| Concerto for Two Flutes and Orchestra Flûte traversière et Piano [Conductor Score|Score and Parts|Set of Parts] Theodore Presser Co.
(For 2 Flutes and Orchestra). By Steven Stucky (1949-). For Piano, Flute I, Flut...(+)
(For 2 Flutes and
Orchestra). By Steven
Stucky (1949-). For
Piano, Flute I, Flute II.
Premiered by Anne Diener
Giles and Janet Ferguson,
solo Flutes; Los ANgeles
Philharmonic Orchestra,
Easa Pekka Salonen,
conductor; February
23,1995. Classical. Set
of performance scores.
Standard notation. 38
pages. Duration 17:00
$56.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile Hal Leonard
(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.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Fantasia Mexicana Para Dos Flautas Y Orquesta 2 Flûtes traversières, Piano [Reduction] Theodore Presser Co.
(Mexican Fantasy For Two Flutes And Orchestra). By Samuel Zyman. For 2 flutes, p...(+)
(Mexican Fantasy For Two
Flutes And Orchestra). By
Samuel Zyman. For 2
flutes, piano.
Contemporary. Soli parts
with piano reduction. 20
pages. Published by
Theodore Presser Company
$18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto for Two Pianos and Orchestra Piano et Orchestre [Conducteur] Theodore Presser Co.
By Harl Mcdonald. Orchestra. For 3 Flutes (3rd Doubles Piccolo), 3 Oboes (3rd Do...(+)
By Harl Mcdonald.
Orchestra. For 3 Flutes
(3rd Doubles Piccolo), 3
Oboes (3rd Doubles
English Horn), 3
Clarinets in Bb, Bass
Clarinet in Bb, 2
Bassoons, Contrabassoon,
4 Horns in F, 4 Trumpets
in Bb, 3 Trombones, Tuba,
Timpani, Percussion
(Cymbal, Bass-Drum,
Tambourine, Castanets,
Tom-To. Classical. Full
score (large). Standard
notation. 104 pages.
Duration 21 minutes, 31
seconds. Published by
Theodore Presser Company
$135.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Double Concerto Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3551-01 Composed by Antonio Vivaldi. Arranged by Glov...(+)
Grade 3 SKU:
CL.012-3551-01
Composed by Antonio
Vivaldi. Arranged by
Glover. Concert Band.
Spotlight Series. Audio
recording available
separately (items
CL.WFR340 & CL.WFR354).
Extra full score.
Composed 2006. Duration 3
minutes, 6 seconds. Opus
III Wind Orchestra
Publications
#012-3551-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3551-01).
This famous
Allegro movement from a
Vivaldi concerto for two
trumpets is presented
here in an arrangement
loaded with flexibility
as to choice of soloists
and even the accompanying
ensemble. May be
performed as a solo or as
a duet, and it includes
solo/duet parts for Bb
instruments: Trumpets or
Clarinets; C Instruments:
Flutes, Oboes, or
Violins; Eb Instruments:
Alto Saxophones; F
Instruments: Horns; and
Bass Clef instruments:
Bassoons or Trombones.
The accompaniment is
cleverly scored so that
it is playable by a full,
traditional concert band;
or by a chamber wind
ensemble of woodwinds,
horns, and timpani (ideal
for accompanying upper
woodwind soloists.) A
great way to feature
outstanding soloists from
your band!
About C.L.
Barnhouse Spotlight
Series The
Barnhouse Spotlight
series includes
publications for solo
instruments with concert
band accompaniment. These
publications are designed
to feature outstanding
members of your band as
soloist, and to provide
unique and entertaining
programming options. Solo
parts are graded more
difficult than the band
accompaniments $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto for Two Flutes, Violin and Strings in e Orchestre Lucks Music Library
Orchestra (cem,str,soli 2 flutes & violin) SKU: TM.00831SET Composed by G...(+)
Orchestra (cem,str,soli 2
flutes & violin) SKU:
TM.00831SET Composed
by Georg Telemann. Set
Type: D. Set of parts.
Lucks Music Library
#A2159. Published by
Lucks Music Library
(TM.00831SET).
Solo in
set. $70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Two Flutes, Violin and Strings in e Orchestre [Conducteur] Lucks Music Library
Orchestra (cem,str,soli 2 flutes & violin) SKU: TM.00831SC Composed by Ge...(+)
Orchestra (cem,str,soli 2
flutes & violin) SKU:
TM.00831SC Composed
by Georg Telemann. Score.
