24 Preludios para guitarra Guitare [Partition + Accès audio] - Intermédiaire Music Distribution Services
Guitar - intermediate to advanced SKU: M7.GHE-702-96 Composed by Manuel P...(+)
Guitar - intermediate to
advanced
SKU:
M7.GHE-702-96
Composed by Manuel Ponce.
Edited by Stefano
Grondona. This edition:
Saddle-wire stitching.
Sheet music with Online
material. Critical
Edition. MDS (Music
Distribution Services)
#GHE 702-96. Published by
MDS (Music Distribution
Services)
(M7.GHE-702-96).
Book/Online Audio Oboe - Difficulty: medium SKU: HL.400679 Music Minus...(+)
Book/Online Audio Oboe -
Difficulty: medium
SKU: HL.400679
Music Minus One
Oboe. Composed by
Various. Sheet music with
online audio. Music Minus
One. Classical and Play
Along. Softcover sheet
music and online audio.
With solo part, standard
notation and introductory
text. 26 pages. Music
Minus One #MMO3412.
Published by Music Minus
One (HL.400679).
ISBN
9781596153592. UPC:
077712334129. 9x12
inches.
Joseph
Robinson of The Double
Reed says of Elaine
Douvas in this recording:
Eschewing overt
expression in favor of
implication and subtlety,
she offers performances
that are stylish and full
of passion and conviction
to be sure, but which,
like all great art,
withstand and reward the
most careful scrutiny.
Expert phrasing and
articulation by Elaine
Douvas in this album
demonstrate persuasively
that the pieces she has
chosen are sufficient to
challenge the finest
player's imagination,
discipline and
instrumental skill. This
album is a delight for
any oboist and again
contains a rich
collection of music from
many periods, from
Telemann to Hindemith.
Includes sheet music
printed on high-quality
ivory paper, annotated
with performance
suggestions and a compact
disc with complete
versions (with soloist)
followed by piano
accompaniments to each
piece, minus the soloist.
Soloist: Elaine Douvas,
oboe. Ensemble: Erik
Nielsen, piano.
Chamber Music Violin SKU: PR.144407530 Composed by Lauren Bernofsky. 12 p...(+)
Chamber Music Violin
SKU: PR.144407530
Composed by Lauren
Bernofsky. 12 pages.
Duration 10 minutes, 30
seconds. Merion Music
#144-40753. Published by
Merion Music
(PR.144407530).
ISBN
9781491136614. UPC:
680160687992.
A
violinist herself, Lauren
Bernofsky has described
SONATA FOR SOLO VIOLIN as
drawn from
autobiographical
inspiration, including
gestures from Bachâ??s
beloved Partita in E
Major. Bernofsky opens
with a Preludio movement
whose references to Bach
may be disguised, but
they are surely lurking.
The second movement is
lusciously contrapuntal
with the idiomatic
finesse of a violinist
composing for her own
instrument, while
musically journaling the
emotional pain of living
through 2020. The third
and final movement is
aptly marked
â??white-hot,â? and
the music certainly
is. My SONATA FOR SOLO
VIOLIN was commissioned
by violinist Megan Healy
as part of The Maud
Powell Project, which
celebrated the 100th
anniversary of the
ratification of the 19th
Amendment. The project
included the creation of
five new works for solo
violin inspired by and
dedicated to the memory
of pioneering American
violinist Maud Powell
(1867-1920). Healy
premiered the sonata on
May 8, 2021 at PianoForte
Studios in Chicago.Among
the works Powell most
frequently performed in
her recitals was the
â??Preludioâ?
movement from Bachâ??s E
major Partita, and I
decided to refer to that
music in my own first
movement, also titled
â??Preludio.â? The
beginning subtly reflects
Bachâ??s opening
three-note motive,
wherein the music dips
down a semitone and then
comes back up. This
melodic material returns
throughout the movement
in various forms. I also
refer to Bachâ??s
sixteenth-note dominated
texture, and the gesture
in the third measure,
which outlines a perfect
fifth and then fills it
in with notes that
alternate between a scale
and a pedal tone. The
corresponding passage in
my piece occurs in the
same place, measure 3.
