| Henry Purcell: Solo Songs Volume I Voix haute, Piano Novello & Co Ltd.
By Henry Purcell. For Voice, HarpsichordA. Baroque. Sheet Music. 60 pages. Publi...(+)
By Henry Purcell. For
Voice, HarpsichordA.
Baroque. Sheet Music. 60
pages. Published by
Novello and Co Ltd.
$25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rockschool Classics Guitar Grade 2 Guitare [Partition + Accès audio] - Facile Rock School Limited (RSL)
Guitar - Grade 2 SKU: BT.RSK200070 Rockschool Classics. Exam Material. Bo...(+)
Guitar - Grade 2 SKU:
BT.RSK200070
Rockschool Classics. Exam
Material. Book with
Online Audio. Composed
2018. Rockschool
#RSK200070. Published by
Rockschool
(BT.RSK200070). ISBN
9781789360066.
English. Learn
to play rock and pop with
Rockschool. These
specially written
arrangements develop the
skills and techniques you
need to help you achieve
your musical goals.
Rockschool Classics
Guitar Grade 2 contains
eight of thebiggest rock
tracks from the past five
decades arranged for you
to play in your Grade 2
Exam. You can choose two
pieces from Rockschool
Classics to play in your
Grade Exam or three to
play in your Peformance
Certificate. Featur
ing: - Foo
Fighters - Resolve
- Bon Jovi - You Give
Love A Bad Name
- AC/DC - Highway To
Hell
- Red Hot
Chili Peppers -
Californication
- Oasis -
Supersonic
- Metallica
-EnterSandman
- Fleetwood Mac -
Albatross
- The
Darkness - I Believe In A
Thing Called Love
Plus:
- Band and artist fact
files with recommended
listening
- In-depth walkthroughs
of everytrack
- Easy-access
downloadable audio
- Example tests and
exercises
- Amp
settings and tone advice
for each track
$22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Character Songs from Musical Theatre - Women's Edition Piano, Voix Hal Leonard
31 Songs from Featured Character Roles. Composed by Various. Vocal Collec...(+)
31 Songs from Featured
Character Roles.
Composed by Various.
Vocal Collection.
Broadway, Musicals.
Softcover. 216 pages.
Published by Hal Leonard
(HL.240992).
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| I Sing A Song/Prayer For America - SATB Chorale SATB SATB [Octavo] - Intermédiaire Alfred Publishing
By Douglas E. Wagner (Incorporating "America, The Beautiful"). For Choir. (SATB...(+)
By Douglas E. Wagner
(Incorporating "America,
The Beautiful"). For
Choir. (SATB). Choral
Octavo. Patriotic,
Americana. Choral Octavo.
12 pages. Published by
Alfred Publishing.
Level: Moderate
(grade 3).
$2.25 $2.1375 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gate to Heaven (orchestra score) Orchestre C. Alan Publications
(Concerto No. 1 for Marimba, Strings and Percussion). Composed by Gillingham. Ar...(+)
(Concerto No. 1 for
Marimba, Strings and
Percussion). Composed by
Gillingham. Arranged by
Nathan Daughtrey. For
Soloist(s) with String
Orchestra (Solo Marimba
Percussion 1 (xylophone,
bells, chimes) Percussion
2 (brake drum, cowbell,
shaker, suspended cymbal,
crash cymbals, temple
blocks, triangle)
Percussion 3 (4 toms,
crash cymbals, bass drum,
suspended cymbal, tam
tam, hi hat) Violin I
Violin II). Medium
difficult. Orchestra
score only. Duration
16:30. Published by C.
Alan Publications
$40.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Complete Book of Scales, Cadences and Arpeggios Piano seul [Livre] Santorella Publications
Composed by John Brimhall and Raquel Abril. For Piano. Paperback. Reference, Met...(+)
Composed by John Brimhall
and Raquel Abril. For
Piano. Paperback.
Reference, Method. Book.