Lucks Music Library
#A2159. Published by
Lucks Music Library
(TM.00831SC).
Solo in
set. $25.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Telemann for Two 2 Flûtes traversières (duo) Theodore Presser Co.
Chamber Music 2 flutes SKU: PR.114418600 Volume I, Fantasias 1-6. ...(+)
Chamber Music 2 flutes
SKU: PR.114418600
Volume I, Fantasias
1-6. Composed by
Georg Philipp Telemann.
Arranged by Sharon
Sparrow Jeffery Zook. Set
of performance scores.
56+56 pages. Duration 20
minutes. Theodore Presser
Company #114-41860.
Published by Theodore
Presser Company
(PR.114418600). ISBN
9781491111543. UPC:
680160642656. Telem
ann for Two Volume I,
Fantasias 1-6 arranged
for Two FlutesWhat could
be more delightful than
playing Telemann duets,
or playing the Telemann
Fantasias? Sharon Sparrow
and Jeffery Zook have
created a remarkable set
of duet adaptations of
the Fantasias,sounding as
if Telemann himself had
composed them as two-part
inventions. The original
Telemann works are shared
between the two players,
mixed with counterpoint
to enhance the authentic
solo works. The result is
equally suitable for
formal recitals and
recreational duet
playing! The present
publication includes two
performance scores of
their settings of
Fantasias 1-6, with a
Volume II to include
Fantasias
7-12.____________________
__________________Text
from the scanned back
cover:SHARON SPARROW is
Assistant Principal Flute
of the Detroit Symphony
Orchestra. She began
musical studies on piano
at age four, but it was
the flute that led her to
the Juilliard School for
a Bachelor degree with
Julius Baker. She
received her
Master’s degree
with Thomas Nyfenger at
the Mannes College of
Music. Sharon’s
professional career began
in the Memphis Symphony,
followed by tenured
positions in the Fort
Wayne Philharmonic and
Detroit Symphony, and
guest positions in the
Hong Kong Philharmonic,
Baltimore, Chicago, and
Pittsburgh Symphonies. In
2016, Presser published
her successful audition
training book, 6 Weeks to
Finals, and she is a much
sought after coach for
audition candidates
across the country, as
well as a frequent Master
Class clinician at major
schools including Boston
University and Peabody
Conservatory.JEFFERY ZOOK
has been a member of the
Detroit Symphony
since1992. His formal
musical studies began at
Interlochen and continued
at University of Michigan
and the Royal Academy of
Music in London. His
teachers have included
William Bennett and
Trevor Wye. A prize
winner in the NFA Young
Artists Competition, Mr.
Zook made his solo debut
with the Detroit Symphony
as a senior in high
school, and has since
performed all the Vivaldi
concerti with them. He
has recorded extensively
for MusicMinus One and
performed frequently at
NFA conventions,
including the concerto
gala in 2017. Mr. Zook
has served on the faculty
at University of Michigan
and Oakland University.
In 2002 Zook and Sharon
Sparrow founded the
Detroit Flute Connection,
a series of masterclasses
for flutists. $27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto for Two Pianos Vs. Orchestra Orchestre [Conducteur] Theodore Presser Co.
Composed by PDQ Bach (1935-). Edited by Professor Peter Schickele. Orchestra. Fo...(+)
Composed by PDQ Bach
(1935-). Edited by
Professor Peter
Schickele. Orchestra. For
2 Flutes (2nd Also
Piccolo), 2 Oboes, 2
Clarinets in Bb, 2
Bassoons, 2 Horns in F, 2
Trumpets in C (Straight,
Cup Mutes), 3 Trombones
(1 and 2 Straight, Cup
Mutes)(3rd Tenor/Bass),
Timpani (Also Large
Tam-Tam), 2 Percussion: I
- Tambourine, Xylophone,
Tri. Classical. Full
score (study). Standard
notation. (S. 2 are
better than one). 109
pages. Duration 26
minutes. Theodore Presser
Company #416-41392.
Published by Theodore
Presser Company
$70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Two Pianos Vs. Orchestra Orchestre [Conducteur] Theodore Presser Co.
