Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
24 Classical
Masterpieces.
Arranged by Ivo Weijmans.
De Haske Play-Along Book.
Classical. Book
[Softcover]. Composed
2005. 46 pages. De Haske
Publications #1053787.
Published by De Haske
Publications
(HL.44005498).
ISBN
9789043122214. UPC:
073999370744.
9.0x12.0x0.221 inches.
English-German-French-Dut
ch.
This book
contains a selection of
famous classical pieces
that have been carefully
adapted for the marimba.
Composers such as Bach,
Mozart, Beethoven,
Vivaldi, Rimsky Korsakov
and Clementi are all
included. The book
enables marimba players
with reasonable playing
experience to perform
these splendid
masterpieces. The pieces
are ordered by difficulty
and, with the exception
of a few pieces at the
end of the book which
require four mallets, are
all playable with two
mallets. Musical style
and good technique are
essential for a good
performance. In addition
to making wonderful
concert pieces the
exciting arrangements in
this book will also make
a most useful teaching
tool.
Dit boek
bevat een aantal
meesterwerken uit de
klassieke muziek die
zorgvuldig zijn bewerkt
voor marimba. Componisten
als Bach, Mozart,
Beethoven maar ook
Vivaldi, Rimsky-Korsakov
en Clementi komen aan
bod. Enigszins geoefende
marimbaspelerszullen
prima met deze juweeltjes
uit de voeten kunnen.
Daarbij zijn stijl en een
goede uitvoering
belangrijk. De meeste
werken zijn speelbaar met
twee mallets, maar achter
in het boek zijn ook
enkele stukken bewerkt
voorvier mallets. De
werken zijn gerangschikt
naar moeilijkheidsgraad.
Een must voor de
ambitieuze muzikant en
een ideaal hulpmiddel
voor de les- en
uitvoeringspraktijk. <
br>Masters on
Marimba enthalt eine
Auswahl an beruhmten
klassischen Stucken, die
sorgfaltig fur das
Marimbaphon bearbeitet
wurden. Komponisten wie
Bach, Mozart, Beethoven,
Vivaldi, Rimski-Korsakow
und Clementi sind hier
vertreten. Mit diesem
Buch bekommen Spieler mit
etwas Erfahrung die
Gelegenheit, diese
Meisterwerke zu spielen.
Die Stucke sind nach
Schwierigkeitsgrad
geordnet und konnen - bis
auf einige Stucke am Ende
des Buches, die vier
Schlagel erfordern - mit
zwei Schlageln gespielt
werden. Stilistisch und
technisch gutes Spiel ist
entscheidend fur einen
guten
Vortrag.
Master
s on Marimba une
selection de celebres
œuvres classiques de
compositeurs tels que
Marais, Senaille, Bach,
Mozart, Beethoven,
Vivaldi, Rimski-Korsakov
et Clementi. La plupart
des compositions se
jouent avec deux
baguettes, a l'exception
de quelques oeuvres qui
ont ete arrangees pour
quatre baguettes.
Masters on
Marimba e una
selezione di celebri
opere classiche di
compositori quali Marais,
Senaille, Bach, Mozart,
Beethoven, Vivaldi,
Rimski-Korsakov e
Clementi. La maggior
parte delle composizioni
e da suonare con due
bacchette, ad eccezione
di brani arrangiati per
quattro bacchette. Con
Masters of Marimba
affronterete uno
specifico repertorio che
vi permettera di affinare
la vostra musicalita, il
vostro tocco e la
precisione ritmica.
Potrete poi esibirvi in
pubblico dimostrando come
anche la marimba possa
suonare da solista al
pari di altri strumenti,
per intensita di suono e
morbidezza
d'espressione.
The Movies Collection Quatuor à cordes: 2 violons, alto, violoncelle - Facile De Haske Publications
String Quartet - early intermediate SKU: BT.DHP-1196090-070 10 Great F...(+)
String Quartet - early
intermediate
SKU:
BT.DHP-1196090-070
10 Great Film Music
Themes. Arranged by
Anthony Gröger. De
Haske Pops for String
Quartet.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2019. 36 pages. De Haske
Publications #DHP
1196090-070. Published by
De Haske Publications
(BT.DHP-1196090-070).
ISBN 9789043157674.
English-German-French-Dut
ch.
Cinema has
always aimed to do one
thing above all else:
arouse emotions. Yet
however exciting,
entertaining or
fascinating a story might
be, its full impact is
really only felt with the
help of the right music.
While most original
soundtracks demand a
large orchestra, a much
smaller ensemble is
sufficient: Anthony
Gröger has taken ten
of the all-time most
beautiful film scores and
created stunning
arrangements for string
quartet. In keeping with
the Pops for String
Quartet series, this
volume also includes an
optional third violin
part in case a viola is
not available. This is an
indispensable collection
for any
occasion!
Van
oudsher is de film
bovenal bedoeld geweest
om emotie op te roepen.
Maar hoe spannend,
vermakelijk of boeiend
een verhaal ook is, pas
met de ondersteuning van
de juiste muziek komt het
volledig tot zijn recht.
Hoewel de meeste
originele soundtracks een
orkest met een grote
bezetting vereisen,
voldoet in dit geval een
kleiner ensemble. Anthony
Gröger heeft tien van
de mooiste
filmmuziektitels
verzameld en er prachtige
arrangementen voor
strijkkwartet van
gemaakt. Net als bij de
andere uitgaven in de
serie Pops for String
Quartet bevat ook
deze bundel een optionele
derde vioolpartij, voor
het geval er geen
altviool beschikbaar is.
Een fraaie collectie met
nummers voordiverse
gelegenheden!
Seit jeher
möchte Kino vor allem
eines: Emotionen wecken.