Apart from these
references to Bach, my
sonata is much more
modern sounding,
especially in its
chromatic character.I was
still thinking of
Bachâ??s solo violin
writing while composing
the second movement,
particularly the
polyphonic nature of the
slow movements, where the
melodic interest moves
around between the
voices. Emotionally, I
wanted my movement to
reflect the acute sadness
I had been experiencing
over the political and
social situation in the
United States as I wrote
the piece. I realized
that this is a
historically noteworthy
time in U.S. history,
marked not only by
political unrest, but
also by a challenge to
the very values that I
consider essential to
what makes a person
fundamentally human. I
wanted to create a record
of that pain in my
music.The final movement
is marked
â??White-hot.â? It is
imbued with a relentless,
passionate intensity.
Wanting again to reflect
aspects of our own time,
I included glissandi that
refer to rock music,
specifically the
â??fall-offsâ? I
frequently hear played by
electric guitarists. I
borrowed from another
(completely different)
musical tradition as
well, one that is
near-and-dear to my
heart: Klezmer. Klezmer
(Eastern European Jewish
folk music) is
characterized in part by
scales colored by
augmented seconds, and is
often performed by solo
instrumentalists who
improvise embellishments
like quick grace notes.
The second, more lyrical
theme in this movement is
my nod to Klezmer
style.While this piece is
an homage to Maud Powell,
I also think of it as my
own musical
autobiography, as it
combines some of my
favorite aspects of
music, and is played on
my own instrument.
Repertoire. CD. Trinity
College London #TCL
014948. Published by
Trinity College London
(TL.TCL014948).
ISBN
9780857364678.
This
audio CD contains exam
pieces on the Trinity
College London Violin
syllabus for 2016-2019,
featuring renowned
violinist, Ofer Falk.
(alternative pieces are
not included). In
addition to full
recordings of each piece,
the CD also includes
'minus one' style backing
tracks, allowing students
to practise with the
piano accompaniment
played by Peter
Wild. These
recordings are not
definitive but may be
employed as an aid to
preparation for Trinity
College London
examinations.
Having
been invited several
times onto the jury of
the prestigious
Certamen Tarrega
in Benicasim, I thought I
would involve a few
composers in a gift to
the father of the modern
guitar. So I asked the
composers to write a
Prelude of the kind that
Tarrega wrote and which
count among his most
significant
compositions. These
Preludes for Tarrega, all
written between August
and November 2015, are
very different from each
other. The common
feature, however, between
these and the Preludes by
Tarrega is their brevity,
an average level of
performance difficulty
and guaranteed easy
listening, even when
written in a non-tonal
language (like the
meditative and melancholy
piece by Emilio Calandin
and the one by Marco
Smaili, with its
Impressionistic feel
reminding one of
Tarrega's most famous
pupil, Miguel
Llobet). In some
Preludes (the ones by
Paolo Ugoletti, Roberto
Tagliamacco, Claudia
Montero) the reference to
Lagrima, one of
Tarrega's most famous
Preludes, is evident in
form, title and some
citations. Ugoletti and
Tagliamacco work well and
expressively on harmony
and counterpoint, while
the Argentinian Claudia
Montero links Tarrega to
a heartbreaking Buenos
Aires... In Alessandro
Spazzoli there is rather
more a connection with
Tarrega's sense of melody
and deep simplicity,
while Marco Reghezza
remembers ironically what
was brewing in European
music when Tarrega was
alive: in fact, his
Como Preludio goes
across the 24 keys - and
even a reference to
Wagner's Tristan
raises its head... I
am delighted for this
volume to come out at the
time of the fiftieth
edition of the Certamen
Tarrega. (Piero
Bonaguri).
Violin - Grade 6 SKU: TL.TCL014689 Repertoire. Trinity College London #TC...(+)
Violin - Grade 6
SKU:
TL.TCL014689
Repertoire. Trinity
College London #TCL
014689. Published by
Trinity College London
(TL.TCL014689).
ISBN
9780857364418.
Sele
cted pieces for Trinity
College London violin
exams for 2016-2019,
expertly graded and
edited by leading music
educators. This item
contains both the full
score and violin
part.
(Violin Part). Composed by Dr. Shinichi Suzuki. For Violin. This edition: Revise...(+)
(Violin Part). Composed
by Dr. Shinichi Suzuki.
For Violin. This edition:
Revised. Book; CD;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. 32 pages.
