| Derby X Hal Leonard
SKU: HL.1308738 Chauvet Lighting. Lighting. Hal Leonard #DERBYX. Publishe...(+)
SKU: HL.1308738
Chauvet Lighting.
Lighting. Hal Leonard
#DERBYX. Published by Hal
Leonard (HL.1308738).
UPC: 781462218942.
14.25x16.5x8.0
inches. The Derby X
is a DMX-512 LED derby
effect light, featuring
individual control of all
6 LED clusters.
Additional features
include
blackout/static/strobe,
built-in automated and
sound activated programs,
and linkable power for up
to 27 units. $139.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Kaschnitz-gedichte Voice/piano - Avancé Schott
Voice (alto) and piano - advanced SKU: HL.49007991 Composed by Dieter Sch...(+)
Voice (alto) and piano -
advanced SKU:
HL.49007991 Composed
by Dieter Schnebel. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1994.
28 pages. Duration 15'.
Schott Music #ED 8416.
Published by Schott Music
(HL.49007991). ISBN
9790001112253.
9.0x12.0x0.116
inches. The poems
selected here are taken
from the anthology 'Kein
Zauberspruch' [No Magic
Formula] (Frankfurt,
1972). As indicated by
the title, the original
collection focuses on the
various characteristic
processes of writing
poetry and the
peculiarities of the
individual poems. The
voice again and again
takes on a reciting tone,
while the piano comments
in a restrained and often
static manner. $33.00 - Voir plus => Acheter | | |
| Blue Horizons - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet, Clarinet 1, Clarinet 2, Clar...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass Clarinet,
English Horn, Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Piccolo, Trumpet
1, Trumpet 2, Trumpet 3,
alto Saxophone 1 and
more. - Grade 5 SKU:
CF.SPS85 Composed by
Jeremy Martin. Folio.
Sps. Set of Score and
Parts.
4+28+28+14+14+4+14+14+7+2
4+28+28+8+4+8+8+14+8+9+12
+12+8+8+8+8+12+12+9+12+8+
16+4+3+2+6+6+6+7+44
pages. Duration 7
minutes, 8 seconds. Carl
Fischer Music #SPS85.
Published by Carl Fischer
Music (CF.SPS85). ISBN
9781491156421. UPC:
680160914968. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $150.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Excursions Violon et Piano Theodore Presser Co.
Chamber Music Cello, Piano, Violin SKU: PR.414411630 Composed by Shulamit...(+)
Chamber Music Cello,
Piano, Violin SKU:
PR.414411630 Composed
by Shulamit Ran. Set of
Score and Parts. With
Standard notation.
28+28+20+24+20+24 pages.
Duration 20 minutes.
Theodore Presser Company
#414-41163. Published by
Theodore Presser Company
(PR.414411630). ISBN
9781491114551. UPC:
680160089956. 9.5 x 13
inches. EXCURSIONS
is a one-movement work
exploring two
“characters.â€
A rhapsodic, descending
passage is introduced by
the cello, followed by
a static,
chorale-like phrase for
the violin and cello.