Composed by PDQ Bach (1935-). Edited by Professor Peter Schickele. Orchestra. Fo...(+)
Composed by PDQ Bach
(1935-). Edited by
Professor Peter
Schickele. Orchestra. For
2 Flutes (2nd Also
Piccolo), 2 Oboes, 2
Clarinets in Bb, 2
Bassoons, 2 Horns in F, 2
Trumpets in C (Straight,
Cup Mutes), 3 Trombones
(1 and 2 Straight, Cup
Mutes)(3rd Tenor/Bass),
Timpani (Also Large
Tam-Tam), 2 Percussion: I
- Tambourine, Xylophone,
Tri. Classical. Full
score (study). Standard
notation. (S. 2 are
better than one). 109
pages. Duration 26
minutes. Theodore Presser
Company #416-41392L.
Published by Theodore
Presser Company
$140.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Two Pianos and Orchestra [Conducteur] Theodore Presser Co.
By Harl Mcdonald. Orchestra. For 3 Flutes (3rd Doubles Piccolo), 3 Oboes (3rd Do...(+)
By Harl Mcdonald.
Orchestra. For 3 Flutes
(3rd Doubles Piccolo), 3
Oboes (3rd Doubles
English Horn), 3
Clarinets in Bb, Bass
Clarinet in Bb, 2
Bassoons, Contrabassoon,
4 Horns in F, 4 Trumpets
in Bb, 3 Trombones, Tuba,
Timpani, Percussion
(Cymbal, Bass-Drum,
Tambourine, Castanets,
Tom-To. Classical. Full
score (study). Standard
notation. 104 pages.
Duration 21 minutes, 31
seconds. Published by
Theodore Presser Company
$70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto in G Major Flûte traversière [Reduction] Boosey and Hawkes
For Two Flutes and Chamber Orchestra (Piano Reduction). By Domenico Cimarosa. Ar...(+)
For Two Flutes and
Chamber Orchestra (Piano
Reduction). By Domenico
Cimarosa. Arranged by
Wohllheim/Speth/Burghard,
Heinrich Wollheim.
(Flute). Boosey and
Hawkes Chamber Music.
Size 9x12.25 inches. 44
pages. Published by Bote
& Bock.
$26.95 - Voir plus => Acheter | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963SP
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Violin and Wind Orchestra, Op. 12 Universal Edition
Score (Study Score) SKU: HL.49045775 Study Score. Composed by Kurt...(+)
Score (Study Score)
SKU: HL.49045775
Study Score.
Composed by Kurt Weill.
Study Score. Classical.
Softcover. Universal
Edition #UE35538.
Published by Universal
Edition (HL.49045775).
ISBN 9783702471132.
UPC: 803452068235.
7.0x10.0x0.436
inches. Kurt Weill
developed his creative
energies mainly within
the world of musical
theater, where he proved
to be an immensely
productiveand imaginative
innovator, but he also
left behind a small body
of work for the concert
hall. The Concerto for
Violin and Wind Orchestra
op. 12 dates from the
spring of 1924. Scored
for two flutes,
clarinets, bassoons,
horns, one oboe and
trumpet, percussion and
four contrabasses, the
concerto comprises three
movements. While
composing the work, Weill
informed his publisher:
'I am workingon a
concerto for violin and
wind orchestra that I
hope to finish within two
or three weeks. The work
is inspired by the idea -
one never carried out
before - of juxtaposing a
single violin with a
chorus of winds.' The
specific character of
Weill's concerto as music
written for chamber
orchestra (with an often
soloistic treatment of
instruments) leads to a
transparency that
requires utmost precision
in the ensemble playing.
In the quest for an
overall sonic balance,
the coarser-sounding wind
instruments need to
explore all dynamic
nuances. The solo part is
challenging not only from
a technical standpoint
but also from an acoustic
one (it is crucial to
make the violin 'sound').
In spite of these
challenges - or precisely
because of them - critics
in the 1920s called the
solo parthighly idiomatic
and extremely rewarding.
Since then the concerto
has become a 'modern
classic' in concert halls
around the world. (Elmar
Juchem, August 2010). The
score is based on the
critical text of the Kurt
Weill Edition Ser. II,
Vol. 2. $62.00 - Voir plus => Acheter | | |
| Concerto fur Two Violins and Orchestra (1950) 2 Violons, Piano [Reduction] - Intermédiaire Barenreiter
By Bohuslav Martinu (1890-1959). Edited by Karel Solc. For solo violin, piano (2...(+)
By Bohuslav Martinu
(1890-1959). Edited by
Karel Solc. For solo
violin, piano (2 solo
violins/2 flutes/2
oboes/2 clarinets/2
bassoons/4 horns/2
trumpets/3
trombones/tuba/timpani/pe
rcussion/strings). This
edition: Stapled. Level
4. Piano reduction.
Composed 1950. Duration
17'. Published by
Baerenreiter Verlag
$43.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoons, 2 horns, 2
trumpets, timpani, 2 (3)
violins, 2 violas, cello,
basso continuo SKU:
CA.5507509 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext. 2x
55.075/21 2 flutes, 1x
55.075/22 oboe 1, 1x
55.075/23 oboe 2, 3x
55.075/24 3 bassoons, 2x
55.075/31 2 horns, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets, 3x
55.075/32 2 trumpets.