Published by Alfred Music
(Violin Part). Composed by William Preucil, Jr. and Shinichi Suzuki. For Violin....(+)
(Violin Part). Composed
by William Preucil, Jr.
and Shinichi Suzuki. For
Violin. This edition:
Revised. Book;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. Published by
Alfred Music
(Piano Acc.). Composed by Dr. Shinichi Suzuki. For Violin. This edition: Revised...(+)
(Piano Acc.). Composed by
Dr. Shinichi Suzuki. For
Violin. This edition:
Revised. Book;
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. 40 pages.
Published by Alfred Music
(Score) SKU: HL.49003135 An Anthology of Listening Material for GCSE M...(+)
(Score)
SKU:
HL.49003135
An
Anthology of Listening
Material for GCSE
Music. Composed by
Bruce Cole and David
Bowman. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical,
Collection. Score. 200
pages. Schott Music
#ED12351. Published by
Schott Music
(HL.49003135).
ISBN
9780946535132. UPC:
884088991623.
8.25x11.75x0.436 inches.
English.
This
anthology of 72 music
examples, consisting of
the Teacher's Manual,
Pupil's Questions, Music
Book and two recordings
on CD or cassettes, is
intended to provide
comprehensive resource
materials for the
listening component of
the GCSE music
syllabuses. The extracts
have been selected
especially to illustrate
the periods, styles and
rudiments of music
encompassed within the
syllabuses, and the four
components of the
publication produced to
ensure maximum assistance
to the teacher in the
classroom. Selected
contents: MUSIC IN THE
LATE RENAISSANCE O quam
gloriosum est regnum * T.
Morley: MUSIC IN THE
BAROQUE ERA: H. Purcell:
Hark, each tree (from Ode
for St Cecilia's Day) *
A. Vivaldi: Second
Allegro (from Op. 3 No.
11) * G.F. Handel: Lascia
ch'io * J.S. Bach:
Erschienen ist der
herrliche Tag (BWV 629) *
F. Couperin: Le
Petit-Rein MUSIC IN THE
ROMANTIC PERIOD: F.
Schubert: Am Meer (from
Schwanengesang) * H.
Berlioz: Un Bal (from
Symphonie fantastique) *
F. Chopin: Mazurka (Op. 7
No. 5) * R. Schumann:
Fantasiestuck (Op. 73 No.
1) * R. Wagner: Prelude
(to Tristan and Isolde) *
R. Strauss: Epilog (from
Till Eulenspiegels
lustige Streiche) * MUSIC
IN THE TWENTIETH CENTURY:
B. Bartok: Third movement
(from Sonata for two
Pianos and Percussion) *
K. Stockhausen: Zyklus *
C. Berberian: Stripsody *
JAZZ AND POP: F. Molton:
Peace in the Valley * Bix
Beiderbecke and his Gang:
Jazz Me Blues * The
Platters: Only You * E.
Fitzgerald: Mack the
Knife * S. Getz and A.
Gilberto: The Girl From
Ipanema and more.
Orchestra (picc.2.2.cor
ang.2.B-clar.2.dble bsn -
4.3.3.1. - timp.perc(3) -
hp - cel - str)
SKU:
BR.PB-5105-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library).
World
premiere: Bremen,
February 1, 1982
Symphony; Music
post-1945. Study Score.
Composed 1981. 68 pages.
Duration 17'. Breitkopf
and Haertel #PB 5105-07.
Published by Breitkopf
and Haertel
(BR.PB-5105-07).
ISBN
9790004208557. 9 x 12
inches.
Gesualdo,
Don Carlo, Furst von
Venosa (1560-1613) gehort
zu den eigenwilligsten
italienischen
Madrigal-Komponisten der
Spatrenaissance. Seine
ungewohnlich kuhne,
selbst fur heutige Ohren
modern klingende
Harmonik, seine
chromatischen
Stimmfortschreitungen,
seine ubersteigerte
expressive Tonsprache
regten mich schon vor
Jahren zu einer grosseren
Orgelkomposition an und
inspirierten mich 1981 zu
den >>Sinfonischen
Metamorphosen<<. Dieses
Werk ist eine
vielgestaltige
weitausgesponnene
Fantasie. Sieben
choralartige typische
Klangbeispiele aus
Gesualdos spaten
funfstimmigen Madrigalen
(4., 5. u. 6. Band)
werden teils streng,
teils frei zitiert und
von Holz- oder
Blechblasern intoniert.