Their individual
developments are
separated by a slow,
contrasting middle
section. The composer has
written: “This is
analogous to situations
in life: we stand by a
crossroad, choosing one
option and forfeiting the
other. But in art, the
realm of the imagination,
we can perhaps afford to
pursue more than one
route to its ultimate
destination… or can
we? It is symbolic that
in this work both roads
eventually lead to the
same
place.â€. Excursi
ons for violin, cello and
piano, is a one-movement
work of tripartite
structure in which
materials explored in the
first of three large
sections are brought back
in the last section.Â
The traditional
statement-contrast-restat
ement form, which is
readily suggested by such
a description, is,
however, not at all in
the mold in which the
work is cast. Rather,
my aim was to subject the
essential materials of
the piece (two
“charactersâ€
–the rhapsodic,
descending passage played
by the cello in the very
opening and, later, a
static, slow moving,
chorale-like phrase for
the violin and cello) to
two entirely different
developments separated by
a slow, contrasting
middle section. This
is analogous to an
exploration of the
ramifications that two
divergent choices made by
the same person might
lead to. In life, as
we stand by a crossroad,
choosing one option
usually means having to
forfeit the other.Â
But in art, the realm of
the imagination, we can
perhaps afford to pursue
more than one route to
its ultimate
destination…or can
we? It is, I believe,
symbolic that in this
work both roads
eventually lead to the
same place: in composing
Excursions, it seemed
absolutely inescapable
that at the end the slow,
contrasting middle
sections – both
more resigned and
peaceful than the
battling spirits of the
outer parts –
should return briefly to
end the work. The
piano trio combination
(once highly favored, but
to this composer still as
challenging today) is
approached here as a
collaborative effort of
three equal soloists
– partners. Of
the available pairings,
the two strings find
themselves occasionally
approached as a team
pitted against the
piano. The
cello-piano combination
is also not uncommon
here, and there is an
extended violin cadenza
toward the end of the
piece. The writing
for the three instruments
is closely and at times
interlinked, but the
players are all
instructed to play from
scores. Excursions was
first performed at
Brandeis University in
1982. $80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Blue Horizons [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Chimes, Clarinet, Clarinet ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon 1, Bassoon
2, Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Crash Cymbals,
English Horn, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Glockenspiel,
Harp, Horn 1, Horn 2,
Horn 3 and more. - Grade
5 SKU: CF.SPS85F
Composed by Jeremy
Martin. Sws. Sps. Full
score. 44 pages. Duration
7 minutes, 8 seconds.
Carl Fischer Music
#SPS85F. Published by
Carl Fischer Music
(CF.SPS85F). ISBN
9781491156438. UPC:
680160914975. 9 x 12
inches. Blue
Horizons is a spirited
tribute to the musical
heritage of the United
States Air Force. The
main theme is a variation
of the U.S. Air Force
Song (Off We Go), with a
secondary theme based on
A Toast to the Host (the
bridge of The Air Force
Song). Throughout the
work, fragments of other
Air Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying Machines.
The original request for
this work was a daunting
task: I was asked to
create an Air Force
companion piece to Robert
Jager's Esprit de Corps
that would mirror the
style and spirit of that
landmark work. The goal
was to use elements of
our various Air Force
tunes in the same way
that Jager incorporated
The Marine's Hymn into
his work - that is, to
weave a musical tapestry
of the Air Force's
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few Jager-isms into the
music, including one
direct quote from Esprit
de Corps. Although Blue
Horizons was conceived as
a dedication to the Air
Force's musical legacy,
it is also a personal
homage to my teacher and
friend, Robert Jager.
Performance Notes * If
only two flutists are
available, omit the
piccolo part and have
them play Flute 1 and 2;
in this case, Flute 1
should switch over to
piccolo (still playing
from the Flute 1 part) at
m. 81 and back to regular
flute at m. 114. If only
covering the Flute 1 and
2 parts, Flute 2 should
ignore indications to
switch to piccolo and
just play the entire work
on regular flute. * Oboe
1 and 2 parts should be
covered before adding the
English Horn part. * The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts. * The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out. * From mm.
89-95, be sure the wind
players with static
eighth notes do not cover
up the players with
moving lines. * There is
a strong tendency to rush
m. 121. * During the oboe
solo from mm. 157-168,
ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo. * In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
line from mm. 251-260.) *
In this same scherzo
section, care should be
taken to not play too
loud and save a little
strength for the climax
fanfare at m. 279. * If
you have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too
heavy. Blue Horizons
is a spirited tribute to
the musical heritage of
the United States Air
Force. The main theme is
a variation of the U.S.
Air Force Song (Off We
Go), with a secondary
theme based on A Toast to
the Host (the bridge of
The Air Force Song).