Doch wie spannend,
lustig, interessant eine
Story auch immer sein mag
erst mit Hilfe der
passenden Filmmusik kann
sie ihre volle Wirkung
entfalten. Während die
meisten Soundtracks im
Original ein groß
besetztes Orchester
erfordern, genügt hier
bereits eine viel
kleinere Besetzung:
Anthony Gröger hat
sich zehn der
schönsten
Filmmusik-Titel aller
Zeiten vorgenommen und
wirkungsvoll für
Streichquartett
bearbeitet. Eine
unverzichtbare Sammlung
für Anlässe jeder
Art, bei denen ein
Streichquartett gefragt
ist. Wie in der Serie
Pops for String
Quartet üblich,
enthält das Set auch
eine optionale
dritteViolinstimme für
den Fall, dass keine
Bratsche zur Verfügung
steht.
Music for Celebrations Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1196088-070 Collection of fe...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1196088-070
Collection of festive
and solemn classical
pieces. Arranged by
Anthony Gröger. De
Haske String Series.
Classical. Set (Score &
Parts). Composed 2020. 32
pages. De Haske
Publications #DHP
1196088-070. Published by
De Haske Publications
(BT.DHP-1196088-070).
ISBN 9789043158572.
English-German-French-Dut
ch.
No matter the
occasion, string quartets
are always in demand.
Music for
Celebrations features
eight works by composers
ranging from Marc-Antoine
Charpentier to Charles
Gounod which rank among
the most popular wedding
classics, with many of
the pieces also well
suited for other
occasions. The arranger
Anthony Gröger has
succeeded in transforming
the works, some of which
originally had extensive
instrumentation, into
compelling string quartet
arrangements that are
also easy to play while
preserving much of the
familiar character of the
originals. The third
violin part, which can
replace the viola part if
no violist is available,
is an added
bonus.
Er is
altijd vraag naar
strijkkwartetten voor
diverse feestelijke
gelegenheden. Music
for Celebrations
bevat acht werken van
verschillende bekende
componisten, van
Marc-Antoine Charpentier
tot Charles Gounod, die
behoren tot de meest
geliefde klassiekers voor
bruiloften, maar veelal
eveneens geschikt zijn
voor andere gelegenheden.
Arrangeur Anthony
Gröger is erin
geslaagd de stukken
waarvan sommige
oorspronkelijk voor een
omvangrijke
instrumentatie zijn
geschreven te
transformeren tot
overtuigende, goed
speelbare muziek voor
strijkkwartetbezetting,
waarin het vertrouwde
klankbeeld grotendeels
behouden is gebleven. Een
handig extraatje is de
toegevoegde
derdevioolpartij, die de
altvioolpartij kan
vervangen als er geen
altviolist beschikbaar
is.
Bei
festlichen Anlässen
diverser Art sind
Streichquartette immer
wieder gefragt. In
Music for
Celebrations sind
acht Kompositionen von
Marc-Antoine Charpentier
bis Charles Gounod
versammelt, die besonders
auf Hochzeitsfeiern zu
den beliebtesten
Klassikern zählen,
wobei viele der Stücke
sich auch für andere
Gelegenheiten bestens
eignen. Dem Arrangeur
Anthony Gröger ist es
gelungen, die teilweise
umfangreich besetzten
Originalwerke in
überzeugende, gut
spielbare
Streichquartettsätze
zu verwandeln und dabei
viel vom vertrauten
Klangbild zu bewahren.
Ein Bonbon ist die
zusätzlich beiliegende
dritte Violinstimme, die
anstelle der
Bratschenstimme genutzt
werdenkann, falls kein
Bratschist zur
Verfügung steht.
Cleopatra Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-140 The Last Queen...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216342-140
The Last Queen of
Egypt. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2021. 39 pages.
De Haske Publications
#DHP 1216342-140.
Published by De Haske
Publications
(BT.DHP-1216342-140).
English-German-French-
Dutch.
Queen
Cleopatra ruled Egypt for
over 20 years. She is one
of antiquity’s
best-known women, in
particular because of her
relationships with Julius
Caesar and, above all,
Mark-Anthony, but also
because the cause of her
death remainsa mystery.
The work is split into
three parts and performed
without breaks. The first
section begins with a
bright introduction
representing
Mark-Anthony. Dynamic in
nature and reminiscent of
military music, this
characterises theRoman
general. But soon after,
another theme emerges,
softer and more melodic,
symbolising
Cleopatra’s
femininity. The two
characters then combine
on a faster tempo. The
middle section of the
work depicts the love
thatMark-Anthony and
Cleopatra feel for each
other. This passionate
relationship lasted ten
years and produced three
children. This is
expressed by a warm and
intense theme, just like
the beauty of the
Egyptian queen. The third
andlast section opens in
a determined and military
mood. Mark-Anthony and
Cleopatra were often
apart, the Roman general
was often away on a
campaign. They met up in
Alexandria to celebrate
their triumph. But, as
the targets of
thejealousy and ambition
of Octavius, Julius
Caesar’s son, the
lovers are trapped and
await the inevitable
conquest of Egypt by the
Romans. When Mark-Anthony
heard the false news that
Cleopatra had committed
suicide, he ended his
ownlife. The Queen of
Egypt, for her part, was
imprisoned shortly
afterwards. The two
lovers remain one of
History’s most
famous couples. This
piece was commissioned by
the Wind Orchestra of the
town of Antony, near
Paris, directedby
Philippe Rossignol, to
mark its 90th
anniversary.
Konin
gin Cleopatra heerste
meer dan twintig jaar
lang over Egypte. Ze is
een van de bekendste
vrouwen uit de oudheid,
vanwege haar relatie met
Julius Caesar en vooral
die met Marcus Antonius,
maar ook omdat de oorzaak
van haardood altijd een
mysterie is gebleven. Dit
werk bestaat uit drie in
elkaar overlopende delen.