Diese Zitate gliedern,
als formale und
inhaltliche Schwer- und
Ruhepunkte, den Verlauf
des gesamten Werks. Jedes
Zitat steht zu Beginn
eines neuen
Satzabschnitts; die
darauffolgenden
>>Metamorphosen<<
entwickeln sich als
rhapsodische
kontrastreiche
Charakterstucke. Im
>>Preludio<< werden aus
den vertonbaren
Buchstaben vom Namen
>>Gesualdo<< (G - E - Es
- A - D) schwebende
Klangflachen,
rezitativische Gedanken
und ein pragnantes
rhythmisches Paukenthema
gebildet. Diese
,,Grundelemente
(Grundstrukturen) tauchen
im Verlauf des Stucks
immer wieder
leitmotivisch auf. Im
zweiten Abschnitt stehen
sich lineare
Streicher-Episoden und
dichte
Blaser-Klangballungen
kontrastierend gegenuber.
Der dritte Teil lauft als
Passacaglia (Thema ist
der Bass eines
Gesualdo-Zitats) in
mehreren Variationen ab.
Im vierten Abschnitt
dominiert lebhafte
Streicherbewegung,
kontrapunktiert von
tiefen Blaser-Signalen.
Der funfte Teil steigert
sich- nach kantablem
Beginn- zum ekstatischen
Trauermarsch. Abschnitt
sechs stellt sich als
>>Rondello<< dar, mit um
sich selbst kreisenden
Klangfiguren (in
verschiedenen Tongruppen
(zwei, drei, funf). Im
siebten und letzten Teil
wird die
verhalten-resignierende
Stimmung des Anfangs
beschworen, ehe eine
knappe Stretta in den
hymnischen Schluss
mundet. In den Textender
ausgewahlten Zitatstellen
geht es meist um
Todessehnsucht,
Liebesqual und
Verzweiflung. z. B. 1.
und 2. Zitat: Moro lasso,
al mio duolo (Ich sterbe,
matt, an meiner Qual) (6.
Buch) 3. Zitat: Gia
piansi nel dolore; o
dolorosa Sorte (Schon
weinte ich in Schmerzen,
oh schmerzliches
Geschick) (6. Buch) 4.
Zitat: Ahi gia mi
discolero (Ach schon
entfarbte ich mich)
(Wehe, der Tod kommt) (4.
Buch) 5. Zitat:
Dolcissima mia vita (Mein
allerliebstes Leben)
(Dich zu lieben oder zu
sterben) (5. Buch) 6.
Zitat: lo moro (Ich
sterbe) (5. Buch) Dem
Werk liegen zwar eine
Reihe von
dodekaphonischen
Strukturen zugrunde (die
teilweise von Gesualdos
Klangzitaten abgeleitet
wurden), doch sind die
einzelnen Abschnitte
auf,,tonale Pfeiler (G -
E - A - D) gegrundet; das
Stuck beginnt in G und
endet aufD, ist also
ubergeordnet tonal
konzipiert, - der Versuch
einer Synthese moderner
Ausdrucksmittel von
Vergangenheit und
Gegenwart. Die
>>Metamorphosen<< sind
ein Stuck Bekenntnismusik
- Bekenntnis zum Leben
und Schaffen Gesualdos,
eines Mannes, der vom
Schicksal gezeichnet war,
denn der Chronik Neapels
bekannt war durch die
Ermordung seiner ersten
Frau und ihres
Liebhabers. Dieser
eminente Musiker war
zugleich ein Mensch von
ubertriebener
Sensibilitat und wilder
ekstatischer Heftigkeit:
,,Er wurde von einer
Horde von Damonen
heimgesucht, die ihm
keine Ruhe gaben, heisst
es in einem
zeitgenossischen Bericht.
Seine Kunst und sein
Leben stand unter dem
Gesetz der inneren
Zerrissenheit, zwischen
Auflehnung und
Resignation (Verzweiflung
und Hoffnung), zwischen
Zartheit und
Leidenschaft. Davon will
meine Musik etwas
aussagen. (Jurg
Baur)CD:Sinfonieorchester
des Westdeutschen
Rundfunks, cond. Rudolf
BarschaiCD Thorofon CTH
2270Bibliography:Abels,
Robert: Studien zur
Gesualdo-Rezeption durch
Komponisten des 20.
Jahrhunderts (= Studien
zur Musik 20), Leiden u.
a.: Wilhelm Fink 2017,
pp. 277-345,
485-489.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003.