Stuttgart Urtext Edition:
Handel. Harmony parts.
Innovative practice aids,
Sacred vocal music,
Oratorios. Set of
Orchestra Parts. Composed
1736/1751. HWV 75.
Duration 85 minutes.
Carus Verlag #CV
55.075/09. Published by
Carus Verlag
(CA.5507509). ISBN
9790007226794. Text
language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and
parts available
separately - see item
CA.5507500. $160.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flute En Suite Flute And Piano Reducation Schott
Flute and orchestra (FLUTE PIANO) - difficult SKU: HL.49044665 For flu...(+)
Flute and orchestra
(FLUTE PIANO) - difficult
SKU: HL.49044665
For flute and
orchestral groups.
Composed by Jorg Widmann.
This edition: Saddle
stitching. Sheet music.
Woodwind Solo. This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface,. Softcover.
Composed 2011. 80 pages.
Duration 22'. Schott
Music #FTR225. Published
by Schott Music
(HL.49044665). ISBN
9790001200103. UPC:
841886022928.
9.0x12.0x0.213
inches. This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface, hover in
dangerously distorted
fashion and then sink
back to the bottom.Almost
every individual movement
allots the solo flute a
specific tonal colouring
and an instrumental group
from the orchestra: in
the opening Allemande,
the flutes of the
orchestra (including alto
and bass flute and later
also piccolo to include
the entire flute family);
the string section in the
Sarabande; in both
chorales (extremely muted
in the first and
brutalist in the second),
the brass etc.; and it is
only in the concluding
Badinerie that all
orchestral groups are
combined, although they
are terraced in the
Baroque style, one
following another, seldom
all playing
simultaneously.This
permits the flute to
remain the provider of
all impulses; it attaches
itself to the wide
variety of instrumental
colours, becomes suffused
with these colours and
thereby shines in
different lights -
acerbic, pale and
radiant. This first
performance marks the
conclusion of my two-year
residence with the
Cleveland Orchestra. The
immense versatility of
this fine body of sound
(which is indeed treated
as such with the sum of
its parts) and the
exciting dark timbre of
its principal flautist
Joshua Smith have to a
great extent determined
the form and tonal
character of my Flute en
suite. Jorg
Widmann
This
'Suite' is not one of my
'epic' instrumental
concertos such as the
concertos for cello,
violin or oboe, but a
substantially
smaller-structured series
of dance forms arranged
into a suite. Sunken
worlds suddenly emerge
here, only to reach the
surface, hover in
dangerously distorted
fashion and then sink
back to the bottom.Every
individual movement
allots the solo flute an
instrumental group from
the orchestra: in the
opening Allemande, the
flutes of the orchestra;
the string section in the
Sarabande; in both
chorales the brass etc.;
and it is only in the
concluding Badinerie that
all orchestral groups are
combined, although they
are terraced in the
Baroque style, one
following another, seldom
all playing
simultaneously.This first
performance marks the
conclusion of my two-year
residence with the
Cleveland Orchestra. The
immense versatility of
this fine body of sound
and the exciting dark
timbre of its principal
flautist Joshua Smith
have to a great extent
determined the form and
tonal character of my
Flute en suite. Jorg
Widmann
3 (2. auch
Altfl., 3. auch Bassfl.,
alle auch Picc.) * 3 (2.
auch Ob. d'am., 3. auch
Engl. Hr.) * 0 * 3 (3.
auch Kfg.) - 4 * 4 * 3 *
1 - S. (Glsp. * Vibr. * 3
hg. Beck. [h./m./t.] *
chin. Beck. * 4 Gongs * 4
Buckelgongs * 2 Tamt.
[m./t.] * Wassertamt. *
gr. Tr. * Metal Chimes *
Peitsche) (2 Spieler) -
Hfe. * Cel. (auch Cemb.)