Throughout the work,
fragments of other Air
Force-related songs
appear: Lord, Guard and
Guide (the Air Force
Hymn), Air Force Blue,
and Those Magnificent Men
in Their Flying
Machines.The original
request for this work was
a daunting task: I was
asked to create an Air
Force “companion
piece†to Robert
Jager’s Esprit de
Corps that would mirror
the style and spirit of
that landmark work. The
goal was to use elements
of our various Air Force
tunes in the same way
that Jager incorporated
The Marine’s Hymn
into his work –
that is, to weave
amusical tapestry of the
Air Force’s
musical heritage without
ever becoming a mere
arrangement of the
original material. As a
former student of Robert
Jager at Tennessee
Technological University,
I discussed my plans for
the piece with him,
shared my progress along
the way, and sought his
guidance as I had done so
many times in the past.
He was delighted that I
managed to incorporate a
few
“Jager-ismsâ€
into the music, including
one direct quote from
Esprit de Corps. Although
Blue Horizons was
conceived asa dedication
to the Air Force’s
musical legacy, it is
also a personal homage to
my teacher and friend,
Robert Jager.Performance
Notes• If only two
flutists are available,
omit the piccolo part and
have them play Flute 1
and 2; in this case,
Flute 1 should switch
over to piccolo (still
playing from the Flute 1
part) at m. 81 and back
to regular flute at m.
114. If only covering the
Flute 1 and 2 parts,
Flute 2 should ignore
indications to switch to
piccolo and just play the
entire work on regular
flute.• Oboe 1 and
2 parts should be covered
before adding the English
Horn part.• The
clarinet in Eb part
should not be covered
unless there are a
sufficient number of
players on the clarinet
in Bb parts.• The
trumpet cues in mm. 77-80
are only necessary if the
horns need assistance
finishing their soli
phrase with enough
strength to be heard. If
you can hear them without
extra support, leave the
trumpets out.• From
mm. 89-95, be sure the
wind players with static
eighth notes do not cover
up the players with
moving lines.•
There is a strong
tendency to rush m.
121.• During the
oboe solo from mm.
157-168, ensure that the
suspension/resolution
lines in the bassoon and
clarinet parts are heard;
emphasize the importance
of growing into the
suspension with a slight
crescendo.• In the
scherzo section that
begins at m. 217, be sure
that each player knows
how his/her part fits
into the overall sound. I
recommend isolating
different textural items
so the players can hear
those parts on their own.
(The bass line from mm.
243-260, for example, or
the moving inner-voice
linefrom mm.
251-260.)• In this
same scherzo section,
care should be taken to
not play too loud and
save a little strength
for the climax fanfare at
m. 279.• If you
have an abundance of
tubas, I would recommend
having one or two of them
play up an octave from
mm. 243-271 if the lower
part seems too heavy. $18.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Techno Treat Piano seul [Partition + CD] Boosey and Hawkes
(Big Beats). By Christopher Norton. (Piano). Boosey and Hawkes Piano. BOOK W/CD...(+)
(Big Beats). By
Christopher Norton.
(Piano). Boosey and
Hawkes Piano. BOOK W/CD.
10 pages. Published by
Boosey & Hawkes.
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Techno Treat Trompette [Partition + CD] Boosey and Hawkes
Book/CD Pack. By Christopher Norton. (Trumpet). Boosey and Hawkes Chamber Music...(+)
Book/CD Pack. By
Christopher Norton.
(Trumpet). Boosey and
Hawkes Chamber Music.
BOOK W/CD. 16 pages.
Published by Boosey &
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet SKU:
PR.114405050 Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050). UPC:
680160008377. 11 x 14
inches. Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions. $130.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ampero Hal Leonard
SKU: HL.293808 Amp Modeler/Effects Processor. Hotone Pedals. Guita...(+)
SKU: HL.293808
Amp Modeler/Effects
Processor. Hotone
Pedals. Guitar Pedal. Hal
Leonard #MP-100.
Published by Hal Leonard
(HL.293808). UPC:
888506050022.