Het eerste deel begint
met de levendige
introductie van Marcus
Antonius. Met het
dynamische en enigszins
militaire karakter van de
muziekwordt de Romeinse
generaal krachtig
neergezet. Snel daarna
doemt een zachter en
melodieuzer thema op een
weerspiegeling van
Cleopatra’s
vrouwelijkheid. De twee
persoonlijkheden gaan
vervolgens samen verder
in een vlotter tempo.Het
middelste deel beschrijft
de liefde die Marcus
Antonius en Cleopatra
voor elkaar voelden. Hun
hartstochtelijke relatie
duurde tien jaar en
bracht drie kinderen
voort. Dit wordt
uitgedrukt in een warm en
intens thema waarintevens
de schoonheid van de
Egyptische koningin
doorschemert. Het derde
en laatste deel opent
vastberaden en in
militaire sfeer. Marcus
Antonius en Cleopatra
waren vaak bij elkaar
vandaan: de generaal was
geregeld weg om strijd
tevoeren. In
Alexandrië vierden ze
samen hun triomf, maar de
jaloezie en ambitie van
Octavius, de zoon van
Julius Caesar, gooide
roet in het eten. De
geliefden werden in de
val gelokt en de
onvermijdelijke
verovering van Egypte
doorde Romeinen volgde al
snel. Toen Marcus
Antonius het onjuiste
bericht kreeg dat
Cleopatra zelfmoord had
gepleegd, maakte hij een
eind aan zijn eigen
leven: de koningin van
Egypte werd op haar beurt
kort daarna
gevangengezet. Detwee
geliefden behoren tot de
beroemdste stellen uit de
wereldgeschiedenis.
Cleopatra werd in
opdracht geschreven om
het negentigjarig bestaan
van het blaasorkest uit
de gemeente Antony dicht
bij Parijs te markeren.
Dat orkestbracht het
onder leiding van
Philippe Rossignol in
première.
Kö
nigin Kleopatra regierte
über 20 Jahre lang
Ägypten. Sie ist eine
der bekanntesten Frauen
der Antike, insbesondere
aufgrund ihrer
Beziehungen zu Julius
Cäsar und vor allem zu
Marcus Antonius aber auch
aufgrund
ihrerrätselhaften
Todesursache. Das Werk
besteht aus drei
Abschnitten, die ohne
Unterbrechung gespielt
werden. Der erste
Abschnitt beginnt mit
einer strahlenden
Einleitung, die Marcus
Antonius darstellt. Die
martialische und
dynamischeMusik
beschreibt den
römischen Feldherrn.
Doch bald darauf erklingt
ein neues Thema, das
sanfter und melodischer
ist und Kleopatras
Weiblichkeit
symbolisiert. Die beiden
Charaktere verschmelzen
schließlich in einem
schnellerenTempo. Der
Mittelteil des Werkes
beschreibt die Liebe, die
Marcus Antonius und
Kleopatra füreinander
empfinden. Die
leidenschaftliche
Beziehung der beiden
dauerte zehn Jahre lang
und aus ihr gingen drei
Kinder hervor. Dafür
stehtein warmes und
intensives Thema, das
auch die Schönheit der
ägyptischen Königin
beschreibt. Der dritte
und letzte Abschnitt
beginnt mit einer
entschlossenen und
kriegerischen Stimmung.
Marcus Antonius und
Kleopatra waren
oftmalsgetrennt, wenn
sich der römische
Feldherr auf Feldzügen
befand. In Alexandria
trafen sie sich, um ihren
Sieg zu feiern. Doch sie
waren Opfer der
Eifersucht und der
ehrgeizigen Ambitionen
von Octavius, Julius
Cäsars Sohn, wurden
ineine Falle gelockt und
mussten auf die
bevorstehende Eroberung
Ägyptens durch die
Römer warten. Als
Marcus Antonius die
Nachricht vom
vermeintlichen Selbstmord
Kleopatras erhielt, nahm
er sich selbst das Leben.
Die Königin
vonÄgypten wurde
ihrerseits kurz darauf
inhaftiert. Die beiden
zählen zu den
berühmtesten
Liebespaaren der
Geschichte. Dieses
Stück wurde vom
Orchestre
d’Harmonie de la
Ville d’Antony aus
der Nähe von Paris,
das von PhilippeRossignol
geleitet wird,
anlässlich seines
90-jährigen
Jubiläums in Auftrag
gegeben.
Cleopatra Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216342-010 The Last Queen...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1216342-010
The Last Queen of
Egypt. Composed by
Thierry Deleruyelle.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2021. De
Haske Publications #DHP
1216342-010. Published by
De Haske Publications
(BT.DHP-1216342-010).
English-German-French-
Dutch.
Queen
Cleopatra ruled Egypt for
over 20 years. She is one
of antiquity’s
best-known women, in
particular because of her
relationships with Julius
Caesar and, above all,
Mark-Anthony, but also
because the cause of her
death remainsa mystery.
The work is split into
three parts and performed
without breaks. The first
section begins with a
bright introduction
representing
Mark-Anthony. Dynamic in
nature and reminiscent of
military music, this
characterises theRoman
general. But soon after,
another theme emerges,
softer and more melodic,
symbolising
Cleopatra’s
femininity. The two
characters then combine
on a faster tempo. The
middle section of the
work depicts the love
thatMark-Anthony and
Cleopatra feel for each
other. This passionate
relationship lasted ten
years and produced three
children. This is
expressed by a warm and
intense theme, just like
the beauty of the
Egyptian queen. The third
andlast section opens in
a determined and military
mood. Mark-Anthony and
Cleopatra were often
apart, the Roman general
was often away on a
campaign. They met up in
Alexandria to celebrate
their triumph. But, as
the targets of
thejealousy and ambition
of Octavius, Julius
Caesar’s son, the
lovers are trapped and
await the inevitable
conquest of Egypt by the
Romans. When Mark-Anthony
heard the false news that
Cleopatra had committed
suicide, he ended his
ownlife. The Queen of
Egypt, for her part, was
imprisoned shortly
afterwards. The two
lovers remain one of
History’s most
famous couples. This
piece was commissioned by
the Wind Orchestra of the
town of Antony, near
Paris, directedby
Philippe Rossignol, to
mark its 90th
anniversary.