88 pages. Published by
Santorella Publications
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| I Am Resolved Chorale 3 parties SAB [Octavo] Shawnee Press
Arranged by Stan Pethel. For Choral (SAB). Glory Sound Simply Sacred. Octavo. 8 ...(+)
Arranged by Stan Pethel.
For Choral (SAB). Glory
Sound Simply Sacred.
Octavo. 8 pages.
Published by GlorySound
$2.50 $2.375 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Marche fatale Piano seul [Conducteur] Breitkopf & Härtel
Piano SKU: BR.EB-9253 Composed by Helmut Lachenmann. Solo instruments; st...(+)
Piano SKU:
BR.EB-9253 Composed
by Helmut Lachenmann.
Solo instruments;
stapled. Edition
Breitkopf. World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Score.
Composed 2016/17/20. 12
pages. Duration 8'.
Breitkopf and Haertel #EB
9253. Published by
Breitkopf and Haertel
(BR.EB-9253). ISBN
9790004185537. 9 x 12
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Marche fatale Orchestre [Conducteur] Breitkopf & Härtel
Orchestra SKU: BR.PB-5432 Composed by Helmut Lachenmann. Orchestra; stapl...(+)
Orchestra SKU:
BR.PB-5432 Composed
by Helmut Lachenmann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library). World
premiere of the
orchestral version:
Stuttgart, January 1,
2018World premiere of the
piano version: Mito, June
17, 2017 Have a
look into EB
9283. New music
(post-2000). Full score.
Composed 2016/17/20. 48
pages. Duration 8'.
Breitkopf and Haertel #PB
5432. Published by
Breitkopf and Haertel
(BR.PB-5432). ISBN
9790004212790. 10 x 12.5
inches. Marche
fatale is an incautiously
daring escapade that may
annoy the fans of my
compositions more than my
earlier works, many of
which have prevailed only
after scandals at their
world premieres. My
Marche fatale has,
though, little
stylistically to do with
my previous compositional
path; it presents itself
without restraint, if not
as a regression, then
still as a recourse to
those empty phrases to
which modern civilization
still clings in its daily
utility music, whereas
music in the 20th and
21st centuries has long
since advanced to new,
unfamiliar soundscapes
and expressive
possibilities. The key
term is banality. As
creators we despise it,
we try to avoid it -
though we are not safe
from the cheap banal even
within new aesthetic
achievements.Many
composers have
incidentally accepted the
banal. Mozart wrote Ein
musikalischer Spass [A
Musical Jape], a
deliberately amateurishly
miscarried sextet.
Beethoven's Bagatellen
op. 119 were rejected by
the publisher on the
grounds that few will
believe that this minor
work is by the famous
Beethoven. Mauricio Kagel
wrote, tongue in cheek,
so to speak, Marsche, um
den Sieg zu verfehlen
[Marches for being
Unvictorious], Ligeti
wrote Hungarian Rock; in
his Circus Polka
Stravinsky quoted and
distorted the famous, all
too popular Schubert
military march, composed
at the time for piano
duet. I myself do not
know, though, whether I
ought to rank my Marche
fatale alongside these
examples: I accept the
humor in daily life, the
more so as this daily
life for some of us is
not otherwise to be
borne. In music, I
mistrust it, considering
myself all the closer to
the profounder idea of
cheerfulness having
little to do with humor.
However: Isn't a march
with its compelling claim
to a collectively martial
or festive mood absurd, a
priori? Is it even music
at all? Can one march and
at the same time listen?
Eventually, I resolved to
take the absurd seriously
- perhaps bitterly
seriously - as a
debunking emblem of our
civilization that is
standing on the brink.