- Str. (10 * 8 * 6 * 4 *
3). $74.00 - Voir plus => Acheter | | |
| Claude Debussy: Nocturne Violon et Piano Schott
Violin & Orchestra Reduction (Piano). Composed by Claude Debussy (1862-1...(+)
Violin & Orchestra
Reduction
(Piano). Composed by
Claude
Debussy (1862-1918) and
Robert Orledge. Arranged
by
Robert Orledge. String.
Softcover. 34 pages.
Schott
Music #VLB214. Published
by
Schott Music
$26.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Odelette [Conducteur et Parties séparées] Forton Music
Solo Fl. 4Fl. Afl. Bfl. (Cafl). (Cbfl). (SubCbFl). (DblCbFl.) (4 flutes, alto fl...(+)
Solo Fl. 4Fl. Afl. Bfl.
(Cafl). (Cbfl).
(SubCbFl). (DblCbFl.) (4
flutes, alto flute, bass
flute (contra-alto
flute), (contrabass
flute), (sub-contrabass
flute), (double
contrabass flute)) -
Intermediate-Advanced
SKU: FT.FM610
Composed by Camille
Saint-Saens. Arranged by
Robert Rainford. Arranged
for Solo flute with flute
ensemble accompaniment.
Score and parts. Forton
Music #FM610. Published
by Forton Music
(FT.FM610). ISBN
9790570485093. Cami
lle Saint-Saëns
(1835-1921) was a French
composer and organist of
the Romantic era. A child
prodigy, giving his first
concert when he was 10
years old, and studying
at the Paris
Conservatoire. He was
then an organist in Paris
for twenty years,
following which he was a
freelance pianist and
composer, popular both in
Europe and America. This
lesser known work is an
arrangement of a
concerto-like piece for
flute and orchestra. In a
loose rondo form, the
main theme is a decorated
scale. Entries of this
theme are interspersed
with long, almost
hymn-like tunes and
florid scale and arpeggio
patterns. The music
passes seamlessly through
several keys exploring
different moods and
aspects of the flute,
reaching a climax almost
two thirds of the way in
to the piece, before a
beautifully calm coda
lets the music float
away. This is a piece
that deserves to be much
better known. As a single
movement solo piece, it's
a great way for a player
to begin to get some
experience at playing in
an ensemble situation.
The solo line is
demanding, but not
excessively so. The
ensemble parts are
generally straight
forward, first flute
needs to be a confidant
strong player. $32.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Suzuki Flute School / Flute Part - Volume 5 (Revised Edition)
Flûte traversière [Partition] Alfred Publishing
Flute Part. This edition: Revised. Method/Instruction; Suzuki; Woodwind - Flute ...(+)
Flute Part. This edition:
Revised.
Method/Instruction;
Suzuki; Woodwind - Flute
(Suzuki). Suzuki Flute
School. Book. 20 pages.
Alfred Music #00-0173S.
Published by Alfred Music
$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Table Music Orchestre [Conducteur d'étude / Miniature] Eulenburg
Orchestra (Study Score) SKU: HL.49010347 3me Production. Composed ...(+)
Orchestra (Study Score)
SKU: HL.49010347
3me Production.
Composed by Georg Philipp
Telemann. Edited by
Walter Bergmann. Arranged
by Walter Bergmann. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott. Baroque,
Classical. Study Score.
Composed 1733. 86 pages.
Eulenburg Edition
#ETP879. Published by
Eulenburg Edition
(HL.49010347). ISBN
9790200207552. UPC:
888680949273.
5.25x7.5x0.235
inches. Contents:
Suite for Two Oboes and
Strings in B Major *
Quartet for Violin,
Flute, Cello and Basso
Continuo in E minor *
Concerto for Two Horns
and Strings in E-lat
Major * Trio for Two
Flutes and Continuo in D
Major * Solo for Oboe and
Continuo in G minor. $15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Pan Penseroso Flûte traversière et Piano Carl Fischer
Chamber Music flute, piano SKU: CF.W2650 Version 3 - Flute With Multip...(+)
Chamber Music flute,
piano SKU:
CF.W2650 Version 3
- Flute With Multiphonics
and Piano. Composed
by Martin Bresnick. Sws.
Set of Score and Parts.
With Standard notation.
