| Renaissance and
Elizabethan Music for
Banjo (DATESMAN KYLE) Banjo [Partition + Accès audio] Mel Bay
Par DATESMAN KYLE. Perhaps the first 5-string banjo book of its kind, Renaissanc...(+)
Par DATESMAN KYLE. Perhaps the first 5-string banjo book of its kind, Renaissance and Elizabethan Music for Banjo consists entirely of music from these early periods and provides banjo players with \'growing material\''that is, the opportunity to play in a number of different keys besides G major. This detail alone will expand your banjo horizon by requiring the use of unusual chord shapes. Written for classical banjo enthusiasts who want to further enhance their musicianship, some selections reveal one of the earliest aspects of music theory, that of modal scales. Various compositional forms and unfamiliar tempos are also introduced in arrangements that will help you become less dependent on the open fifth string. This type of music would be extremely difficult to learn by ear, so a book of tablatures should prove to be invaluable. Every piece is presented first in a vertical chord arrangement, which was the way it was originally intended' and then arranged in a linear horizontal style more familiar to modern players. Every tune is accompanied by performance notes supported by a helpful glossary. Written in tablature only with access to online audio, these pieces also make great finger-limbering exercises! Includes access to online audio. / Date parution : 2022-01-18/ Recueil / Banjo
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| Acoustic Guitar : 25Th
Anniversary Songbook -
Guitar Recorded Versions Guitare notes et tablatures [Partition] Hal Leonard
For the past 25 years, Acoustic Guitar has featured hundreds of profiles, songs,...(+)
For the past 25 years, Acoustic Guitar has featured hundreds of profiles, songs, gear reviews, and lessons, all with the mission of introducing readers to the magic of acoustic Guitar in all its forms, especially through song.This collection features everything from haunting, pure acoustic blues to folk and rock based songs. / Guitare
27.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Rockschool Guitar Grade 5
(2018): Guitar:
Instrumental Tutor Guitare notes et tablatures Rock School Limited (RSL)
Learn to play rock and pop with Rockschool. These specially written arrangements...(+)
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. For Rockschool's 2018-2024 Guitar series Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus. The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock metal and pop. The tracks were recorded at Real World's acclaimedrecording studios and feature live instruments and first rate performances for an unrivalled level of feel authenticity and musicianship. Featuring: Eric Clapton - Lay Down Sally Average White Band - Pick Up the Pieces The Meters - People Say Beyonce - Love On Top Eminem - Lose Yourself AC/DC - Hell Ain't A Bad Place To Be 6 Rockschool Originals Plus: Band and artist fact files with recommended listening In-depth walkthroughs of every track Easy-access downloadable audio Example tests and exercises Amp settings and tone advice for each track
19.99 GBP - vendu par Musicroom GB | |
| Richard Wagner: The
Flying Dutchman: Mixed
Choir: Vocal Score [Vocal Score] Schirmer
The story of the Dutch sea-captain cursed to wander the earth unendingly featu...(+)
The story of the Dutch sea-captain cursed to wander the earth unendingly featured three themes that were of enduring interest to Wagner: the Wanderer on his Quest Redemption through Self-sacrifice and Pre-destined Love. The story is that a storm drives Daland's ship off course. A ghostly schooner arrives and its captain the Flying Dutchman steps ashore. He is bound to his ship as he once pledged to sail around the Cape of Good Hope if it took him forever. Once every seven years he may leave his ship in search of a woman who will save him from his deathless wandering if she is faithful until death. Daland offers his daughter Senta’s hand in marriage. As theyapproach the village Senta’s suitor Erik notices she is preoccupied. He relates a frightening dream in which he saw her sail away with the Dutchman and Senta exclaims that this is her own dream as well and pledges her faithfulness to him. Erik is not happy and insists that Senta is his. The Dutchman overhearing believes himself betrayed and sets sail. Senta runs to the top of a cliff proclaiming herself faithful unto death and leaps into the sea. Their ghostly forms are seen together ascending to Heaven. This is the Schirmer edition of the Vocal Score with an essay by W.J. Henderson and an English translation of Wagner's text by Troutbeck and Baker.