The way - seemingly
unstoppable - into the
black hole of all
debilitating demons: that
can become serene. My old
request of myself and my
music-creating
surroundings is to write
a non-music, whence the
familiar concept of music
is repeatedly re-defined
anew and differently, so
that derailed here -
perhaps? - in a
treacherous way, the
concert hall becomes the
place of mind-opening
adventures instead of a
refuge in illusory
security. How could that
happen? The rest is -
thinking.(Helmut
Lachenmann, 2017)CD
(Version for
Piano):Nicolas Hodges CD
Wergo WER 7393 2
Bibliography:Ich bin
nicht ,,pietistisch
verformt. Ein Gesprach
[von Jan Brachmann] mit
dem Komponisten Helmut
Lachenmann, in: FAZ vom
7. Juni 2018, p.
15.
World premiere
of the piano version:
Mito/Japan, June 17,
2017, World premiere of
the orchestral version:
Stuttgart, January 1,
2018, World premiere of
the ensemble version:
Frankfurt, December 9,
2020. $63.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| I Thirst Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Promethean Editions
Chamber Music String Quartet SKU: PO.ME11 Composed by Robin Walker. Sws. ...(+)
Chamber Music String
Quartet SKU:
PO.ME11 Composed by
Robin Walker. Sws. Full
score. Composed 1999.
Promethean Editions
#ME11. Published by
Promethean Editions
(PO.ME11). ISBN
9780958206518. Walk
er drew inspiration for
this short, slow movement
from I Thirst being the
the fifth of Christ's
last seven words from the
cross - cries of
dereliction and comfort
that are meditated upon
annually at Passiontide.
I Thirst is a ritual of
solo melody, homophony
and biting figuration
whose dessication is, in
due course, quenched by
waves of string
harmonics. The work's
pervading instability is
resolved with the
subduing power of melody
finally bringing
balance. $37.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Journey (TTBB) Chorale TTBB TTBB A Cappella [Octavo] Seafarer Press
By Elizabeth Alexander. For Men's Chorus (TTBB choir a cappella). Collegiate Rep...(+)
By Elizabeth Alexander.
For Men's Chorus (TTBB
choir a cappella).
Collegiate Repertoire,
Community Chorus, Concert
Music. Courage, Hardship,
Sacred (Worship and
Praise), Choral.
Moderately Advanced.
Octavo. Text language:
English. Duration 6
minutes. Published by
Seafarer Press
$3.50 $3.325 (- 5%) Voir plus => AcheterDélais: 4 to 6 weeks | | |
| With What Shall I Come Before the Lord Chorale SATB SATB, Orgue - Intermédiaire MorningStar Music Publishers
SATB choir, organ - Intermediate SKU: MN.50-9083 Composed by Philip Young...(+)
SATB choir, organ -
Intermediate SKU:
MN.50-9083 Composed
by Philip Young. Catholic
Year A Lent3; Year A
Epiphany4; Year A Lent3;
Catholic Year C
Ordinary25; Catholic Year
C Ordinary4; Year C
Epiphany4; Year C
Pentecost18;;;. 21st
Century, Stewardship.
Octavo. MorningStar Music
Publishers #50-9083.
Published by MorningStar
Music Publishers
(MN.50-9083). UPC:
688670590832. Scripture:
Micah
6:6-8. Agitated
questioning (first half)
resolves effortlessly
(second half). Utilizes
minimalistic techniques
to provide answers in
peaceful, serene setting.
Significant
accompaniment. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Clavichord Pieces, Volume I Piano seul [Partition] Alfred Publishing
By Francois Couperin. For Piano. Piano Collection. Masterwork. Book. 112 pages. ...(+)
By Francois Couperin. For
Piano. Piano Collection.
Masterwork. Book. 112
pages. Published by
Alfred Publishing.
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| La Noche Festiva -- I. Preludio Quatuor de Saxophones: 4 saxophones Advance Music
4 Saxophones SATBar SKU: AP.1-ADV7450 For SATBar Saxophone Quartet...(+)
4 Saxophones SATBar
SKU: AP.1-ADV7450
For SATBar Saxophone
Quartet. Composed by
Dennis Anderson. Quartet;
Solo Small Ensembles;
Woodwind - Saxophone
Quartet. Advance Music.
Form: Suite. Latin. Score
and Part(s). Advance
Music #01-ADV7450.