Preludio and Allegro Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
By Archangelo Corelli. Arranged by Ruth Siegler. Orchestra. For string. Masterwo...(+)
By Archangelo Corelli.
Arranged by Ruth Siegler.
Orchestra. For string.
Masterworks; Part(s);
Score; String Orchestra.
Highland String
Orchestra. Form: Prelude;
Transcription. Baroque;
Masterwork Arrangement.
Grade 2. 62 pages.
Published by Alfred Music
Publishing
130 Easy Concert Pieces from 6 Centuries for Guitar. Composed by Various. Ed...(+)
130 Easy Concert Pieces
from
6 Centuries for Guitar.
Composed by Various.
Edited
by Martin Hegel. Guitar.
Softcover. 124 pages.
Schott
Music #ED22626. Published
by
Schott Music
by Costel Puscoiu. For Recorder (Soprano). solos. Classic. Level: Intermediate. ...(+)
by Costel Puscoiu. For
Recorder (Soprano).
solos. Classic. Level:
Intermediate. Book. Size
8.75x11.75. 96 pages.
Published by Mel Bay
Publications, Inc.
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8
SKU:
ST.C463
Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463).
ISBN
9790570814633.
This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
Double
Wind Quintet, Grade 5
Score. Composed by
Gauthier Dupertuis. FC
Music Publishing.
Chamber, Concert.
Softcover. Hal Leonard
#FCMP006-SC. Published by
Hal Leonard (HL.4008711).
UPC:
196288190912.
A
trip to India inspired
Gauthier Dupertuis to
write Dystopia for double
wind quintet, a
composition commissioned
to him by the Swiss
conductor Felix
Hauswirth, on the
occasion of the aVENTura
Festival in Lucerne in
September 2023 dedicated
to Swiss composers. In
October 2018 Gauthier
Dupertuis had the
opportunity of
accompanying the Wind
Orchestra La Landwehr de
Fribourg, (Switzerland),
asan instrumentalist
during a concert tour
around India. Travel
between the different
cities was punctuated by
the horns of the
different vehicles on the
road, which appeared to
be in competition with
each other in terms of
their creativity. Their
bus was no exception to
this rule, and the
composer ended up letting
himself be inspired by
this five-note pattern
which, through
repetition, ended up
anchoring itself deeply
in his brain, until it
served as a musical basis
for this work. Dystopia
exploits the notion of
duality: in two parts (I.
Preludio and II.
Toccata), the work uses
the double wind quintet
sometimes as a single
entity and sometimes as
two or three groups in
constant rhythmic,
harmonic, or writing
contrast. Like in a
dystopia, where the hero
constantly struggles
against an oppressive
society, the thematic
group linked to motif A
(that of the car horns,
set out at the beginning
of the Prelude) confronts
that linked to motif B
(exposed at bar 25)
throughout the piece.
Similarly, the free form
of the Prelude contrasts
with the more defined
structure of the Toccata
where the atmospheres
linked to the two
thematic groupsalternate.
Two short episodes
highlight a third motif,
more arioso, serving as
divertissement and
rhythmic appeasement
within the Toccata.
Score and Parts Woodwind Quintet (Score & Parts) - Grade 5 SKU: HL.4008710(+)
Score and Parts Woodwind
Quintet (Score & Parts) -
Grade 5
SKU:
HL.4008710
Double
Wind Quintet, Grade 5
Score and Parts.
Composed by Gauthier
Dupertuis. FC Music
Publishing. Chamber,
Concert. Softcover. Hal
Leonard #FCMP006-ENS.
Published by Hal Leonard
(HL.4008710).
ISBN
9798350115758. UPC:
196288190905.
A
trip to India inspired
Gauthier Dupertuis to
write Dystopia for double
wind quintet, a
composition commissioned
to him by the Swiss
conductor Felix
Hauswirth, on the
occasion of the aVENTura
Festival in Lucerne in
September 2023 dedicated
to Swiss composers. In
October 2018 Gauthier
Dupertuis had the
opportunity of
accompanying the Wind
Orchestra La Landwehr de
Fribourg, (Switzerland),
asan instrumentalist
during a concert tour
around India. Travel
between the different
cities was punctuated by
the horns of the
different vehicles on the
road, which appeared to
be in competition with
each other in terms of
their creativity. Their
bus was no exception to
this rule, and the
composer ended up letting
himself be inspired by
this five-note pattern
which, through
repetition, ended up
anchoring itself deeply
in his brain, until it
served as a musical basis
for this work. Dystopia
exploits the notion of
duality: in two parts (I.