25.99 GBP - vendu par Musicroom GB | |
| Richard Wagner: The
Flying Dutchman: Opera:
Libretto Schirmer
The story of the Dutch sea-captain cursed to wander the earth unendingly featu...(+)
The story of the Dutch sea-captain cursed to wander the earth unendingly featured three themes that were of enduring interest to Wagner: the Wanderer on his Quest Redemption through Self-sacrifice and Pre-destined Love. The story is that a storm drives Daland's ship off course. A ghostly schooner arrives and its captain the Flying Dutchman steps ashore. He is bound to his ship as he once pledged to sail around the Cape of Good Hope ifit took him forever. Once every seven years he may leave his ship in search of a woman who will save him from his deathless wandering if she is faithful until death. Daland offers his daughter Senta’s hand in marriage. As theyapproach the village Senta’s suitor Erik notices she is preoccupied. He relates a frightening dream in which he saw her sail away with the Dutchman and Senta exclaims that this is her own dream as well and pledges herfaithfulness to him. Erik is not happy and insists that Senta is his. The Dutchman overhearing believes himself betrayed and sets sail. Senta runs to the top of a cliff proclaiming herself faithful unto death and leaps intothe sea. Their ghostly forms are seen together ascending to Heaven.This is the Schirmer edition of the Libretto in the original German with an English translation by Stewart Robb.
7.99 GBP - vendu par Musicroom GB | |
| Rockschool Guitar Grade 6
(2018): Guitar:
Instrumental Tutor Guitare notes et tablatures Rock School Limited (RSL)
Learn to play rock and pop with Rockschool. These specially written arrangements...(+)
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. For Rockschool's 2018-2024 Guitar series Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus. The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock metal and pop. The tracks were recorded at Real World's acclaimedrecording studios and feature live instruments and first rate performances for an unrivalled level of feel authenticity and musicianship. Featuring: Prince - I Wanna Be Your Lover Cream - Crossroads Jill Scott - The Real Thing/The Way Breakestra - Cramp Your Style Soundgarden - Fell On Black Days Alicia Keys - If I Ain't Got You 6 Rockschool Originals Plus: Band and artist fact files with recommended listening In-depth walkthroughs of every track Easy-access downloadable audio Example tests and exercises Amp settings and tone advice for each track
21.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Classic Rags for Flute
and Piano: Flute and
Accomp.: Instrumental
Album Flûte traversière et
Piano [Partition + CD] Music Minus One
Performed by Anne Barnhart flute Accompaniment: Jeff Barnhart piano This extr...(+)
Performed by Anne Barnhart flute Accompaniment: Jeff Barnhart piano This extraordinary Music Minus One collection of ragtime classics arranged for flute and piano provides a unique opportunity for flutists of varying technical abilities to explore one of the greatest original American musical forms - ragtime - presented by flute-and-piano duo Anne and Jeff Barnhart who have given new life to a spectacular collection of time-honored rags while remaining true to the composers' original intentions and the spirit of the rag genre. This new digital recording includes complete versions of each rag for reference and listening pleasure followed by accompaniment versionsminus the soloist for a performance opportunity that any flutist will love. The newly engraved solo part is presented on luxurious acid-free natural/ivory paper stock. Both professional and student flutists will desire this splendiferous edition containing some of the most sought-after pieces in the ragtime genre for its lively and authentic performances sonic clarity and carefully arranged solo part. Presented in MMO's new bound-in book format with beautiful glossy cover flap-protected compact disc and fascinating historical notes. Includes a newly engraved authoritative printed music score with orchestral reduction historical notes and performance suggestions printed on high-quality ivory paper; and a compact disc containing a complete version with soloist in digitally recorded stereo; then a digital stereo version of the orchestral accompaniment minus the soloist.
15.99 GBP - vendu par Musicroom GB | |
| Hugh Wood: Marina Op.31:
Chamber Ensemble: Score
and Parts Orchestre de chambre [Conducteur et Parties séparées] Chester
Work for High Voice Alto Flute Horn Harp and Viola. Text: TS Eliot.Quoting Wo...(+)
Work for High Voice Alto Flute Horn Harp and Viola. Text: TS Eliot.Quoting Wood: 'I had for many years wanted to set Marina and the opportunity came to start work on it in mid August 1988. About a year later havingcompleted in the meantime the Horn Trio Opus 29 and the Cantata Opus 30 I turned back to the drafts of Marina and completed it on 10 September 1989. It is dedicated to the memory of my daughter who was murdered in Bavaria on 10September 1988.Marina is the heroine of Shakespeare’s Pericles a play remarkable for one of the most moving of all Shakespeare’s recognition scenes a dramatic situation which never failed to draw out his deepest expressionof feeling. This is the re-meeting of an ageing father with his long-lost daughter born at sea during the storm in which her mother is thought to have died and long believed to be dead herself. Eliot transforms the twocharacter’s mutual recognition into a transfigured mediation and surrounds it with a wealth of mainly marine imagery. In the words of Helen Gardener these images are: The prelude to a moment of ecstatic recognition. The voyagein Marina discovers in the ocean anisland and sees again a beloved face. Its theme is not the immortality of the soul but resurrection.