Konin
gin Cleopatra heerste
meer dan twintig jaar
lang over Egypte. Ze is
een van de bekendste
vrouwen uit de oudheid,
vanwege haar relatie met
Julius Caesar en vooral
die met Marcus Antonius,
maar ook omdat de oorzaak
van haardood altijd een
mysterie is gebleven. Dit
werk bestaat uit drie in
elkaar overlopende delen.
Het eerste deel begint
met de levendige
introductie van Marcus
Antonius. Met het
dynamische en enigszins
militaire karakter van de
muziekwordt de Romeinse
generaal krachtig
neergezet. Snel daarna
doemt een zachter en
melodieuzer thema op een
weerspiegeling van
Cleopatra’s
vrouwelijkheid. De twee
persoonlijkheden gaan
vervolgens samen verder
in een vlotter tempo.Het
middelste deel beschrijft
de liefde die Marcus
Antonius en Cleopatra
voor elkaar voelden. Hun
hartstochtelijke relatie
duurde tien jaar en
bracht drie kinderen
voort. Dit wordt
uitgedrukt in een warm en
intens thema waarintevens
de schoonheid van de
Egyptische koningin
doorschemert. Het derde
en laatste deel opent
vastberaden en in
militaire sfeer. Marcus
Antonius en Cleopatra
waren vaak bij elkaar
vandaan: de generaal was
geregeld weg om strijd
tevoeren. In
Alexandrië vierden ze
samen hun triomf, maar de
jaloezie en ambitie van
Octavius, de zoon van
Julius Caesar, gooide
roet in het eten. De
geliefden werden in de
val gelokt en de
onvermijdelijke
verovering van Egypte
doorde Romeinen volgde al
snel. Toen Marcus
Antonius het onjuiste
bericht kreeg dat
Cleopatra zelfmoord had
gepleegd, maakte hij een
eind aan zijn eigen
leven: de koningin van
Egypte werd op haar beurt
kort daarna
gevangengezet. Detwee
geliefden behoren tot de
beroemdste stellen uit de
wereldgeschiedenis.
Cleopatra werd in
opdracht geschreven om
het negentigjarig bestaan
van het blaasorkest uit
de gemeente Antony dicht
bij Parijs te markeren.
Dat orkestbracht het
onder leiding van
Philippe Rossignol in
première.
Kö
nigin Kleopatra regierte
über 20 Jahre lang
Ägypten. Sie ist eine
der bekanntesten Frauen
der Antike, insbesondere
aufgrund ihrer
Beziehungen zu Julius
Cäsar und vor allem zu
Marcus Antonius aber auch
aufgrund
ihrerrätselhaften
Todesursache. Das Werk
besteht aus drei
Abschnitten, die ohne
Unterbrechung gespielt
werden. Der erste
Abschnitt beginnt mit
einer strahlenden
Einleitung, die Marcus
Antonius darstellt. Die
martialische und
dynamischeMusik
beschreibt den
römischen Feldherrn.
Doch bald darauf erklingt
ein neues Thema, das
sanfter und melodischer
ist und Kleopatras
Weiblichkeit
symbolisiert. Die beiden
Charaktere verschmelzen
schließlich in einem
schnellerenTempo. Der
Mittelteil des Werkes
beschreibt die Liebe, die
Marcus Antonius und
Kleopatra füreinander
empfinden. Die
leidenschaftliche
Beziehung der beiden
dauerte zehn Jahre lang
und aus ihr gingen drei
Kinder hervor. Dafür
stehtein warmes und
intensives Thema, das
auch die Schönheit der
ägyptischen Königin
beschreibt. Der dritte
und letzte Abschnitt
beginnt mit einer
entschlossenen und
kriegerischen Stimmung.
Marcus Antonius und
Kleopatra waren
oftmalsgetrennt, wenn
sich der römische
Feldherr auf Feldzügen
befand. In Alexandria
trafen sie sich, um ihren
Sieg zu feiern. Doch sie
waren Opfer der
Eifersucht und der
ehrgeizigen Ambitionen
von Octavius, Julius
Cäsars Sohn, wurden
ineine Falle gelockt und
mussten auf die
bevorstehende Eroberung
Ägyptens durch die
Römer warten. Als
Marcus Antonius die
Nachricht vom
vermeintlichen Selbstmord
Kleopatras erhielt, nahm
er sich selbst das Leben.
Die Königin
vonÄgypten wurde
ihrerseits kurz darauf
inhaftiert. Die beiden
zählen zu den
berühmtesten
Liebespaaren der
Geschichte. Dieses
Stück wurde vom
Orchestre
d’Harmonie de la
Ville d’Antony aus
der Nähe von Paris,
das von PhilippeRossignol
geleitet wird,
anlässlich seines
90-jährigen
Jubiläums in Auftrag
gegeben.
SKU: GI.G-10597 Memoirs of a Virtuoso Timpanist in the Orchestra's Gol...(+)
SKU: GI.G-10597
Memoirs of a Virtuoso
Timpanist in the
Orchestra's Golden
Age. Composed by Saul
Goodman. Music Education.
134 pages. GIA
Publications #10597.
Published by GIA
Publications
(GI.G-10597).
ISBN
9781574635409.
At
19 years old, Saul
Goodman became timpanist
with the New York
Philharmonic Orchestra
under renowned conductor
Arturo Toscanini.
