| Cake Walks and Classic
Rags (GROSSMAN STEFAN) Guitare Mel Bay
For Fingerstyle Guitar. Par GROSSMAN STEFAN. Ragtime is in many ways the quintes...(+)
For Fingerstyle Guitar. Par GROSSMAN STEFAN. Ragtime is in many ways the quintessential American music. It arrived at the turn of the last century with many transitions, notably the discovery of the means to record sound, and the determination of Afro-Americans of genius to be appreciated as artists. The music we call ragtime represents not only a moment of great anticipation (as the advent of jazz was on hand) but also of fulfillment. There are perhaps, 200 classic ragtime pieces that represent a corpus of extraordinary beauty - some of the most straightforward, melodious, and out and out joyful music that there ever was. In the early 1960?s guitar players started to tackle arranging this music. David Laibman and Dave Van Ronk were in the vanguard of this movement. Van Ronk?s arrangement of St. Louis Tickle became a rite of passage for fingerstyle guitarists. Laibman?s arrangements of Scott Joplin?s classic rags amazed and challenged the fingerpickers from coast to coast and across the Atlantic Ocean to Europe. By the 1970s other guitarists tried their skills playing ragtime. In the last fifty years this pursuit has carried on. This collection presents eight outstanding guitarists and their approaches to arranging and playing cake walks and classic rags. Tackling the material in this collection will greatly help your development and mastery of the fretboard and what Rev. Gary Davis called your six-string piano. Both your hands will get a complete aerobic workout! An audio download link is included with performances of each title. / Date parution : 2022-01-14/ Recueil / Guitare
34.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Pirates Dream, A (S/O) Orchestre à Cordes Alfred Publishing
Hidden treasure chests motivate this pirate to action on the high seas! Legato b...(+)
Hidden treasure chests motivate this pirate to action on the high seas! Legato bowings, pizzicato, lifts, and some marcato bowing express the pirate's determination in his quest. All sections share the minor melodies, which include great reinforcement of low 2nd fingers in upper strings. The viola part doubles the 2nd violin part. Fun for all! (2:00) / Orchestre A Cordes
64.20 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Fiddle Time Joggers + Cd
(BLACKWELL KATHY / DAVID) Violon [Partition + CD] - Débutant Oxford University Press
Par BLACKWELL KATHY / DAVID. Fiddle Time Joggers est un premier livre de pièces...(+)
Par BLACKWELL KATHY / DAVID. Fiddle Time Joggers est un premier livre de pièces très faciles pour violon avec des morceaux de corde ouverte et les airs en utilisant l'empreinte digitale 0-1-23-4. Il ya des airs connus et des pièces originales du rock à l'aide de calypso insultes simple et une dynamique rares. Avis-conseils d'introduire de nouvelles notes et les rythmes et il ya des duos faciles à jouer. Le livre est livré avec CD, offrant des performances de tous les morceaux avec accompagnements de piano et en utilisant d'autres instruments. Un livre séparé des accompagnements au piano simples sont disponibles. Kathy Blackwell and David Blackwell
Kathy Blackwell is an experienced peripatetic string teacher, currently teaching privately after many years working for Oxfordshire County Council. She has a special interest in teaching the violin and viola to young children, both individually and in groups. Her determination to find the very best pieces - well written and accessible, tuneful and catchy - led directly to the creation of the Fiddle/Viola/Cello Time series.