17.99 GBP - vendu par Musicroom GB | |
| Franz Liszt: Liebestraume
No.3: Violin:
Instrumental Work Violon Bosworth
Liebesträume?(German for ?Dreams of Love?) is a set of three solo Piano works b...(+)
Liebesträume?(German for ?Dreams of Love?) is a set of three solo Piano works by?Franz Liszt published in 1850. Two versions appeared simultaneously: for high Voice and Piano as well as as transcriptions for Piano two-hands.The three poems depict three different forms of love. Uhland's ?Hohe Liebe? is saintly or religious love: the 'martyr' renounces worldly love and'heaven has opened its gates'. The second song ?Seliger Tod? is often known by its first line and evokes erotic love. Freiligrath's poem for the famous third notturno is about unconditional mature love ('Love as long as youcan!' 'O lieb so lang du lieben kannst').This edition of the latter Liebestraume No. 3 is transcribed for Violin and Piano. The same melody is used throughout the entire popular piece each time varied especially near the middle of the work where the climax is reached.This favourite Piano classic should be a staple in any pianists repertoire and is a great new addition to the Violin programme as well!
10.99 GBP - vendu par Musicroom GB | |
| Play Jazztime (STRATFORD
ROY) Trompette, Piano [Partition] - Facile Faber Music Limited
Arrangement: Stratford Roy. Par STRATFORD ROY. This volume presents a selection ...(+)
Arrangement: Stratford Roy. Par STRATFORD ROY. This volume presents a selection of eight well-known hits from the Twenties and Thirties, which capture the opulence and exuberance, whilst evoking the sense of vibrancy and excitement that was prevalent in music of this era. This volume has been arranged by Roy Stratford for Trumpet and Piano and forms part of the Play Jazztime series. The pieces are all familiar, have easy piano parts and are aimed at pupils working to Grade 4-6 standard. / Niveau : Assez Facile / Répertoire d'Examen / Recueil / Trompette et Piano
14.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Rockschool Drums Grade 5
(2018): Drum Kit:
Instrumental Tutor Rock School Limited (RSL)
Learn to play rock and pop with Rockschool. These specially written arrangements...(+)
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. For Rockschool's 2018-2024 Drums series Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus. The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock metal and pop. The tracks were recorded at Real World's acclaimed recordingstudios and feature live instruments and first rate performances for an unrivalled level of feel authenticity and musicianship. Featuring: Toto - Hold The Line Jay-Z - 4:44 En Vogue - Don't Let Go Otis Redding - Hard To Handle Erykah Badu - Window Seat Ricky Lee Jones - Chuck E's In Love 6 Rockschool Originals Plus: Band and artist fact files with recommended listening In-depth walkthroughs of every track Easy-access downloadable audio Example tests and exercises
19.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Rockschool Guitar Grade 7
(2018): Guitar:
Instrumental Tutor Rock School Limited (RSL)
Learn to play rock and pop with Rockschool. These specially written arrangements...(+)
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. For Rockschool's 2018-2024 Guitar series Rockschool have commissioned arrangements of titles reflecting popular music's rich heritage in all its forms and have tailored each piece to make it exactly right for the grade. You can also use titles from Rockschool's Classics series as part of the syllabus. The arrangements have been written and performed by top session musicians who have worked with some of the biggest names in rock metal and pop. The tracks were recorded at Real World's acclaimedrecording studios and feature live instruments and first rate performances for an unrivalled level of feel authenticity and musicianship. Featuring: Jeff Beck - Cause We've Ended As Lovers Lettuce - Reunion Run DMC - Walk This Way Rihanna - Umbrella Lenny Kravtiz - Are You Gonna Go My Way Dire Straits - Sultans Of Swing 6 Rockschool Originals Plus: Band and artist fact files with recommended listening In-depth walkthroughs of every track Easy-access downloadable audio Example tests and exercises Amp settings and tone advice for each track
21.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Joan Tower: Island
Prelude: Oboe: Score and
Parts Associated
Score and Parts-Joan Tower is one of this generation's most dynamic and colourfu...(+)
Score and Parts-Joan Tower is one of this generation's most dynamic and colourful composers. Her bold and energetic music with its striking imagery and novel structural forms has won large enthusiastic audiences. Growing up in South America she absorbed the wealth of native cultures and discovered a love of performing and composing. This 'Island Prelude' is one of the rare wind quintets where one instrument us a soloist throughout supported by the rest ofthe ensemble - in this case the oboe. The complicated rhythmic nuances give the pieces the improvisatory feeling of a prelude. The varied colours of the instruments join and separate from the oboe throughout the work providingan ever-changing background for its arabesques. The duration is approximately 10 minutes.