Forty-six years later, he
retired as one of the
most celebrated
orchestral musicians of
all time. During his
illustrious career as
composer, inventor, and
timpanist, he performed
on over 1,000 recordings,
placed his students in
the world’s major
symphony orchestras, and
set standards in
percussion performance
and pedagogy that remain
in place to this day. His
memoirs, and those of his
students, trace his
musical development and
take the reader on a
voyage of his unique
experiences during the
greatest era of the
American symphony
orchestras. His
incredible legacy as a
performer and a teacher
is unrivaled in the
history of percussion,
and perhaps any other
instrument as well. The
list of his students
reads like a
‘who’s
who’ of our world.
—Daniel Druckman,
New York Philharmonic He
was one of the greatest
artists of all times. He
was an inspiration to me,
not only as a student,
but throughout my
professional career.
—Vic Firth, Boston
Symphony Orchestra Saul
often said that his
teachers were Toscanini,
Monteux, Reiner,
Stokowski, and Bruno
Walter. He was the
greatest player in the
era of stars throughout
the symphonic world. The
sheer numbers of
concerts, recordings, and
TV that he played is
staggering.
—Morris Lang, New
York Philharmonic Saul
Goodman was a brilliant
orchestral musician who
just happened to play the
timpani. His style,
musicianship and strong
personality were a
tremendous influence on
those with whom he
worked. —James
Rago, Louisville
Orchestra Review from
Percussive Notes Magazine
This treasure of a book
tells the story from the
man himself: Saul
Goodman, one of the most
celebrated orchestral
musicians, timpanists,
and percussion teachers
to ever live. Through a
combination of
Goodman’s own
writing, as well as
contributions from a
variety of others who
knew, studied, and worked
with him, this 106-page
book is informative for
students and enjoyable
for general music
enthusiasts. The book is
constructed in two parts
— the first being
a previously unpublished
memoir written by Goodman
during his lifetime (he
died in 1996) and edited
by Anthony Cirone, and
the second consisting of
reflections from students
and colleagues, an
interview with Goodman
conducted by Rick
Mattingly in 1981, a
Percussive Notes article
published shortly after
this death, and an
overview of his recording
history. The book also
contains several pages of
pictures from throughout
his career. The first
part, written by Goodman,
contains five chapters:
Beginnings, Carnegie
Hall, The Business of
Modern Orchestra,
Toscanini, and On
Recording. While he
discusses many
percussion-specific
things, such as lessons
with Alfred Friese,
Goodman spends just as
much, if not more, time
talking about the general
orchestral culture of the
time and how it evolved
during his 46 years in
the New York
Philharmonic. This
includes reflections on
conductors, management,
recording, and the
audition process. The
second part proves just
as valuable, with
first-hand stories from
those who knew him. These
range from
acknowledgments of
Goodman’s
excellence in performing
and instruments making to
heartfelt and sometimes
humorous anecdotes
relating to his teaching.
This book will
undoubtedly be
appreciated by all
orchestral percussion and
classical music
performers, students,
conductors, and teachers,
as well as the general
concert-going public. It
is a rare first-hand look
into the life and career
of a world-class artist
and teacher. —
Jason Baker Percussive
Notes, February 2022.
Euphonium and Piano - easy SKU: BT.DHP-1115160-400 Ausgewählte Werk...(+)
Euphonium and Piano -
easy
SKU:
BT.DHP-1115160-400
Ausgewählte Werke
für den Junior- und
D1-Bereich. Composed
by Anthony Plog,
Christopher Norton, Fons
Van Gorp, Georg Philipp
Telemann, George Frideric
Handel, Herbert L.
Clarke, Lizzie Davis,
Sigmund Hering, Tobias
Haslinger, and Wolfgang
Amadeus Mozart. Arranged
by Derek Hyde, Peter
Wastall, and Stefan de
Schepper. Book with CD.
Composed 2011. 28 pages.
De Haske Publications
#DHP 1115160-400.
Published by De Haske
Publications
(BT.DHP-1115160-400).
ISBN 9789043142151.
9x12 inches.
German.
Starke
Töne ist eine
Sammlung, die in
Zusammenarbeit mit der
Bläserjugend des
Bundes Deutscher
Blasmusikverbände
(BDB) entstanden ist. Die
Sammlung enthält eine
Auswahl der beliebtesten
Titel aus den
Literaturlisten zum
Jungmusiker-Leistungsabze
ichen Bronze (D1) bzw.
Junior. Die Vorteile
liegen dabei klar auf der
Hand: Die
Instrumentalisten sparen
mit diesem Buch nicht nur
wertvolle
Vorbereitungszeit,
sondern auch bares Geld,
denn wer früher
mehrere Hefte anschaffen
musste, hat mit Starke
Töne bereits das
Beste in einem Band
versammelt. Somit
befriedigt diese Ausgabe
eine lang bestehende
Nachfrage. In jeder
Ausgabe ist jedes
Stück mit
einerKlavierbegleitung
notiert; ursprüngliche
Solostücke wurden
eigens mit einer neu
komponierten Begleitung
versehen. Der Klavierpart
ist in der Regel einfach
bis mittelschwer, sodass
die Begleitung auch von
fortgeschrittenen
Klavierschülern
übernommen werden
kann.Ein groÃ?er Vorteil
für die Vorbereitung
auf die praktischen
Leistungsprüfungen ist
die jedem Heft
beiliegende CD, welche
die auf einem echten
Konzertflügel
aufgenommenen
Klavierbegleitungen
enthält. Neben
Einspielungen im
Originaltempo sind die
meisten Stücke zum
leichteren Einstudieren
auch in einer weiteren
Version im langsameren
Tempo zu hören.Mit
Starke Töne ist
in Zusammenarbeit mit dem
BDB eine wertvolle
Sammlung für alle
Blasinstrumente und
Klavier sowie für
Schlagzeug entstanden,
die selbstverständlich
auch unabhängig von
den Leistungsabzeichen
das Unterrichts- und
Vortragsrepertoire für
jede dieser Besetzungen
bereichert.