David Blackwell studied music at Edinburgh University, since when he has pursued a career in music publishing, first at ABRSM, where he became Editorial Director, and then at Oxford University Press, where he is now Head of Music Publishing. He is co-editor of OUP's In the Mood: 17 Jazz Classics for Choirs and Carols for Choirs 5, and has published a number of single choral arrangements. He is co-writer with his wife Kathy of OUP's award-winning string series, Fiddle/Viola/Cello Time, which have twice won the MIA award for Best Educational Publication. / Niveau : Débutant / Recueil / Violon
14.36 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Sonata Piano seul Schott
The Sonata is one of Erkin's works which the casual listener may fail to attribu...(+)
The Sonata is one of Erkin's works which the casual listener may fail to attribute to a particular geography at a first hearing. He will however become absorbed by a unique sense of identity, surprising harmonies and rhythms which integrate with such sincerity and authenticity in the flow of the music. At a more attentive hearing, one can discover features of ancient Anatolian music which Erkin always transforms with extraordinary inspiration, enfolding audiences unfamiliar with this culture in a music which is often profoundly spiritual with an admirably woven polyphonic texture in which not one bar seems superfluous or out of place. The first movement Allegro is woven from two contrasting themes. The first is a vigorous progression in the middle register with contrapuntal elements quasi as counterpoint. A luminous second theme evoking folk tunes connects back to the first theme and the movement ends in a brisk tone. In the second movement Adagio molto sostenuto a profound, introspective first theme is developed in variations of exquisite lyricism. The imposing middle section which forms a rondo suggests latent unrest. Imbued with energy and determination, the final Allegro consists of abstracted elements of Anatolian folk music bearing the creative stamp of Erkin. The movement ends with an impressive crescendo. / Piano
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| Someone Like You - Hussey Chorale TTBB TTBB, Piano Novello & Co Ltd.
Someone Like You is the bitter-sweet smash-hit from Adele - a tale of overcoming...(+)
Someone Like You is the bitter-sweet smash-hit from Adele - a tale of overcoming lost love with your dignity and self-respect intact. It is a song rich with potential for male voice choirs seeking a powerful and engrossing number to add to their Choral Pop repertoire. Arranged by Chris Hussey, this version for TTBB choirs with piano accompaniment is a grand and defiant piece, that adds a sense of hopeful determination and spirit with its exploration of the male vocal register. / Choeur TTBB Et Piano
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| Guy-Claude Luypaerts:
Partita En Français Flûte traversière Leduc, Alphonse
Having studied under Jean Pierre Rampal and Tony Aubin at the Conservatoire Nati...(+)
Having studied under Jean Pierre Rampal and Tony Aubin at the Conservatoire National de Paris, flautist Guy-Claude Luypaerts now divides his time between his work as a soloist, teacher and orchestral conductor, without neglecting his compositional activity. Luypaerts has remained true to his childhood land: for this resident of the seaside village of Panne in western Flanders, the North Sea coastline is a continual source of inspiration. This beloved landscape, where sea, sky and dune embrace, was the setting for the composition of the Partita for Flute in August 2014. The title can be seen as a tribute to two essential works in the solo Flute repertoire: Bach's Partita in A Minor, BWV 1013 and the Sonata in A Minor Wq 179 by his son Carl Philipp Emanuel. Dedicated to flautist Maxence Larrieu, who included it in the programme of his International Competition (2015), the Partita contains three movements. The energetic determination of Patience contrasts with the dreamy exhalations of Volutes, before the Chimères are unleashed upon an angry sea. / Flûte Traversière
16.30 EUR - vendu par LMI-partitions Délais: En Stock | |
| Blackwell Kathy & David
- Cello Time Sprinters +
Cd - Violoncelle Violoncelle [Partition + CD] Oxford University Press
Cello Time Sprinters is the third book in this hugely successful series, buildin...(+)
Cello Time Sprinters is the third book in this hugely successful series, building on the firm technical and stylistic foundations of Joggers and Runners by featuring extended pieces in first position, and fourth position pieces. The book includes original pieces in different styles, pieces by a range of composers, and duets with parts of equal difficulty, together with CDs of performances and backings. Straightforward piano accompaniments are available in a separate volume. Difficulty : Easy 32 pages 21 July 2005 Kathy Blackwell and David Blackwell Kathy Blackwell is an experienced peripatetic string teacher, currently teaching privately after many years working for Oxfordshire County Council. She has a special interest in teaching the violin and viola to young children, both individually and in groups. Her determination to find the very best pieces - well written and accessible, tuneful and catchy - led directly to the creation of the Fiddle/Viola/Cello Time series. David Blackwell has worked in publishing for Oxford University Press and ABRSM. He has conducted both adult and children's choirs, and published several fine choral arrangements. He has contributed pieces to several instrumental tutor books as well as co-writing Fiddle/Viola/Cello Time.