25.99 GBP - vendu par Musicroom GB | |
| 5 Argentinean Folk Pieces En Français Flûte, Alto et Piano Billaudot
This short suite, much inspired by Bartók's Six Romanian Folk Dances, is based ...(+)
This short suite, much inspired by Bartók's Six Romanian Folk Dances, is based on traditional dances and songs of Argentina. Although the original rhythms and melodies are often transformed by the use of contemporary techniques, the piece preserves the authentic spirit of each of these folk forms.Zamba de Vargas, a well known folk song, refers to a battle in Argentina between two armies of gauchos during the civil wars of the nineteenth century.Ojos Azules (Blue Eyes) is an introspective lament for lost love of Quichua origin (Northwest of Argentina). It was first collected by musicologist Leda Valladares.Both the Milonga and the Valsecito Criollo, (folk forms which developed in rural areas and then made it to the outskirts of Buenos Aires at the turn of the century) are original themes written by me based on my own personal understanding of the genre.Lastly, the Baguala is inspired on a transcription documented by Isabel Aretz which was reproduced in Las Canciones Folklóricas de la Argentina and published by Instituto Nacional de Musicología of Buenos Aires in 1969.Commissioned by and dedicated to the Minnesota Sinfonia and to its Music Director, Jay Fishman. / Flûte, Alto Et Piano
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| The Viol (OTTERSTEDT
ANNETTE) Divers [Partition] Barenreiter
History of an Instrument. Par OTTERSTEDT ANNETTE. This book is a compendium and ...(+)
History of an Instrument. Par OTTERSTEDT ANNETTE. This book is a compendium and practical guide for musicians and music lovers alike, putting a great many problems and questions relating to the viol, and music in general, into perspective. Covers great gamba players, the history of viol construction, the musical role of viols, and practical aspects of viol playing./ Livre / Divers
64.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| La Muette Jobert
Make the silence talk'La Muette knew how to make the silence talk like no one', ...(+)
Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions
71.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Eduardo Toldra: Coleccion
De Canciones - Volume 1:
Voice: Mixed Songbook Español Piano, Voix [Vocal Score] Unión Musical Ediciones
Eduardo Toldra (1895-1962) was a Catalan virtuoso violinist conductor and comp...(+)
Eduardo Toldra (1895-1962) was a Catalan virtuoso violinist conductor and composer whose students included Ros-Marb and Montsalvatge. His compositional work consists largely of songs folk dances operas and orchestral pieces; rather traditional in style it was initially dismissed as old-fashioned compared to many of his contemporaries. Today however a revival in interest in Catalan folk music and its influences mean he is growing in popularity.Coleccion De Canciones: Volume 1 gathers together some of his best-loved songs for Voice and Piano showcasing his simple warm lyrical style. From the early Abril (1920) toAquarel-la Del Montseny (1960) this collection spans most of his career and forms a valuable addition to any vocalist’s repertoire.
17.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Abraham Veinus: The
Concerto - From Its
Origins To The Modern
Era: Reference Dover Publications
This authoritative survey constitutes the first thorough English-language explor...(+)
This authoritative survey constitutes the first thorough English-language exploration of the concerto as a musical form. The musical form's long and colorful history is explored in critical terms accessible to lay readers as well as specialists forming a listener's guide an important musicological study and a fascinating reading experience.Examining the social economic and personal factors that influenced the concerto's growth author Abraham Veinus also summarizes the contributions of theorists composers and musicians and defines the genre's terms and the changing nature. He traces the early development of the concerto as well as that of the concerto grosso theearly solo concerto classic forms Beethoven's characteristic use of the form the Romantic concerto and the modern concerto. A pleasure to read and a valuable reference this volume is an ideal companion for musicians music students and lovers of classical music.Reprint of the 1963 revised edition published by Doubleday Doran and Company 1945 and Cassell and Company Limited 1948.'Sound history intelligent evaluation and a good literary style.' - Library Journal'Colorful and interesting ... a very valuable addition to our rising literature in musicology.' - Saturday Review'An excellent and eminently readable history.' - New York Herald Tribune
17.30 GBP - vendu par Musicroom GB | |
| Glorious Hill (BRYARS
GAVIN) 4 Voix d'Hommes [Attbar], 2
Altos, Violoncelle et [Conducteur] Schott
for four male voices. Par BRYARS GAVIN. Glorious Hill may be performed by a male...(+)
for four male voices. Par BRYARS GAVIN. Glorious Hill may be performed by a male choir.
Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate.
Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices.
The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace.
/ Répertoire / 4 Voix d'Hommes [Attbar], 2 Altos, Violoncelle et
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| 10 Fugues For String
Quartet - Book 2 (BACH
JOHANN-SEBASTIAN) Quatuor à cordes: 2 violons,
alto, violoncelle [Conducteur et Parties séparées] Spartan Press
10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for the...(+)
10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
31.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| 10 Fugues (BACH
JOHANN-SEBASTIAN) Quatuor à cordes: 2 violons,
alto, violoncelle [Conducteur et Parties séparées] Spartan Press
For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arran...(+)
For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
31.60 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Danny Boy (L'ESTRANGE
ALEXANDER (Arr) Voix Mixtes SAB et Piano [Partition] Faber Music Limited
Par L'ESTRANGE ALEXANDER (Arr.). Danny Boy (the melody of which is also known as...(+)
Par L'ESTRANGE ALEXANDER (Arr.). Danny Boy (the melody of which is also known as Londonderry Air), is often assumed to be an old, traditional tune, however its structure and meter do not fit any of the known Irish folksong forms. As for the words most commonly associated with it for the last hundred years or so, they were written by an English lawyer who apparently never set foot in Ireland! Still, it’s one of the best-loved folksongs of all and this very approachable arrangement by Alexander L’Estrange brings out the bitter-sweet nature of the text.
This piece is part of the Faber Choral Singles series, offering a selection of beautifully crafted arrangements in a diversity of musical styles. From Broadway, pop and folk to spirituals, gospel and original works, the series is arranged for 3-part choir (soprano, alto and a combined male-voice part) providing flexibility for any choir. Complete with straight-forward piano accompaniments supporting the vocal lines, the Faber Choral Singles series guarantees the perfect repertoire for every occasion – so get exploring and get singing! / Choral Music / Répertoire / Voix Mixtes SAB et Piano
3.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Henri Dutilleux: Les
Citations: Ensemble:
Score Leduc, Alphonse
Version 2010-“Books talk to each other” - Umberto Eco’s statem...(+)
Version 2010-“Books talk to each other” - Umberto Eco’s statement could just as easily apply to music as Les Citations for Oboe Harpsichord Double Bass and Percussion by Henri Dutilleux (1916-2013) brilliantly proves. Written in 1991 the score was reworked by the composer for the Festival d’Auvers-sur-Oise where the new version premiered in June 2010. The origin of this work goes back to For Aldeburgh 85. Written for the 75th birthday of singer Peter Pears the piece takes up a fragment of Peter Grimes whose leading role had been written by Britten for the beloved tenor. Dutilleux adds a page titled FromJanequin to Jehan Alain in which appears a song from the Renaissance composer “L’espoir que j’ay d’acquerir vostre grace” used by J. Alain in his Variations for Organ on a theme by Clément Janequin. The junction between the two parties is made through an Interlude that introduces the “wolf’s moan” theme from the ballet Le Loup (The Wolf) composed by Dutilleux in 1953 for the troupe of Roland Petit. This subtle tangle of quotations forms a shimmering and sensual work where the uniqueness of an authentic artist powerfully asserts itself.
38.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Henri Dutilleux: Les
Citations: Ensemble:
Parts Hautbois Leduc, Alphonse
Version 2010-“Books talk to each other” - Umberto Eco’s statem...(+)
Version 2010-“Books talk to each other” - Umberto Eco’s statement could just as easily apply to music as Les Citations for Oboe Harpsichord Double Bass and Percussion by Henri Dutilleux (1916-2013) brilliantly proves. Written in 1991 the score was reworked by the composer for the Festival d’Auvers-sur-Oise where the new version premiered in June 2010. The origin of this work goes back to For Aldeburgh 85. Written for the 75th birthday of singer Peter Pears the piece takes up a fragment of Peter Grimes whose leading role had been written by Britten for the beloved tenor. Dutilleux adds a page titled FromJanequin to Jehan Alain in which appears a song from the Renaissance composer “L’espoir que j’ay d’acquerir vostre grace” used by J. Alain in his Variations for Organ on a theme by Clément Janequin. The junction between the two parties is made through an Interlude that introduces the “wolf’s moan” theme from the ballet Le Loup (The Wolf) composed by Dutilleux in 1953 for the troupe of Roland Petit. This subtle tangle of quotations forms a shimmering and sensual work where the uniqueness of an authentic artist powerfully asserts itself.
57.99 GBP - vendu par Musicroom GB | |
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