Sinfonietta N. 3.
Composed by Ferrer
Ferran. IberMusica
Concert Band. Score Only.
Composed 2008. Hal
Leonard #IB047. Published
by Hal Leonard
(HL.44011308).
El Misteri del Foc
(Het geheim van het vuur)
is de derde sinfonietta
van de Spaanse componist
Ferrer Ferran. Dit
contrastvolle werk
bestaat uit drie
kleurrijke, levendige en
melodische delen:
Calixto III, Els
Canalsund Foguera
i Festa. De delen
Calixto III en
Els Canals
vertellen het
avontuurlijke verhaal van
paus Calixto III uit het
Spaanse Canals rond 1500.
In het deel Foguera i
Festa nodigen de
inwoners van Canalsu uit
op het feest van St.
Anthony. De climax van
dit feest is een groot
vreugdevuur op een
twintig meter hoge
stellage van hout. Een
vlammend werk voor
muzikant en
publiek!
El
Misteri del Foc (Das
Geheimnis des Feuers) ist
Ferrer Ferrans dritte
Sinfonietta. Dieses
kontrastreiche Werk
besteht aus drei
farbigen, lebhaften und
melodischen Satzen:
Calixto III, Els
Canals und Foguera
i Festa. Die Musik
handelt von der
abenteuerlichen
Geschichte des Papstes
Calixto aus dem
spanischen Canals des 15.
Jahrhunderts und einem
traditionellen Fest, bei
dem Feuer eine wichtige
Rolle spielt ... Spannend
fur Musiker und
Publikum!
El
Misteri del Foc (Le
mystere du feu) est
la troisieme sinfonietta
du compositeur espagnol
Ferrer Ferran. Cette
œuvre contrastante
est constituee de trois
mouvements colores,
espiegles, petillants,
dansants et melodiques. /
1. Calixte III :
Alfonso de Borgia, futur
Calixte III, naquit dans
la cite de Canals pres de
Valence en Espagne. Lors
d'une rencontre avec
Vicente Ferrer (Vincent
Ferrier), un dominicain
valencien et predicateur
illustre, celui-ci lui
predit qu'il serait elu
pape et qu'en tant que
tel, il le canoniserait.
Alfonso de Borgia fut elu
pape sous le nom de
Calixte III et fit
inscrire Vicente Ferrer
parmi les saints de
l'Eglise.Devenu souverain
pontife, son grand
objectif fut la
reconquete de
Constantinople tombee aux
mains des Turcs. Calixte
III appella a une
croisade pour liberer la
ville. Apres une premiere
bataille victorieuse, la
croisade s'acheva par un
echec cuisant. / 2.
Els Canals (Canals) :
Canals, ses paysages
colores, ses nombreux
canaux et rivieres, et
son sens de la fete, nous
invite a assister a la
Fete de la Saint Antoine,
a la cremation du bucher
beni, la benediction des
animaux et la Festa
dels Parells (La fete
des parents). / 3.
Foguera i Festa (Le
feu et la fete) : Le
point d'orgue de la Fete
de la Saint Antoine est
la mise a feu d'un
immense bucher de vingt
metres de haut dont la
construction necessite
chaque annee pas moins de
600 tonnes de bois
(essentiellement du
sapin). Le Feu de la
Saint Antoine est
accompagne des vivats des
habitants qui rendent
ainsi hommage a leur
saint patron. La Fete de
la Saint Antoine compte
parmi les fetes les plus
populaires dans la
tradition valencienne.
Rassembles autour du
bucher, les habitants de
Canals celebrent cette
fete avec
enthousiasme.
Sinfonietta N. 3.
Composed by Ferrer
Ferran. IberMusica
Concert Band. Score Only.
Composed 2008. Hal
Leonard #IB047. Published
by Hal Leonard
(HL.44011307).
El Misteri del Foc
(Het geheim van het vuur)
is de derde sinfonietta
van de Spaanse componist
Ferrer Ferran. Dit
contrastvolle werk
bestaat uit drie
kleurrijke, levendige en
melodische delen:
Calixto III, Els
Canalsund Foguera
i Festa. De delen
Calixto III en
Els Canals
vertellen het
avontuurlijke verhaal van
paus Calixto III uit het
Spaanse Canals rond 1500.
In het deel Foguera i
Festa nodigen de
inwoners van Canalsu uit
op het feest van St.
Anthony. De climax van
dit feest is een groot
vreugdevuur op een
twintig meter hoge
stellage van hout. Een
vlammend werk voor
muzikant en
publiek!
El
Misteri del Foc (Das
Geheimnis des Feuers) ist
Ferrer Ferrans dritte
Sinfonietta. Dieses
kontrastreiche Werk
besteht aus drei
farbigen, lebhaften und
melodischen Satzen:
Calixto III, Els
Canals und Foguera
i Festa. Die Musik
handelt von der
abenteuerlichen
Geschichte des Papstes
Calixto aus dem
spanischen Canals des 15.
Jahrhunderts und einem
traditionellen Fest, bei
dem Feuer eine wichtige
Rolle spielt ... Spannend
fur Musiker und
Publikum!
El
Misteri del Foc (Le
mystere du feu) est
la troisieme sinfonietta
du compositeur espagnol
Ferrer Ferran. Cette
œuvre contrastante
est constituee de trois
mouvements colores,
espiegles, petillants,
dansants et melodiques. /
1. Calixte III :
Alfonso de Borgia, futur
Calixte III, naquit dans
la cite de Canals pres de
Valence en Espagne. Lors
d'une rencontre avec
Vicente Ferrer (Vincent
Ferrier), un dominicain
valencien et predicateur
illustre, celui-ci lui
predit qu'il serait elu
pape et qu'en tant que
tel, il le canoniserait.