14.80 EUR - vendu par Woodbrass Délais: En Stock | |
| Petites Pieces Tres
Faciles Vol.2 Parcours
Non Determine En Français Piano seul [Recueils et oeuvres séparées] - Débutant Billaudot
La partition PETITES PIECES TRES FACILES VOLUME 2 PARCOURS NON DETERMINE est une...(+)
La partition PETITES PIECES TRES FACILES VOLUME 2 PARCOURS NON DETERMINE est une oeuvre du compositeur Classique Vagney G. De. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Billaudot. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Divers / Partition
13.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Poème Symphonique
(LIGETI GYORGY) 100 Métronomes [Conducteur] Schott
Par LIGETI GYORGY. The formal thinking behind the piece is based on the interact...(+)
Par LIGETI GYORGY. The formal thinking behind the piece is based on the interaction between individually determined periodic rhythms and a cumulative polyrhythmic overall structure. Although the overall rhythmic structure is on an indeterminate level intermediate - the result of adding individual periods of different length is at any given time random -, it is again determinate on the higher level of the temporal development of the overall from.
This overall form consists of the three phases: uniformity - gradual structuring - and uniformity, whereby uniformity in the initial phase arises form the collective blur of the individual periods, and in the final phase is a results of the periodicity of the one remaining ticking metronome. There are no distinct divisions between the three phases: the rhythmical process leads smoothly and gradually from one phase into the next. This appears to be a continuous process but consists of individual, discontinuous moments as each metronome stop suddenly. In the sparsely instrumented final phase with only a few metronomes left ticking, this discontinuity becomes audible, most obviously when the last metronome stops. / Musique contemporaine / Répertoire / 100 Métronomes
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| Sonata (LARCHER THOMAS) Violoncelle Schott
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voi...(+)
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people.
It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly.
No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician.
Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together.
The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation.
It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece.
I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music.
Thomas Larcher/ Répertoire / Violoncelle
19.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Scaling the Heights
(PURCELL ROGER) 1-2 Saxophones [Partition] Astute Music Ltd
Par PURCELL ROGER. Scaling the Heights for saxophone is a collection of original...(+)
Par PURCELL ROGER. Scaling the Heights for saxophone is a collection of original study pieces progressing in difficulty, from Grade 1 to Grade 8, with some extra tough ones thrown in for the seriously determined! The book includes helpful information to enable the student to gain maximum benefit from practising these pieces. This book is based on the highly successful clarinet version of the same title. Included in Scaling the Heights, for Saxophone are 5 duets for players of equal ability. These are challenging and are great fun to play. / Date parution : 2021-12-09/ Etude / 1-2 Saxophones
33.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Symphonie Nr. 8 (MAHLER
GUSTAV) Chœur Mixte [SATB] et Orchestre [Conducteur d'étude / Miniature] Universal Edition
Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere pre...(+)
Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere preludes to this one. In the other works everything is subjective tragedy, - this one is a huge giver of joy.' (Gustav Mahler) Gustav Mahler's 'Symphony No. 8' is a work of exceptions. Seen from the outside, this is true of the forces that are used: with its three choirs, eight soloists and an orchestra of far more than one hundred musicians, there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work, the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony', which - as Mahler put it - 'is sung from beginning to end'. In turn, the texts that are sung influence the structure of the whole, replacing, as it were, the usual four movements of a symphony with two strongly divergent 'parts'. And, finally, as if to emphasize this divergence, the texts used - the hymn 'Veni creator spiritus' in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes, and a work of contradiction. It seems, however, that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his 'Symphony No. 8' was 'the greatest' work 'that I have composed'./ Répertoire / Chœur Mixte [SATB] et Orchestre
50.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| String Quartet - Youthful
Work (BACEWICZ GRAZYNA) Quatuor à cordes: 2 violons,
alto, violoncelle PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her mai...(+)
Par BACEWICZ GRAZYNA. Grazyna Bacewicz realised at a very early age that her main purpose in life was to compose music. Already during the 1920s, as a student of Lódz Conservatoire, as part of her lessons in harmony and counterpoint, she made attempts at composing, in which she tried to resolve nagging technical problems and impart an artistically satisfying form to them. She grew up in an atmosphere of anti-romantic tumult and the emerging neoclassical style. She assimilated the main attributes of that current in a natural way: the need to forge logical formal constructs based on new harmonic principles, not determined by the major–minor system, and also a freedom in the shaping of textures, a fixed element of which was the combining of homophony with more or less strict polyphonic forms.