10.0x16.0x2.75
inches. The Hotone
Ampero Amp Modeler /
Effects Processor is a
game changer! It's heart
pounding amp modeling and
uber quality effects are
powered by the new-gen,
dual-DSP CDCM HD
(Comprehensive Dynamic
Circuit Modeling High
Definition) &
F.I.R.E. (Field Impulse
Response Enhancement)
system. Packaged in a
lightweight case with a
4″ hi-def color
touch screen, Ampero
delivers all the real
sounds of rock... past
and present. Built on
Hotone's powerful XTOMP,
acclaimed Binary Series,
and breakthrough VStomp
Amp virtual plugin, the
CDCM HD & F.I.R.E.
system showcases Hotone's
new high-shelf circuit
modeling methods. Unlike
the static state
circuitry of most
mainstream modeling, CDCM
HD & F.I.R.E.
technology
“rebuildsâ€
the entire circuitry
using modeled electronic
components, resulting in
a tone that is vivid,
accurate and expressive.
CDCM HD & F.I.R.E.
provides Ampero with 64
amplifier models, 60
cabinet models, 100+
legendary pedal models,
and mic type/position
simulations. In addition,
Ampero shares the same
244 effects as the
ever-growing XTOMP
library, as well as 50+
new Hotone original
effects and so much more.
Ampero can handle up to
nine effect modules
simultaneously, and even
includes a user custom IR
loader with 3rd party IR
support. Ampero is
incredibly easy to set up
and program. A
straight-forward user
interface features a
4″ 800 x 480 touch
screen with dynamic color
display and three quick
access knobs for hands-on
parameter tweaking. Its
four assignable
footswitches with halo
LEDs and built-in
expression pedal only add
to Ampero's overwhelming
benefits to electric
instrumentalists,
acoustic players and
keyboardists alike. $399.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Techno Treat Saxophone [Partition + CD] - Facile Boosey and Hawkes
Book/CD Pack. By Christopher Norton. (Saxophone). Boosey and Hawkes Chamber Musi...(+)
Book/CD Pack. By
Christopher Norton.
(Saxophone). Boosey and
Hawkes Chamber Music.
Book and CD Package. Size
9x12 inches. 16 pages.
Published by Boosey and
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet SKU:
PR.11440505S Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S). UPC:
680160008391. 11 x 14
inches. Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions. $75.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Techno Treat Violon [Partition + CD] Boosey and Hawkes
(Big Beats). By Christopher Norton. (Violin). Boosey and Hawkes Chamber Music. ...(+)
(Big Beats). By
Christopher Norton.
(Violin). Boosey and
Hawkes Chamber Music.
BOOK W/CD. 16 pages.
Published by Boosey and
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Techno Treat Violoncelle [Partition + CD] Boosey and Hawkes
(Big Beats). By Christopher Norton. (Cello). Boosey and Hawkes Chamber Music. B...(+)
(Big Beats). By
Christopher Norton.
(Cello). Boosey and
Hawkes Chamber Music.
BOOK W/CD. Size 9x12
inches. 16 pages.
Published by Boosey and
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Techno Treat Flûte traversière [Partition + CD] Boosey and Hawkes
Book/CD Pack. By Christopher Norton. (Flute). Boosey and Hawkes Chamber Music. ...(+)
Book/CD Pack. By
Christopher Norton.
(Flute). Boosey and
Hawkes Chamber Music.
BOOK W/CD. Size 9x12
inches. 16 pages.
Published by Boosey &
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Techno Treat Clarinette [Partition + CD] Boosey and Hawkes
Book/CD Pack. By Christopher Norton. (Clarinet). Boosey and Hawkes Chamber Musi...(+)
Book/CD Pack. By
Christopher Norton.
(Clarinet). Boosey and
Hawkes Chamber Music.
BOOK W/CD. 16 pages.
Published by Boosey and
Hawkes.
$22.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Static layers X 2 Pianos, 4 mains [Conducteur] Noten Roehr
2 pianos SKU: NR.94047 Para dos pianos, 2014. Composed by Carlos P...(+)
2 pianos SKU:
NR.94047 Para dos
pianos, 2014.
Composed by Carlos Peron
Cano. Keyboard
instruments. Score. Noten
Roehr #94047. Published
by Noten Roehr
(NR.94047).