Preludio and II.
Toccata), the work uses
the double wind quintet
sometimes as a single
entity and sometimes as
two or three groups in
constant rhythmic,
harmonic, or writing
contrast. Like in a
dystopia, where the hero
constantly struggles
against an oppressive
society, the thematic
group linked to motif A
(that of the car horns,
set out at the beginning
of the Prelude) confronts
that linked to motif B
(exposed at bar 25)
throughout the piece.
Similarly, the free form
of the Prelude contrasts
with the more defined
structure of the Toccata
where the atmospheres
linked to the two
thematic groupsalternate.
Two short episodes
highlight a third motif,
more arioso, serving as
divertissement and
rhythmic appeasement
within the Toccata.
Violin SKU: AP.44719 Volume 8. International Edition. By Li...(+)
Violin
SKU:
AP.44719
Volume
8. International
Edition. By Linda
Perry and William
Preucil, Jr. This
edition:
Performance/Accompaniment
CD; International.
Method/Instruction;
String - Violin (Suzuki);
Suzuki. Suzuki Violin
School. CD. Alfred Music
#00-44719. Published by
Alfred Music (AP.44719).
ISBN 9781470627508.
UPC: 038081508375.
English.
Teach
violin with the popular
Suzuki Violin School. The
Suzuki Method of Talent
Education is based on
Shinichi Suzuki's view
that every child is born
with ability, and that
people are the product of
their environment.
According to Shinichi
Suzuki, a world-renowned
violinist and teacher,
the greatest joy an adult
can know comes from
developing a child's
potential so he/she can
express all that is
harmonious and best in
human beings. Students
are taught using the
mother-tongue approach.
Each series of books for
a particular instrument
in the Suzuki Method is
considered a Suzuki music
school, such as the
Suzuki Violin School.
Suzuki lessons are
generally given in a
private studio setting
with additional group
lessons. The student
listens to the recordings
and works with their
Suzuki violin teacher to
develop their potential
as a musician and as a
person.
This
performance/accompaniment
CD of the Suzuki violin
method, Volume 8, is
integral for Suzuki
violin lessons and
features recordings by
William Preucil Jr. and
piano accompaniments by
Linda Perry, as well as
piano accompaniments
recorded alone.
The
Suzuki Method is based on
the principle that all
children possess ability
and that this ability can
be developed and enhanced
through a nurturing
environment. All children
learn to speak their own
language with relative
ease and if the same
natural learning process
is applied in teaching
other skills, these can
be acquired as
successfully. Suzuki
referred to the process
as the Mother Tongue
Method and to the whole
system of pedagogy as
Talent Education. The
important elements of the
Suzuki approach to
instrumental teaching
include the following:an
early start (aged 3-4 is
normal in most
countries); the
importance of listening
to music; learning to
play before learning to
read; -the involvement of
the parent; a nurturing
and positive learning
environment; a high
standard of teaching by
trained teachers; the
importance of producing a
good sound in a balanced
and natural way; core
repertoire, used by
Suzuki students across
the world; social
interaction with other
children. Suzuki students
from all over the world
can communicate through
the language of
music.
Composed by Archangelo
Corelli. Arranged by Ruth
Siegler. Masterworks;
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Orchestra. Form: Prelude;
Transcription. Baroque;
Masterwork Arrangement.
Score. 8 pages.
Highland/Etling
#00-35977S. Published by
Highland/Etling
(AP.35977S).
UPC:
038081414836.
English.
Students
will enjoy the musical
conversations that take
place when they perform
this trio sonata from the
17th century. The stately
Preludio in C major is
accompanied by a soaring
bass line that is an
excellent introduction to
the art of Baroque
continuo playing.
Following the Allegro,
the first theme returns
to close out this classy,
elegant piece of music.
All parts remain in 1st
position.
Composed by Manuel Ponce (1882-1948). Edited by Stefano Grondona. This editi...(+)
Composed by Manuel Ponce
(1882-1948). Edited by
Stefano
Grondona. This edition:
Saddle-wire stitching.
Sheet
music with CD. Critical
Edition. 36 pages. MDS
(Music
Distribution Services)
#GHE
702-50. Published by MDS
(Music Distribution
Services)