One example of such a strategy is the String Quartet from her student years, signed with the date 1929–1930, which the composer did not include in her official catalogue of works. In the first movement (Allegro moderato), one can distinguish two principal subjects, served in the form of the incomplete exposition of a fugue. The chromaticised first subject, with its strongly highlighted head motif, appears in the cello, with an answer coming four bars later in the first violin. After a short bridge, the first violin intones the second subject, of a different character (dolce), and the answer appears a bar later and an octave lower in the viola. Both subjects can be heard also in the closing coda, and the space between them is filled by counterpoints based largely on ostinato figures of various sorts – a technique that Bacewicz would hone to perfection in her later work.
The middle fughetta (Molto adagio), with a subject stated just once, and in only three parts (cello, first violin, viola), acts as an intermezzo.
The third movement (Allegro molto moderato) is a double fugue with strongly contrasting subjects. The first subject, in the form of a chromaticised melodic continuum, exposed by the cello, is initially shown with the traditional arrangement retained (answered by the viola and second violin at a fifth, and by the first violin an octave above). The second subject (energico) is a structure shaped by the opening repetition of a motif of perfect fifths, then octaves combined with staccato-tremolo figurations. As the work unfolds, the two subjects appear simultaneously in original and inverted form, coming together in the closing Cadenza in a uniform idea crowned by strong (fff) chords repeated towards the end. - Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
35.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Two Nocturnes (DOBRZYNSKI
IGNACY FELIKS) Piano seul [Partition] PWM (Polskie Wydawnictwo Muzyczne)
Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for...(+)
Par DOBRZYNSKI IGNACY FELIKS. Ignacy Feliks Dobrzynski wrote eight nocturnes for piano. Five of them were published in 1833–1834 in two books as Opp. 21 and 24, while the remainder appeared in various occasional collections issued much later.
The Nocturne in A major was written in 1846 and belongs to the group of works composed by Dobrzynski during his tour of German cities. That tour was designed to increase the composer’s popularity and boost his finances. Besides concerts and meetings promoting Dobrzynski’s music, the ‘marketing campaign’ also included the publication of his new salon miniatures in particular cities. This Nocturne appeared in print in Berlin as Op. 52, together with a short mazurka constituting a transcription of the earlier song ‘Gdzie lubi’ (‘A fickle maid’). The form of this piece is based on an A-B-A1 scheme typical of the genre, with a quite elaborate epilogue. In section A, the composer based the melody on a one-bar motif in mazurka rhythm, which he combined with a bass led in widely spread chords, often used in nocturnes. He thus obtained a specifically idyllic mood. The sonorities, the type of melody and texture and, above all, the ornaments that appear as the work progresses bring to mind the early work of Fryderyk Chopin. The chordal section B, of lively expression, in the key of F sharp minor and a uniform triple rhythm, triggers associations with the middle section of Chopin’s Nocturne in A flat major, Op. 32 No. 2. After a short bridge, the reprise comprises a reiteration of the opening part of section A, which then passes into the epilogue, in which the composer splices motifs from both contrasting sections.
It is difficult to date the second Nocturne published here and to establish the circumstances surrounding its composition. It was published posthumously (in 1868, in Warsaw), in the Album Pamiatkowe IG.F. Dobrzynskiego (‘Souvenir album of I. F. Dobrzynski’), which also contained two mazurkas, two songs and an excerpt from his incidental music for the play Konrad Wallenrod arranged for four hands. These compositions were not previously published and probably come from private collections. The Nocturne carries a dedication to Miss Wanda Miecznikowska. Determining the principal key of this work is rather problematic, since it falls into two tonally and expressively contrasting sections, divided by a lengthy caesura. An agitated, emotional episode in F minor (in A-B-A1 form, section B in A flat major), ending with a distinct conclusion, is followed, rather unexpectedly, by completely new material in the key of F major; adhering to a slower tempo and of very restrained expression, it serves as a sort of post scriptum, a lengthy and calming musical commentary to the foregoing segment. One may even gain the impression that this Nocturne is essentially a diptych consisting of two separate ‘songs without words’. Judging by its style, which is close to the lyric writing of Franz Schubert, Felix Mendelssohn-Bartholdy or John Field, with elements of the style brillant, this work could have been written earlier than the Nocturne in A major. One may also discern here a certain melodic-rhythmic similarity to the above-mentioned Nocturne in A flat major by Chopin.