Published by Advance
Music (AP.1-ADV7450).
UPC: 805095074505.
English. Each
movement (sold
separately) of this suite
presents an authentic
Latin musical form and
should be carefully
approached with an
indigenous flavor,
sensibility, and
attitude. The beginning
of this movement opens
with pronounced
dissonance and
polytonality before
developing into a fugue
statement that resolves
with excitement and
vigor. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 56 Songs You Like to Sing
Piano, Voix [Partition] Schirmer
(Voice and Piano) For voice and piano. Format: piano/vocal songbook. With vocal ...(+)
(Voice and Piano) For
voice and piano. Format:
piano/vocal songbook.
With vocal melody, piano
accompaniment and lyrics.
Classical period and
romantic period. 208
pages. 9x12 inches.
Published by Schirmer.
(2)$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| For A Change Solostemme, Kopi Music Sales
Wind Ensemble SKU: HL.14011617 Composed by Per Norgard. Music Sales Ameri...(+)
Wind Ensemble SKU:
HL.14011617 Composed
by Per Norgard. Music
Sales America. Classical.
Set. 96 pages. Music
Sales #KP00706. Published
by Music Sales
(HL.14011617). ISBN
9788759872031.
Danish. Per Norgard
FOR A CHANGEThe title
'For a Change' refers to
the Chinese 'Book of
Changes' ('I Ching'),
which has been consulted
in situations of choice
for millenia. In the I
Ching, 64 states of being
determine the full cycle
of the phases of life.
From these I selected
four, the sequence of
which progresses from a
situation from which
there is apparently no
solution, to a
(temporary) relief.In the
first movement 'Thunder
repeated, the Image of
Shock', a vicious circle
of claustrophobic, closed
circuits is represented
by the tom-tom part. This
is followed by tam-tams
and wood sounds, but
returns full-circle to
the tom-toms.The second
movement 'The taming
Power of the small' has
its origins in the
violence of the first
movement, but this time
lets it resolve in a long
glide upwards which stars
with voice sounds
'borrowed' from the
Beatles' 'Revolution no
9' which are then
transmitted to the other
instruments.The third
movement is 'The Gentle,
The Penetrating' in which
lyrical poetry dominates
with gentle bell-like
sounds and delicate
tunes. Finally the
sovereign, many-layered
world of rhythm triumphs
in the fourth movement:
'Towards Completion. Fire
over Water', the main
movement of the work.'For
a Change' was premiered
on 27.2. 1983 with the
Sealand Symphony
Orchestra conducted by
Tamas Veto. Soloist was
Gert Mortensen whom the
work is dedicated. $56.25 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zion Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Bassoon 3, Clarinet 1, Clarinet 2, Clarinet 3, C...(+)
Orchestra Bassoon 1,
Bassoon 2, Bassoon 3,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass,
Flute 1, Flute 2, Flute
3, Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Oboe 3, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piano,
Timpani, Trombone 1 and
more. SKU:
PR.466000470 Composed
by Dan Welcher. Spiral.
Large Score. With
Standard notation.
Duration 10 minutes.
Theodore Presser Company
#466-00047. Published by
Theodore Presser Company
(PR.466000470). UPC:
680160099405. 11 x 17
inches. This is the
second incarnation of a
work I first composed in
1994 for symphonic wind
ensemble. The earlier
version was intended to
be the summation of
three-part suite, each
part being named for a
different national park
in the Western United
States. This orchestral
version, commissioned in
1999 by the Utah Symphony
and dedicated to the
memory of Aaron Copland,
is more than a re-scoring
of the earlier piece; it
is a re-thinking of all
its elements. Zion is a
place with unrivaled
natural grandeur, being a
sort of huge box canyon
in which the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both his
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of
triumph. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Zion Orchestre d'harmonie Theodore Presser Co.
Concert Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet...(+)
Concert Band Bass
Clarinet, Bassoon 1,
Bassoon 2, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3,
Contrabassoon, English
Horn, Euphonium, Flute 1,
Flute 2, Flute 3, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3 and more.