$26.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| La scuola dell’ascolto. Oralità, suono e musica nell’opera di Elias Canetti Ut Orpheus
Books and Journals SKU: UT.LB-13 Oralita, suono e musica nell'opera di...(+)
Books and Journals
SKU: UT.LB-13
Oralita, suono e
musica nell'opera di
Elias Canetti.
Composed by Antonello
Lombardi. Hardback (Cloth
Hard Cover with Jacket).
Classical. Books and
Journals. Ut Orpheus #LB
13. Published by Ut
Orpheus (UT.LB-13).
ISBN 9788881094745.
6.5 x 9.5
inches. Grazie ad
un’attenta analisi
del catalogo della
biblioteca di Elias
Canetti è possibile
individuare un
corpus omogeneo di
alcune centinaia di
titoli composto da
repertori paremiografici,
raccolte di miti,
leggende, favole,
resoconti etnografici,
canti e danze popolari.
Scopo del libro è la
messa a fuoco delle
conseguenze prodotte da
tale straordinario
‘archivio
sull’oralità â
™. Da Auto da
fé a Massa e
potere, dalle
giovanili
pièces teatrali
alla trilogia
autobiografica e agli
ultimi appunti degli anni
Novanta, le opere dello
studioso risultano tenute
assieme da una
sofisticata
strutturazione acustica
del pensiero, una
metodologia della
comprensione che di quel
materiale si nutriva
assiduamente, talvolta
producendo interventi di
autentica
‘archeologia
sonora’.
Interventi eseguiti in
quella particolare
officina mobile, avente
per base la
biblioteca-studio, che
non smetteva di operare
nelle osterie e nei
caffè notturni, sui
tram e per le strade,
traendone anzi preziosa
linfa. Da quei luoghi
prediletti, Canetti
ascoltava ed osservava il
brulicare del popolo, che
come nei quadri di
Bruegel può essere
placido e festoso, ma
anche mostrare i denti e
colpire al cuore; lì
elaborava le nozioni di
‘cristalli di
massa’,
‘metamorfosiâ€
,
‘scarica’,
sempre e innanzitutto
aiutandosi con
l’udito, come chi
si serva
dell’olfatto prima
di portare cibo alla
bocca. Seguendo questo
intricato itinerario
acustico è possibile
incontrare Karl Kraus,
Alban Berg, Hermann
Scherchen, Cesare Pavese,
James Joyce, Alma e Anna
Mahler; e poi la lingua
dei Boscimani, arcaica
portatrice di miti, le
voci degli animali e la
danza dei Maori, il
rumore prodotto dalle
gocce di pioggia e le
allucinazioni auditive di
uno schizofrenico, la
‘massa
statica’ dei
concerti e la figura del
direttore
d’orchestra,
incarnazione del potere:
il tutto in una fitta
trama di oralità ,
suono e musica che
diventa per il lettore,
come lo fu per lo
scrittore, anche
inesauribile e spesso
inedita fonte di
dati. $46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Crossing the Bar Chorale TTBB [Octavo] Schirmer
(No. 3 from Love Was My Lord and King ). By Gwyneth W. Walker (1947-). For TTBB...(+)
(No. 3 from Love Was My
Lord and King ). By
Gwyneth W. Walker
(1947-). For TTBB choir,
chamber Orchestra or
Piano. Choral, general.
Octavo. 12 pages.
Published by E.C.
Schirmer Publishing
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rhapsody in Red 2 Pianos, 4 mains Oxford University Press
Composed by Gabriel Jackson (1962-). For 2 pianos. 40 pages. Duration 17 minutes...(+)
Composed by Gabriel
Jackson (1962-). For 2
pianos. 40 pages.
Duration 17 minutes.
Published by Oxford
University Press
$22.99 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Desert Forests Carl Fischer
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Bassoon 3, Celesta, Ce...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Bassoon 3,
Celesta, Cello, Chimes,
Clarinet, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass,
Contrabassoon, Cymbal,
Glockenspiel, Gong, Harp,
Horn, Horn 1, Horn 2,
Horn 3, Horn 4, Piano,
Piccolo 1 and more.
SKU: CF.O5445
Composed by Henry Brant.
SWS. Large Score. With
Standard notation.