Both these Dobrzynski mazurkas could make interesting additions to the repertoire of both professional pianists and more advanced amateurs interested in nineteenth-century salon music. They may also enrich the programmes of concerts and broadcasts, particularly those devoted to Polish music, and also be included on the curricula of secondary schools of music.
The present edition was based on the first editions. The proposed fingering in both works and the pedalling in the Nocturne in A major are entirely the work of the editors; other editorial performance markings are given in brackets. / Répertoire / Piano
14.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Musical Scenes Book 1 Piano seul Alfred Publishing
These diverse and entertaining solos are 'character pieces' that create a mental...(+)
These diverse and entertaining solos are 'character pieces' that create a mental picture of a particular scene or episode. Students will find it easy to relate to the 'picture title' of each solo in order to determine its mood, style, and tempo. By interjecting their own musical ideas (such as dynamics, lyrics, rubato, etc.), students will enjoy using their imagination to help make each scene or episode even more colorful and descriptive. Students will also be inspired to become more thoughtful and expressive musicians. Book 1 includes 11 pieces for the late elementary to early intermediate pianist. / Piano
13.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Bantai / Kovacs -
Selected Studies For
Flute Vol.1 Flûte traversière [Partition] EMB (Editio Musica Budapest)
Publié par Bántai Vilmos, Kovács Gábor
Instrument: Flute
Série: Music Less...(+)
Publié par Bántai Vilmos, Kovács Gábor
Instrument: Flute
Série: Music Lesson - Exercises, Studies
Genre: Studies
Pages: 36 pp
Date du parution: 1980
The three volumes contain 176 studies by 25 composers. The selection was made according to technical usefulness and musical value. The studies follow in order of the grade of difficulty and are grouped around certain problems. All three volumes can be applied as supplementary material to any flute tutor. Their use should be determined by the progress of the student and not by the class he attends. We recommend the first volume (Z. 8591) for beginners, the second (Z. 8592) one for advanced students on the lower level, the third (Z. 8593) for intermediate students.
17.90 EUR - vendu par Woodbrass Délais: En Stock | |
| Run Before Lightning
(HARVEY JONATHAN) Flûte traversière et
Piano [Partition] Faber Music Limited
Par HARVEY JONATHAN. The piece was prompted by the experience of exposure to clo...(+)
Par HARVEY JONATHAN. The piece was prompted by the experience of exposure to close lightning, and running fast before it in wild exhilaration, aware that it could kill at any moment. The flute, with its vivid connection to turbulent storm-wind, is also close to human breath, breath in emotion. The acoustic structure of the flute's tube determines how the turbulence is channeled into musical sound - and canonic melodies channel further the musical sound's embodiment as structure./ Répertoire / Flûte Traversière et Piano
16.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Once Upon A Music Class
Primary Formation musicale - Solfège Alfred Publishing
Once upon a time, a hardworking music teacher was determined to slay the dragons...(+)
Once upon a time, a hardworking music teacher was determined to slay the dragons of student doldrums. She looked far and wide for meaningful yet entertaining lessons that would engage her students while addressing the Common Core music standards. One day, she happened upon a set of enchanting books filled with folk tales, fairy tales, nursery rhymes, myths, legends, and more. As they dove into the grade-appropriate literature and music activities, her students became active musicians and lived happily ever after! Each volume of Once Upon a Music Class includes 20 lessons, complete with objectives, procedures, reproducible student pages, and all necessary recordings. Recommended for grades Pre-K through two. / Formation Musicale
43.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Seven (EOTVOS PETER) Violon et Piano Schott
(Memorial for the Columbia Astronauts). Par EOTVOS PETER. Eötvös wrote this pi...(+)
(Memorial for the Columbia Astronauts). Par EOTVOS PETER. Eötvös wrote this piece in memory of the seven astronauts who lost their lives in the Space Shuttle Columbia tragedy in 2003. The number 7 determines the musical, rhythmic and formal structure of the work: 49 musicians are divided into seven groups, and as well as the solo violin there are six further violins arranged correspondingly around the hall; and the solo violin itself portrays each of the astronauts and their different origin, from America via Israel to India, in folkloristically tinged cadenzas.