SKU: PR.16500092L
For Concert Band.
Composed by Dan Welcher.
Spiral. Contemporary.
Large Full Score. With
Standard notation.
Composed 1994. 76 pages.
Duration 10 minutes.
Theodore Presser Company
#165-00092L. Published by
Theodore Presser Company
(PR.16500092L). UPC:
680160039531. 11 x 17
inches. Zion is the
third and final
installment of a series
of works for Wind
Ensemble inspired by
national parks in the
western United States,
collectively called Three
Places in the West. As in
the other two works (The
Yellowstone Fires and
Arches), it is my
intention to convey more
an impression of the
feelings I've had in Zion
National Park in Utah
than an attempt at
pictorial description.
Zion is a place with
unrivalled natural
grandeur, being a sort of
huge box canyon in which
the traveler is
constantly overwhelmed by
towering rock walls on
every side of him -- but
it is also a place with a
human history, having
been inhabited by several
tribes of native
Americans before the
arrival of the Mormon
settlers in the mid-19th
century. By the time the
Mormons reached Utah,
they had been driven all
the way from New York
State through Ohio and,
with tragic losses,
through Missouri. They
saw Utah in general as a
place nobody wanted, but
they were nonetheless
determined to keep it to
themselves. Although Zion
Canyon was never a Mormon
Stronghold, the people
who reached it and
claimed it (and gave it
its present name) had
been through extreme
trials. It is the
religious fervor of these
persecuted people that I
was able to draw upon in
creating Zion as a piece
of music. There are two
quoted hymns in the work:
Zion's Walls (which Aaron
Copland adapted to his
own purposes in both is
Old American Songs and
the opera The Tender
Land) and Zion's
Security, which I found
in the same volume in
which Copland found
Zion's Walls -- that
inexhaustible storehouse
of 19th-century hymnody
called The Sacred Harp.
My work opens with a
three-verse setting of
Zion's Security, a stern
tune in F-sharp minor
which is full of resolve.
(The words of this hymn
are resolute and strong,
rallying the faithful to
be firm, and describing
the city of our God they
hope to establish). This
melody alternates with a
fanfare tune, whose
origins will be revealed
in later music, until the
second half of the piece
begins: a driving
rhythmic ostinato based
on a 3/4-4/4 alternating
meter scheme. This pauses
at its height to restate
Zion's Security one more
time, in a rather obscure
setting surrounded by
freely shifting patterns
in the flutes, clarinets,
and percussion -- until
the sun warms the ground
sufficiently for the
second hymn to appear.
Zion's Walls is set in
7/8, unlike Copland's
9/8-6/8 meters (the
original is quite
strange, and doesn't
really fit any constant
meter), and is introduced
by a warm horn solo. The
two hymns vie for
attention from here to
the end of the piece,
with the glowingly
optimistic Zion's Walls
finally achieving
prominence. The work ends
with a sense of triumph
and unbreakable spirit.
Zion was commissioned in
1994 by the wind
ensembles of the
University of Texas at
Arlington, the University
of Texas at Austin, and
the University of
Oklahoma. It is dedicated
to the memory of Aaron
Copland. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 12 Kleine Stücke for Brass Quintet [Conducteur et Parties séparées] Cherry Classics
Composed by Ludwig Maurer. Arranged by David Mathie. Romantic. Score and parts. ...(+)
Composed by Ludwig
Maurer. Arranged by David
Mathie. Romantic. Score
and parts. Published by
Cherry Classics
(CY.CC2896).
$37.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chamber Concerto [Conducteur] University Of York Music Press
Chamber Ensemble SKU: BT.MUSM570362356 Composed by Ed Hughes. Score Only....(+)
Chamber Ensemble SKU:
BT.MUSM570362356
Composed by Ed Hughes.
Score Only. 63 pages.
University of York Music
Press #MUSM570362356.
