres in
Laxenburg and
Schönbrunn as well as
the
Kärntnertortheater,
and which are to be
attributed to him as a
ballet composer around
the middle of the 18th
century in Viennese
theatre life based on the
considerations presented
in the general
preface.
Together
with volumes II/3 to
II/5, ballet music by
Gluck is available whose
sources come from the
former Schwarzenberg
court archive in Ceský
Krumlov, Czech Republic,
and which until the
Velvet Revolution of
1989, lay behind the Iron
Curtain remaining largely
inaccessible and
unexplored by Western
scholars. These volumes
reflect two fundamental
developments in Gluck
research: on the one
hand, they provide a
significantly expanded,
historically more
accurate idea of what it
meant to compose for the
ballet in the 18th
century; on the other
hand, they bring to light
an immense treasure trove
of sources formerly of
Viennese
provenance.
In
addition to the detailed
introduction by this
volumeâs editor on
the ballet choreographies
of Gasparo Angiolini and
Carlo Bernardi, on the
formation of the ballet
troupes of the Viennese
theatres in Gluck's early
years there, on ballet
types and genres, as well
as a detailed account of
the individual titles,
the volume includes a
general preface to
volumes II/3 through II/5
by Bruce Alan Brown,
which discusses Gluck's
ballet music in Vienna in
general as well as the
development of research
into this genre.
Extensive illustrations
(partly from the
so-called Durazzo
Collection) with
reference to the
choreographies enrich the
discussions. The ballet
works, which have
survived in only one
source each, appear in
print for the first time
in this volume of the
Gluck Complete
Edition.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p>
MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
(Based on the Etudes of Franz Whilhelm Ferling). By John Walker, Franz Wilhelm F...(+)
(Based on the Etudes of
Franz Whilhelm Ferling).
By John Walker, Franz
Wilhelm Ferling. Edited
by Amy Porter. Arranged
by Cyrille Rose. For
flute and piano. Carl
Fischer Classic Studies.
Book and CD. 44 pages.
Published by Carl Fischer
Choral (Studiotrax CD) SKU: HL.35031445 Composed by Marvin Hamlisch. Arra...(+)
Choral (Studiotrax CD)
SKU: HL.35031445
Composed by Marvin
Hamlisch. Arranged by
Pete Schmutte. Shawnee
Press. Broadway. CD.
Published by Shawnee
Press (HL.35031445).
ISBN 9781495088728.
UPC: 888680666880.
5.0x5.0x0.165
inches.
From the
musical, A Chorus Line,
and most recently
recorded by Barbra
Streisand on her album
Encore: Movie Partners
Sing Broadway, this
poignant song is one that
composer Marvin Hamlisch
said set the tone for all
the music in the show.
The dancers explain their
experiences with
attending dance school
and no matter how dark
the rest of their world
seems, they always feel
happy at the ballet..
Choral (SSA Choir) SKU: HL.35031443 Composed by Marvin Hamlisch. Arranged...(+)
Choral (SSA Choir)
SKU: HL.35031443
Composed by Marvin
Hamlisch. Arranged by
Pete Schmutte. Shawnee
Press. Broadway. Octavo.
16 pages. Published by
Shawnee Press
(HL.35031443).
ISBN
9781495088704. UPC:
888680666866. 6.75x10.5
inches.
From the
musical, A Chorus
Line, and most
recently recorded by
Barbra Streisand on her
album Encore: Movie
Partners Sing
Broadway, this
poignant song is one that
composer Marvin Hamlisch
said “set the
tone” for all the
music in the show. The
dancers explain their
experiences with
attending dance school
and no matter how dark
the rest of their world
seems, they always feel
happy “at the
ballet.&rdquo.
L'ultimo di di maggio Chorale SATB SATB divisi, A Cappella [Octavo] Heritage Music Press
(On the last day of May). Composed by Ottorino Respighi (1879-1936). Arranged by...(+)
(On the last day of May).
Composed by Ottorino
Respighi (1879-1936).
Arranged by Robert
Sieving. For SATB choir
(divisi, a cappella).
Prima Cantate Series.
Concert. Octavo. Heritage
Music Press #15/3158H.