Alfonso de Borgia fut elu
pape sous le nom de
Calixte III et fit
inscrire Vicente Ferrer
parmi les saints de
l'Eglise.Devenu souverain
pontife, son grand
objectif fut la
reconquete de
Constantinople tombee aux
mains des Turcs. Calixte
III appella a une
croisade pour liberer la
ville. Apres une premiere
bataille victorieuse, la
croisade s'acheva par un
echec cuisant. / 2.
Els Canals (Canals) :
Canals, ses paysages
colores, ses nombreux
canaux et rivieres, et
son sens de la fete, nous
invite a assister a la
Fete de la Saint Antoine,
a la cremation du bucher
beni, la benediction des
animaux et la Festa
dels Parells (La fete
des parents). / 3.
Foguera i Festa (Le
feu et la fete) : Le
point d'orgue de la Fete
de la Saint Antoine est
la mise a feu d'un
immense bucher de vingt
metres de haut dont la
construction necessite
chaque annee pas moins de
600 tonnes de bois
(essentiellement du
sapin). Le Feu de la
Saint Antoine est
accompagne des vivats des
habitants qui rendent
ainsi hommage a leur
saint patron. La Fete de
la Saint Antoine compte
parmi les fetes les plus
populaires dans la
tradition valencienne.
Rassembles autour du
bucher, les habitants de
Canals celebrent cette
fete avec
enthousiasme.
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello
SKU:
PR.114417500
For
Clarinet And String
Quartet. Composed by
Shulamit Ran. Premiered
by Anthony McGill,
clarinet, and Brentano
String Quartet; Kimmel
Center, Philadelphia, PA.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2016.
32+12+12+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41750. Published by
Theodore Presser Company
(PR.114417500).
UPC:
680160634910. 9.5 x 13
inches.
Stream for
Clarinet and String
Quartet (2015) was
commissioned by the
Philadelphia Chamber
Music Society in
celebration of its 30th
Anniversary Season,
through support of The
William Penn Foundation.
The first performance was
in April 2016 at the
Kimmel Center in
Philadelphia. Notes from
the composer: The 'line'
in Stream is often
threaded together into a
chain made up of separate
'points' played by the
strings, and sometimes by
the string and the
clarinet. An analogy
might be that each
instrument, at times,
produces a single 'ray of
light' from within the
larger light source.
Moreover, there are many
passages where the
intended effect is that
of the strings providing
a 'halo' surrounding the
solo clarinet. Similarly,
the clarinet often
dovetails with, as well
as emerges or submerges
in and out of, a strand
in the string
music.. What's in a
name? Â Â In my
titles, I generally aim
to capture something that
I believe to be essential
about the particular
work. Â At some level
this is to offer an
entry-point for the
listener, a glimpse of
the composition in its
totality. Â STREAM as a
title came to be when
much of the music was
already fully composed,
and it encapsulates much
of what I wish to say in
words about this work: it
suggests flow - whether
gentle or forceful; it
implies a journey, one
that could take us onto
unexpected terrains yet
is always moving forward;
embedded into this word
is also the idea of
stream of consciousness,
and with it, free
association and
unexpected twists of
fancy. Approximately
16 minutes in duration,
STREAM is to be played
without a break, yet
there are strong elements
of a three-movement
structure here. An
expository
quasi-first-movement lays
out important materials
of varying character; the
middle part, suggesting
contrast and repose, is
initially slow and
reflective, but then
embarks on new
explorations of the
notion of stasis, while
the final movement is
dominated by fast-moving
music of high energy that
consolidates the previous
materials. Important
throughout is the way in
which seemingly
transitional stretches of
music emerge and propel
the music onward in ways
that are at once
unexpected and
fantastical. A
composer's statement
about this work would not
be complete without
acknowledging the degree
to which the work was
inspired by the awareness
that it was being created
for a quintet of
extraordinary performers
of the most beautiful and
flowing musicianship -
clarinet virtuoso Anthony
McGill and the intrepid
Brentano
Quartet. Shulamit
Ran .
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello
SKU:
PR.11441750S
For
Clarinet And String
Quartet. Composed by
Shulamit Ran. Premiered
by Anthony McGill,
clarinet, and Brentano
String Quartet; Kimmel
Center, Philadelphia, PA.
Contemporary. Full score.
With Standard notation.
Composed 2016. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41750S. Published by
Theodore Presser Company
(PR.11441750S).
UPC:
680160634934. 9.5 x 13
inches.
Stream for
Clarinet and String
Quartet (2015) was
commissioned by the
Philadelphia Chamber
Music Society in
celebration of its 30th
Anniversary Season,
through support of The
William Penn Foundation.
The first performance was
in April 2016 at the
Kimmel Center in
Philadelphia. Notes from
the composer: The 'line'
in Stream is often
threaded together into a
chain made up of separate
'points' played by the
strings, and sometimes by
the string and the
clarinet. An analogy
might be that each
instrument, at times,
produces a single 'ray of
light' from within the
larger light source.