Published by University
of York Music Press
(BT.MUSM570362356).
English. My
music is influenced by
all kinds of polyphonic
writing - meaning both
vocal and instrumental
varieties. Recently I
have become interested in
the ways in which musical
forms based on rhythmic
processes can enable
layering to emerge, so
that harmonies and
textures coexist rather
than resolve. Chamber
Concerto , scored for
seven players (Flute,
Clarinet, Bass Clarinet,
Horn, Piano, Violin,
Cello) works with this
idea in a piece conceived
for the virtuoso
musicians of The New
Music Players. The work
is in four movements. -
Ed Hughes Chamber
Concerto was first
performed by The New
Music Players, conducted
by Patrick Bailey, Kings
Place, London, Out Hear
Series, 27September
2010. $44.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Flamenco Improvisation: Volume 3 Guitare notes et tablatures Sher Music Company
Modal Improvisation and Melodic Construction in the Flamenco Environment. Com...(+)
Modal Improvisation and
Melodic Construction in
the
Flamenco Environment.
Composed by Enrique
Vargas.
513 pages. Published by
Sher
Music Company
$48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Nocturne for String Orchestra in B major, op. 40 Orchestre à Cordes - Facile Barenreiter
String orchestra (Violins (2), Viola, Violoncello, Double bass) - Level 2 SKU...(+)
String orchestra (Violins
(2), Viola, Violoncello,
Double bass) - Level 2
SKU: BA.BA11564
Composed by Antonin
Dvorak. Edited by
Jonáš Hájek.
This edition: urtext
edition. Paperback.
Score, Set of parts. Opus
40. Baerenreiter Verlag
#BA11564_00. Published by
Baerenreiter Verlag
(BA.BA11564). ISBN
9790260109148. 31 x 24.3
cm inches. Key: B-flat
major. Preface: David R.
Beveridge. The
discovery of a lost
source to AntonÃn
Dvorák's
â??Nocturneâ? in B
major op. 40 provides new
insights into the genesis
of the composition and
the composer's intended
final form of this
lyrical little piece for
string
orchestra.
The
musical material of what
was later to be named
â??Nocturneâ? was
initially elaborated in
the String Quartet in E
minor; subsequently it
was used in the original
version of the String
Quintet in G major as its
second movement. However
Dvorák then extracted
it again, expanding and
editing it afresh. The
final result was the
â??Nocturneâ? for
string orchestra (two
violins, viola,
violoncello, double
bass). The first edition
was published by Bote and
Bock in 1883.
The
authorized second copy of
the work that had served
as a template for the
first printing was
discovered by the editor
Jonáš Hájek in a
privately owned
collection. This enabled
him to resolve the
several ambiguities
caused by the existence
of multiple versions and
to unveil the authentic
â??Nocturneâ?.
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
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Knife of Loneliness Potenza Music
Clarinet, violin, piano SKU: P2.30092 Composed by Michael Albaugh. Chambe...(+)
Clarinet, violin, piano
SKU: P2.30092
Composed by Michael
Albaugh. Chamber music,
20th century. Published
by Potenza Music
(P2.30092).
Composer
Michael Albaugh says, The
Knife of Loneliness is
composed as three
movements in one piece.
It was originally
conceived as material for
a larger string trio, but
it became great source
material for my then
neighbor, clarinetist
Nathan Williams and his
trio Strata when I was
invited to contribute for
a concert. The first
section is determined and
driven, reflecting the
push for clarity in
difficult life
situations. The second
section is reflective and
contemplative. It is sad
but hopeful with resolve
to move forward which is
reflected in the final
section. Life provides
many opportunities to
overcome difficult
situations - it simply
takes time.. $24.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eden: Out of Time and Out of Space Theodore Presser Co.
Chamber Music Clarinet, Flute, Guitar, Horn, Viola, Violin, Violoncello SKU: ...(+)
Chamber Music Clarinet,
Flute, Guitar, Horn,
Viola, Violin,
Violoncello SKU:
PR.114420410
Chamber Concerto for
Guitar and Ensemble.