Composed 1983. Duration
15 minutes. Carl Fischer
Music #O5445. Published
by Carl Fischer Music
(CF.O5445). ISBN
9780825840449. UPC:
798408040444. 9 X 14
inches. Written for
the late Robert Shaw and
the Atlanta Symphony
Orchestra in 1983, Desert
Forests is one of the
most successful of
Brant's spatial works for
conventional-sized
symphony orchestra. The
score mandates that the
higher woodwinds
(piccolos, flutes, oboes,
clarinets) be stationed
in a balcony at the back
of the hall and the
trumpets and trombones in
boxes or balconies on
opposite sides of the
hall. There is also an
optional improvised
piano-obbligato. A
recommended seating
diagram for the stage
instruments (also
unusually arranged) is
included in the score and
was used to great effect
in the performances
conducted by Kurt Masur
with the New York
Philharmonic in May 1994.
This extraordinary work
expands the idea of
bitonality and spatiality
as a structural device to
create a fifteen minute
exercise in ecstatic
polyphony, inspired,
according to the composer
by a visit to a forest of
saguro cactus in Saguro
National Monument, near
Tucson, Arizona. Complete
performance materials are
available on rental. $80.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cinque foglie Breitkopf & Härtel
Saxophone(s) solo SKU: BR.KM-2235 Composed by Jurg Baur. Solo instruments...(+)
Saxophone(s) solo SKU:
BR.KM-2235 Composed
by Jurg Baur. Solo
instruments.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
Rottenburg am Neckar,
February 1, 1987
Music post-1945. Set of
parts. Composed 1986. 60
pages. Duration 15'.
Breitkopf and Haertel #KM
2235. Published by
Breitkopf and Haertel
(BR.KM-2235). ISBN
9790004501399. 9 x 12
inches. Ein
kurzweiliges,
kontrastreiches Opus,
angeregt durch das
Rascher-Quartett, dem es
auch gewidmet ist; keine
experimentelle, aber
instrumentengerechte,
neue Musik, auf die
Spiel- und
Ausdrucksmoglichkeiten
sowie auf den
spezifischen Klang eines
technisch und musikalisch
anspruchsvollen
Saxophon-Ensembles
bezogen (Sopran - Alt-
Tenor - Bariton)Funf
suitenformig locker
aneinander gereihte Satze
(Funf ,,Blatter) werden
durch ein
dodekaphonisches
Leitmotiv verknupft, das
zu Anfang eines jeden
Satzes erklingt.Im
Circulo ostinato bestimmt
diese Figur entscheidend
den Verlauf des Stuckes;
zu Beginn des Finales
verdichtet sie sich zum
vierstimmigen Kanon.
Ostinate und rhythmische
Formeln pragen den
Charakter des ganzen
Werkes.Allegro ruzzone
(Ubermut)Ein knappes
lebhaftes Eingangsstuck;
auf dem Hohepunkt
erscheint, wie ein
Atemholen, ein
melodisch-ausdrucksvoller
Gedanke, der sich
imitatorisch im Kreise
dreht, ehe eine kurze
Stretta in schnellem
Tempo zum
Pianissimoschluss
fuhrt.Circulo ostinato
(Kreisende Wiederholung)
(Andante con moto)Der
Mittelteil des Satzes
entwickelt sich aus
gestauten
Tonwiederholungen und den
melodischen Flosklen des
Urthemas in immer neuen
Anlaufen zu grosser
Steigerung. Am Anfang und
Ende steht ein
mehrstimmiger Kanon, der
um eine abwarts
gerichtete chromatische
Tonfolge kreist.Ballo
estatico (,,Entfesselter
Tanz) (Allegro molto)In
diesem Satz dominieren
rhythmisch tanzerische
und aggressive Elemente;
drei verschiedene
Episoden entfalten sich
uber ostinaten
Bassbewegungen, die
letzte gerat zur ,,freien
Variation uber Debussys
(,,Golliwoggs cake walk
aus den ,,Children's
Corner).Sogno solitario
(Einsamer Traum)
(Andante)Der ,,langsame
Satz des Quartetts wachst
aus rezitativischem
Beginn, uber einen
ausdrucksvollen
Mittelteil (mit
engraumiger Melodik) bis
zu einer ausgedehnten
Trillerflache und
dichten, abwarts
sturzenden chromatischen
Figuren (Quintolen),
kehrt uber einen ruhigen
Abschnitt (in tiefer
Lage) zum Rezitativ
zuruck, klingt verhalten
aus.Fugato scherzando
(Allegro molto)Ein
virtuos humorvolles
Finale, nach dem
einleitenden
vierstimmigen
,,Kreisel-Kanon des
Leitmotivs entwickelt
sich aus einem skurrilen
Thema eine rhythmisch
vertrackte Fuge,
unterbrochen von einem
trioahnlichen Intermezzo
und wirkungsvoll
turbulent zum befreienden
Schluss gesteigert.(Jurg
Baur)Bibliography:Gudelho
fer, Matthias: Jurg Baur.