'The violin concerto Seven is a very personal monologue and the musical expression of my sympathy towards the seven astronauts who lost their lives while exploring space in fulfilment of a fundamental dream of mankind.' (Peter Eötvös)/ Répertoire / Violon et Piano
54.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Beethoven Ludwig Van -
Sonatas Volume 1 - Piano
Solo Piano seul Alfred Publishing
Beethoven wrote 32 sonatas for piano. Volume 1, edited by Stewart Gordon, inclu...(+)
Beethoven wrote 32 sonatas for piano. Volume 1, edited by Stewart Gordon, includes the first 8 sonatas (Op. 2, Nos. 1-3; Op. 7; Op. 10, Nos. 1-3; and Op. 13 [Pathtique]), written between 1795 and 1799. Since these autographs no longer exist, this edition is based on the first editions, published by various Viennese engravers. Dr. Gordon discusses a variety of topics including Beethoven's life; the pianos of his time and their limitations; Beethoven's use of articulation, ornamentation, tempo; and the age-old challenge of attempting to determine the definitive interpretation of Beethoven's music. Valuable performance recommendations, helpful fingering suggestions and ornament realizations are offered in this comprehensive critical body of Beethoven's sonatas. Where performance options are open to interpretation, other editors' conclusions are noted, enabling students and teachers to make informed performance decisions.
31.60 EUR - vendu par Woodbrass Délais: Sur commande | |
| Monstrueuse Vécut
Dans Le Cadre'
(FELDMANN WALTER) Alto Solo, Grand Ensemble en 6
groupes: 1) Contreb [Partition] Carus Verlag
Par FELDMANN WALTER. Commissioned by the Ensemble Intercontemporain In 1989 I fi...(+)
Par FELDMANN WALTER. Commissioned by the Ensemble Intercontemporain In 1989 I first discovered the writings of Anne-Marie Albiach. H II linéaires especially impressed me, on the one hand through the sensual presence of the words, and on the other hand, above all, through the spatial disposition of the typography. This is a form of writing which has nothing to do with all that has existed before it. This impression was the starting point for a creative work which has since become a kind of a project to which I will dedicate myself throughout my life. Since that time of my first discovery (in which hundreds of pages of sketches and a published excerpt of a score of a syntagma have been composed, namely « monstrueuse vécut dans le cadre » la mémoire) I have attempted to develop a new musical system that encompasses all the parameters of composition. All of these works which I have composed are independent from this enormous project, but at the same time they form the experimental laboratory for the all-encompassing musical system towards which I am working and developing: a new system of determining pitches, metre, dynamics, musical diction, manner of performance, etc. With « monstrueuse vécut dans le cadre » la mémoire it appears that the research for this project has been concluded. After the two large cycles « Les Géorgiques » on texts from Claude Simon and « Tristram Shandy » from Laurence Sterne, both employing techniques from my work with Albiach’s texts, I could finally compose this work, which was originally conceived for voice and 6 instrumental groups – the system was mastered, so to speak. Anne-Marie Albiach’s establishes the genetic code for the piece, without the words having to be spoken. . Her text is, in the true sense of the word, measured from one syntagma (syntactical element), from one void (space) to another, and this results in temporal structures of ensemble texture. This is opposed to another texture, which is the temporal measurement of a recitation of the text by the author: her voice, using the range of her/ Répertoire / Alto Solo, Grand Ensemble en 6 groupes: 1) Contreb
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| Cythère
Assiégée
(GLUCK CHRISTOPH
WILLIBALD) Orchestre [Conducteur] Barenreiter
Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assié...(+)
Couverture Rigide. Par GLUCK CHRISTOPH WILLIBALD. For his Paris 'Cythère assiégée?, Gluck drew on his eponymous opéra comique from 1759, transforming it into an opéra-ballet. The libretto which was expanded by Charles Simon Favart was adapted: Gluck added recitative passages, reworked individual sections and also added his own compositions, modifying them in parts. By March 1775, the compositional work had progressed sufficiently for Gluck to leave behind a copy of the score as he departed from Paris. However, he was unable to supervise rehearsals or be present at the premiere (1 August 1775) or any of the subsequent 21 performances. Due to these particular circumstances, three versions of the work are to be distinguished: the original version, the performed version and the printed version.