Composed by George
Rochberg. Set of Score
and Parts.
30+10+8+10+12+10+10+10
pages. Duration 20
minutes. Theodore Presser
Company #114-42041.
Published by Theodore
Presser Company
(PR.114420410). UPC:
680160687015. In
one of the dedicatory
poems to his verse play
The Shadowy Waters
(1906), William Butler
Yeats asks: Is Eden far
away...? Do our woods and
winds and verponds cover
more quiet woods, More
shining winds, more
star-glimmering ponds? Is
Eden out of time and out
of space? How do you
answer such questions? We
have only the vague
elusive promptings of our
own mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
- what is most painful to
admit - that it is closed
to us in the form in
which we live and
breathe, even if at times
we do have
intimations..., Yeats is
telling us that this
paradise, this Eden we
yearn for is here -
present even if
invisible, palpable even
if intangible. In his
Second Symphony, Mahler
meets an angel who tells
him he can't get into
heaven, he's locked out.
The news is shattering.
What follows is an
inconsolable sorrowing,
the same sorrowing that
comes when we wake to the
realization that we too
are locked out of Eden.
Eden is the heaven of our
longing and desire for
release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes -because it is not
a place. It is a state of
soul which answers none
of the illusory,
hampering conditions that
shape and bind us to the
real world of our bodies,
our appetites, our
passions, and our
beliefs. I have turned
Yeats' question Is Eden
out of time and out of
space? into its own
answering. However near
we may sense its presence
at times, Eden remains
unreachable, ungraspable,
unknowable, unthinkable.
It forever eludes us. I
wrote this music the way
I did to shut out -with
quietness and
otherworldliness - the
clamor and clang of the
raucous Garish Day, to
turn away its tumult and
noise, to negate its
stridency and chaos.
Perhaps in the cleansing
stillness and blessing of
this emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. In one of the
dedicatory poems to his
verse play “The
Shadowy Watersâ€
(1906), William Butler
Yeats asks:“Is Eden
far away…?Do our
woods and windsand
verponds cover morequiet
woods,More shining
winds,more
star-glimmeringponds?Is
Eden out of timeand out
of space?â€How do
you answer such
questions? We have only
the vague elusive
promptings of our own
mysterious, troubled
hearts to tell us that
the Eden we long for is
there, somewhere beyond
the physical world which
frames our existence, in
another realm of
different dimensions. And
– what is most
painful to admit –
that it is closed to us
in the form in which we
live and breathe, even if
at times we do have
intimations…, Yeats
is telling us that this
paradise, this Eden we
yearn for is here
– present even if
invisible, palpable even
if intangible.In his
Second Symphony, Mahler
meets an angel who tells
him he can’t get
into heaven, he’s
locked out. The news is
shattering. What follows
is an inconsolable
sorrowing, the same
sorrowing that comes when
we wake to the
realization that we too
are locked out of
Eden.Eden is the heaven
of our longing and desire
for release from pain and
suffering. Eden is the
image in our restive
minds that reflects the
reconciled, resolved,
quiescent state of soul
we hunger for. But Eden
eludes –because it
is not a place. It is a
state of soul which
answers none of the
illusory, hampering
conditions that shape and
bind us to the real world
of our bodies, our
appetites, our passions,
and our beliefs.I have
turned Yeats’
question “Is Eden
out of time and out of
space?†into its
own answering. However
near we may sense its
presence at times, Eden
remains unreachable,
ungraspable, unknowable,
unthinkable. It forever
eludes us.I wrote this
music the way I did to
shut out –with
quietness and
otherworldliness –
the clamor and clang of
the raucous “Garish
Day,†to turn away
its tumult and noise, to
negate its stridency and
chaos. Perhaps in the
cleansing stillness and
blessing of this
emptied-out state of
soul, Eden, through still
hidden, may not be so far
way; though still
unreachable, may be close
enough almost to
touch. $50.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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