Moreover, there are many
passages where the
intended effect is that
of the strings providing
a 'halo' surrounding the
solo clarinet. Similarly,
the clarinet often
dovetails with, as well
as emerges or submerges
in and out of, a strand
in the string
music.. What's in a
name? Â Â In my
titles, I generally aim
to capture something that
I believe to be essential
about the particular
work. Â At some level
this is to offer an
entry-point for the
listener, a glimpse of
the composition in its
totality. Â STREAM as a
title came to be when
much of the music was
already fully composed,
and it encapsulates much
of what I wish to say in
words about this work: it
suggests flow - whether
gentle or forceful; it
implies a journey, one
that could take us onto
unexpected terrains yet
is always moving forward;
embedded into this word
is also the idea of
stream of consciousness,
and with it, free
association and
unexpected twists of
fancy. Approximately
16 minutes in duration,
STREAM is to be played
without a break, yet
there are strong elements
of a three-movement
structure here. An
expository
quasi-first-movement lays
out important materials
of varying character; the
middle part, suggesting
contrast and repose, is
initially slow and
reflective, but then
embarks on new
explorations of the
notion of stasis, while
the final movement is
dominated by fast-moving
music of high energy that
consolidates the previous
materials. Important
throughout is the way in
which seemingly
transitional stretches of
music emerge and propel
the music onward in ways
that are at once
unexpected and
fantastical. A
composer's statement
about this work would not
be complete without
acknowledging the degree
to which the work was
inspired by the awareness
that it was being created
for a quintet of
extraordinary performers
of the most beautiful and
flowing musicianship -
clarinet virtuoso Anthony
McGill and the intrepid
Brentano
Quartet. Shulamit
Ran .
by Anthony Glise. For classic guitar. Anthony Glise Urtext. Classic. Level: Mult...(+)
by Anthony Glise. For
classic guitar. Anthony
Glise Urtext. Classic.
Level: Multiple Levels.
Book. Reference. Size
8.75x11.75. 282 pages.
Published by Mel Bay
Pub., Inc.
SKU: ST.PE21 Composed by Henry Purcell. Edited by Margaret Laurie. Librar...(+)
SKU: ST.PE21
Composed by Henry
Purcell. Edited by
Margaret Laurie. Library
Volumes. Edited Margaret
Laurie. Vocal and
Instrumental Music for
the Stage, Part III.
First published in 2010..
Pages: 288. Format:
Hardback. Dimensions
(mm): 303 x 213 x 27.
Score. Stainer & Bell
Ltd. #PE21. Published by
Stainer & Bell Ltd.
(ST.PE21).
ISBN
9790220222733.
Purc
ell began writing for the
stage in 1680. His work
for the two London
theatre companies (which
merged in 1682, but which
in 1695 split once more
into two competing
factions) constituted an
increasingly important
aspect of his creative
activities in the late
1680s, and became
exceptionally fruitful in
the last six years of his
life, encompassing not
merely his four great
dramatic operas but also
a prodigious quantity of
music for more modest
stage pieces.
The productions for which
the music is included in
this volume are: Oedipus
(1692), Oroonoko (1695),
Pausanias (1696), Regulus
(1692), Rule a wife and
have a wife (1693), Sir
Anthony Love (1690), Sir
Barnaby Whigg (1681),
Sophonisba (?1685), The
Old Batchelour (1693),
The Richmond Heiress
(1693), The Rival Sisters
(1695), The Spanish Fryar
(1695), The Tempest
(1695), The Virtuous Wife
(1695), The Wives Excuse
(1691), Theodosius
(1680), and Tyrannick
Love (1694).
The
original Purcell Society
edition of this volume,
edited by Alan Gray and
published in 1917, has
long been out of print.
This comprehensive new
edition - the only one
available of most of the
music - is based on a
fresh examination of all
the surviving materials,
including newly
discovered manuscript
sources, carried out by
one of the greatest
living authorities on
Purcell's dramatic
music.
Soprano and Piano Accompaniment SKU: HL.14025245 A3 Size Score. Co...(+)
Soprano and Piano
Accompaniment
SKU:
HL.14025245
A3
Size Score. Composed
by Anthony Payne. Music
Sales America. Post-1900.
Vocal Score. Chester
Music #SOS03574.
Published by Chester
Music (HL.14025245).
Edward Thomas
was born in Lambeth on
3rd March, 1878, and
spent most of his
childhood in London. His
holidays, however, were
spent with relatives in
Swindon, and it was there
that he developed his
abiding love of all
things rural. He was
educated at St Paul's
Hammersmith, and was
encouraged in his
creative writing by James
Ashcroft Noble, whose
daughter he secretly
married, after her
father's death, and to
the great disapproval of
her family. Despite
growing anxiety over
poverty, ill health and
literary discouragement,
which exacerbated a
natural tendency to
depression, Thomas worked
unstintingly as a
reviewer, and wrote and
published over 30 books
between 1897 and 1917.
Adlestrop was written
with four other poems
between 7th and 9th June
1915. He enlisted in 1915
at the age of 37, and was
called to the Front in
1917. He arrived at Arras
on 9th February 1917, and
was killed on the 9th
April, Easter Monday, by
a shell blast in the
opening minutes of the
offensive. This work for
Soprano and Piano is set
to the text of Edward
Thomas.
Bassoon and Piano SKU: HL.14025249 Composed by Anthony Payne. Music Sales...(+)
Bassoon and Piano
SKU:
HL.14025249
Composed
by Anthony Payne. Music
Sales America. Classical.
Book [Softcover].
Composed 2001. 22 pages.
Chester Music #CH61323.
Published by Chester
Music (HL.14025249).
ISBN 9780711963467.
8.25x11.75x0.088
inches.
Work for
Bassoon and Piano. The
Enchantress Plays was
commissioned by the Park
Lane Group for the PLG
Young Artists Series. It
was first performed on
8th January 1991 at the
Purcell Room, London.
Duration 8 minutes.
Suitable for advanced
players.
The Greatest Show Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
From The Greatest Showman. Composed by Ryan Lewis, Benj Pasek, and Justin Paul...(+)
From The Greatest
Showman.
Composed by Ryan Lewis,
Benj
Pasek, and Justin Paul.
Arranged by Anthony
Groger.
De Haske Pops for String
Quartet. TV-Film-Musical-
Show. Set (Score and
Parts).
Composed 2020. 12 pages.
De
Haske Publications #DHP
1206258-070. Published by
De
Haske Publications