Published by Heritage
Music Press
Chorale SATB SATB, Piano [Vocal Score] Leonard Bernstein Music Publishing
Lyrics by Stephen Sondheim, music by Leonard Bernstein (1918-1990). For SATB voi...(+)
Lyrics by Stephen
Sondheim, music by
Leonard Bernstein
(1918-1990). For SATB
voices and piano
accompaniment. From the
Broadway musical and
motion picture "West Side
Story". Format: vocal
score. With vocal melody,
lyrics, piano reduction
and introductory text.
Broadway, movies and 20th
century. 222 pages. 9x12
inches. Published by
Leonard Bernstein Music
Publishing Co.
Composed by Kaija
Saariaho. Music Sales
America. Classical. Set
of Parts. 26 pages. Music
Sales #KP00327. Published
by Music Sales
(HL.14028557).
ISBN
9788759854273.
9.5x14.25x0.187 inches.
English.
Gates is
the second section from
the ballet MAA, scored
for Chamber group, tape
and live electronics.
Written in 1991,
commissioned by the
Finnish National Opera,
this work beautifully
demonstrates the
poeticism of Saariaho's
music with a sensuous
calm that permeates
throughout. MAA
translates from Finnish
into world, earth or
country. It is a
complimentary title as
the ballet does not have
a plot as such, rather it
is built around thematic
archetypes such as doors,
gates, stepping into new
worlds, journeys and the
crossing of waters. Gates
can be played either as
an acoustic or, often
preferably, an amplified
version. The acoustic
version is suitable for
small and resonant halls,
or in a context of e.g.
an early music program,
in which case the piece
can also be played on
original instruments.
This is the Full set of
parts for one of Kaija
Saariaho's most major
works to date. Score is
avilable: KP00326.
(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. ...(+)
(Mix and Match Quartets
for Strings, Woodwind,
Brass and Keyboard). By
Various. Arranged by
Daniel Kelley. String
quartet, woodwind
quartet, piano quintet,
mixed quartet, clarinet
quartet, saxophone
quartet. For Viola in
alto clef. Quartets.
Intermediate Music for
Four series. Classical.
Intermediate. Partbook -
part 3. Published by Last
Resort Music Publishing
(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. ...(+)
(Mix and Match Quartets
for Strings, Woodwind,
Brass and Keyboard). By
Various. Arranged by
Daniel Kelley. String
quartet, woodwind
quartet, piano quintet,
mixed quartet, clarinet
quartet, saxophone
quartet. For Keyboard or
Guitar. Quartets.
Intermediate Music for
Four series. Classical.
Intermediate. Partbook.
Published by Last Resort
Music Publishing
SATB choir SKU: ST.EM4 Composed by Thomas Morley. Edited by Edmund H Fell...(+)
SATB choir
SKU:
ST.EM4
Composed by
Thomas Morley. Edited by
Edmund H Fellowes.
Library Volumes. Edited
Edmund Fellowes. Revised
Thurston Dart. Paperback.
Madrigals. Choral Score.
Stainer & Bell Ltd. #EM4.
Published by Stainer &
Bell Ltd. (ST.EM4).
ISBN
9790220211263.
CONT
ENTS About the
maypole (SATTB)
Dainty fine sweet nymph
(SSATB) Fire, fire my
heart (SST (or A) TB)
I love, alas, I love thee
(SAABB) I saw my
lovely Phillis
(SSATB) Lady those
cherries plenty (ST (or
A) TTB) Leave alas
this tormenting
(SSATB) Lo she flies
(SSATB) My bonny lass
she smileth (Questo dulce
sirena) (SAATB) My
lovely wanton jewel
(SSATB) No no Nigella
(SSATB) Now is the
month of Maying
(SATTB) Phillis I
fain would die now
(Dialogue SSAATTB)
Shoot false love I care
not (SSATB) Sing we
and chant it (A lieta
vita) (SSATB) Singing
alone (SAATB) Those
dainty daffadillies (SAT
(or A) BB) Thus saith
my Galatea (SSATB)
What saith my dainty
darling? (SSAA (or T)
B) Why weeps alas
(SATTB) You that want
to my pipes sound
(SSATB).