Composed 2010. 36+16
pages. Duration 24
minutes. Carl Fischer
Music #W2650. Published
by Carl Fischer Music
(CF.W2650). ISBN
9780825882920. UPC:
798408082925. Sc.9x112 -
pt.8.5 x 12 inches. Key:
C major. Pan
Penseroso (2009) is a
concerto for solo flute
or two flutes and
orchestra in three
movements: 1. The Noise
of Folly 2. Prophetic
Strain 3. More is Meant
(than meets the ear) Pan
Penseroso and the titles
of its three movements
are taken from John
Miltons great poem Il
Penseroso (The
Contemplative Man). The
music aligns itself with
this response to the
poets earlier LAllegro
(the Cheerful Man). In my
concerto the flutist Pan,
like the mature Milton,
casts a reflective
musical eye on the world,
renouncing all vain
deluding joyes, so as to
better hear the Sweet
Bird that shunnst the
noise of folly Written
for the master flutist
Robert Dick, Pan
Penseroso includes a
number of procedures
explored in his
pioneering book The Other
Flute: A Performance
Manual of Contemporary
Techniques. Pan
Penseroso (2009) is a
concerto for solo flute
or two flutes and
orchestra in three
movements: 1. The Noise
of Folly 2. Prophetic
Strain 3. More is Meant
(than meets the ear) Pan
Penseroso and the titles
of its three movements
are taken from John
Miltonas great poem Il
Penseroso (The
Contemplative Man). The
music aligns itself with
this response to the
poetas earlier LaAllegro
(the Cheerful Man). In my
concerto the flutist Pan,
like the mature Milton,
casts a reflective
musical eye on the world,
renouncing all avain
deluding joyes,a so as to
better hear the aSweet
Bird that shunnast the
noise of follya|a Written
for the master flutist
Robert Dick, Pan
Penseroso includes a
number of procedures
explored in his
pioneering book The Other
Flute: A Performance
Manual of Contemporary
Techniques. Pan
Penseroso (2009) is a
concerto for solo flute
or two flutes and
orchestra in three
movements: 1. The Noise
of Folly 2. Prophetic
Strain 3. More is Meant
(than meets the ear) Pan
Penseroso and the titles
of its three movements
are taken from John
Milton's great poem Il
Penseroso (The
Contemplative Man). The
music aligns itself with
this response to the
poet's earlier L'Allegro
(the Cheerful Man). In my
concerto the flutist Pan,
like the mature Milton,
casts a reflective
musical eye on the world,
renouncing all vain
deluding joyes, so as to
better hear the Sweet
Bird that shunn'st the
noise of folly... Written
for the master flutist
Robert Dick, Pan
Penseroso includes a
number of procedures
explored in his
pioneering book The Other
Flute: A Performance
Manual of Contemporary
Techniques. Pan
Penseroso (2009) is a
concerto for solo flute
or two flutes and
orchestra in three
movements:1. The Noise of
Folly2. Prophetic
Strain3. More is Meant
(than meets the ear)Pan
Penseroso and the titles
of its three movements
are taken from John
Milton’s great
poemIl Penseroso (The
Contemplative Man). The
music aligns itself with
this response to the
poet’searlier
L’Allegro (the
Cheerful Man). In my
concerto the flutist Pan,
like the mature Milton,
casts areflective musical
eye on the world,
renouncing all
“vain deluding
joyes,†so as to
better hear
the“Sweet Bird that
shunn’st the noise
of
folly…â€Writte
n for the master flutist
Robert Dick, Pan
Penseroso includes a
number of procedures
exploredin his pioneering
book The Other Flute: A
Performance Manual of
Contemporary
Techniques. $36.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
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
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| It Takes Four to Tango Quatuor de Clarinettes: 4 clarinettes [Conducteur et Parties séparées] Theodore Presser Co.
For 3 B-Flat Clarinets and Bass Clarinet (Quartet or Ensemble). By Daniel Dorff....(+)
For 3 B-Flat Clarinets
and Bass Clarinet
(Quartet or Ensemble). By
Daniel Dorff. Wind
quartet. For Clarinet I,
Clarinet II, Clarinet
III, Bass Clarinet. Score
and parts. 4 pages.
Duration 2:30. Published
by Theodore Presser
Company.
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Suzuki Flute School FLute Part, Volume 6 Flûte traversière [Partition] Alfred Publishing
Flute Part. Method/Instruction; Suzuki; Woodwind - Flute (Suzuki). Suzuki Flute ...(+)
Flute Part.
Method/Instruction;
Suzuki; Woodwind - Flute
(Suzuki). Suzuki Flute
School. Book. 20 pages.
Alfred Music #00-0381S.
Published by Alfred Music
$9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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