This edition of 'Cythère assiégée? contains the original version of the main part and is printed here for the first time. The reconstruction which was necessary in order to determine the original form of this opera draws on all orchestral parts, the printed score and with regard to a large gap in Act III, pages were taken from the score copy. The four-part appendix includes the changes made to this score copy, sections that deviate from the printed score as well as the final version of Act III, also from the printed score. The last part of the appendix also presents a Divertissement in six movements by Berton, which is only available as a rare contemporary set of printed parts.
The Foreword offers detailed information regarding the work's genesis, subject matter, preparations for performance and print, premiere, reception, and this edition. Selected pages from significant musical sources, the libretto of the premiere performance, and images illuminating the performance context, have been added as facsimiles./ Répertoire / Conducteur
812.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Flûte En Suite Flûte traversière,
Orchestre Schott
This ?Suite' is not one of my 'epic' instrumental concertos such as the concerto...(+)
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 Flûte en suite. Jörg Widmann / Flûte Et Orchestre
75.09 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Stratos (DOSS THOMAS) Orchestre d'harmonie [Conducteur et Parties séparées] Oktavian Music
Concert March. Par DOSS THOMAS. This march begins in a determined and serious st...(+)
Concert March. Par DOSS THOMAS. This march begins in a determined and serious style. Gradually, however, it turns into a cheerful concert march. Even the trio reveals cockiness and lust for life, which gradually spreads positive energy. The finale ends in a cheerful D-major./ Répertoire / Concert Band/Harmonie
152.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Triad Pairs For Jazz -
Jazz Band Ensemble Jazz Alfred Publishing
Recording artist, saxophonist, educator, and author Gary Campbell presents an ef...(+)
Recording artist, saxophonist, educator, and author Gary Campbell presents an effective strategy for constructing fresh-sounding melodic lines. He progresses step by step through the concept, the practice exercises, and the practical application of Triad Pairs for Jazz. Concepts include: deriving triad pairs from the most used chord-scales, determining the best pairs for various chords and progressions, practice patterns for mastery, and exploring linear possibilities. Recommended for intermediate to advanced players as an expansion of the chord-scale approach.
31.60 EUR - vendu par Woodbrass Délais: Sur commande | |
| Courbe 2 (FELDMANN
WALTER) Alto et Electronique [Partition] Carus Verlag
Par FELDMANN WALTER. The viola solo courbe 2 is based on an excerpt from the vio...(+)
Par FELDMANN WALTER. The viola solo courbe 2 is based on an excerpt from the viola part in the Trio for flute, viola and harp « courbes » – sequences. In the densest time curve of this piece the viola plays the leading role for a span of almost three minutes. This material is taken from the Trio, presented and divided into separate parts. courbe 2 is three times longer in duration than the Trio excerpt from which it is derived. The musical text of the individual fragments remains as it is in the original, but, “pulsating”, demarcated in seconds. Fissures emerge between the fragments, windows open: - to harmonic fields, central sounds, taken over from the reverberations, from which new tone materialis derived; the fields in turn are distorted and spacialised by the electronics - to metrical structures and pulses freed from the individual motives of the original musical text, which forms new variants in interaction with these fields. Thus in courbe 2 which, as already indicated, is three times longer in duration than the original, three musical levels are interpenetrated, whereby all three are derived from one tone, which plays an absolutely central role in most of my works. It is a reference to the French writer Anne-Marie Albiach [and to her great text « H II » linéaires], and it remains as the only tone at the end of the piece, definitively, determining everything, b = 247 Hertz. Walter Feldmann/ Répertoire / Alto et Electronique
25.79 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| The Harbour: Sunday
Morning (SPARKE PHILIP) Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Par SPARKE PHILIP. The Harbour:Sunday Morningwas commissioned by the Jersey Inst...(+)
Par SPARKE PHILIP. The Harbour:Sunday Morningwas commissioned by the Jersey Instrumental Service for the Jersey Youth Wind Band. The history of the Channel Islands is inextricably linked to the sea and this determined the theme for this composition. The composer is intrigued by man?s fascination with elements of nature (such as the sea, mountains, deserts and deep space), which are both beautiful and dangerous. Bring the power of the sea to your concert with this truly descriptive piece. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie
157.20 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
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