Die spate Kammermusik,
Koln: Dohr
2002.
World
premiere: Rottenburg am
Neckar, February 1,
1987. $66.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Voice of the Spirits Chorale SATB SATB divisi, A Cappella Oxford University Press
SATB choir, a cappella (SATB) - Moderately Difficult SKU: OU.9780193432512(+)
SATB choir, a cappella
(SATB) - Moderately
Difficult SKU:
OU.9780193432512
Composed by Howard
Skempton. Secular Choral
- Mixed Voices. New
Horizons. Vocal score. 20
pages. Duration 10'.
Oxford University Press
#9780193432512. Published
by Oxford University
Press (OU.9780193432512).
ISBN 9780193432512. 12
x 8 inches. For
SATB unaccompanied The
text is taken from
Shelley's epic poem
Prometheus Unbound.
Skempton sets passages in
which a Chorus of Hours
and a Chorus of Spirits
celebrate in ecstatic
language the unshackling
of the human spirit
through the enlightenment
of science. Written in
his customary style of
great simplicity,
Skempton's hypnotic score
beautifully captures the
visionary lyricism of the
poetry: long lyrical
sections in two different
keys distinguish the
hopes and fears of the
Hours and the Spirits,
before they are united in
song at the end of the
piece.
About Oxford
New
Horizons N
ew Horizons showcases the
wealth of exciting,
innovative, and
occasionally challenging
choral music being
written today. It
encompasses the whole
gamut of small-scale
choral genres, both
secular and sacred, and
includes pieces for
upper-voice and mixed
choirs. With titles by
some of the most
accomplished choral
composers active in Great
Britain and abroad, the
series introduces new
repertoire and fresh
talent to a broad
spectrum of choirs. New
Horizons features
composers with growing
reputations for quality
composition reflecting a
strong individual voice.
The series is continually
expanding and should be
the first place to look
for attractive and
performable contemporary
choral music. $4.50 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Cinque foglie Quatuor de Saxophones: 4 saxophones [Conducteur] Breitkopf & Härtel
4 saxophones SKU: BR.KM-2234 Composed by Jurg Baur. Kammermusik-Bibliothe...(+)
4 saxophones SKU:
BR.KM-2234 Composed
by Jurg Baur.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere:
Rottenburg am Neckar,
February 1, 1987
Music post-1945. Full
score. Composed 1986. 36
pages. Duration 15'.
Breitkopf and Haertel #KM
2234. Published by
Breitkopf and Haertel
(BR.KM-2234). ISBN
9790004501382. 9 x 12
inches. Ein
kurzweiliges,
kontrastreiches Opus,
angeregt durch das
Rascher-Quartett, dem es
auch gewidmet ist; keine
experimentelle, aber
instrumentengerechte,
neue Musik, auf die
Spiel- und
Ausdrucksmoglichkeiten
sowie auf den
spezifischen Klang eines
technisch und musikalisch
anspruchsvollen
Saxophon-Ensembles
bezogen (Sopran - Alt-
Tenor - Bariton)Funf
suitenformig locker
aneinander gereihte Satze
(Funf ,,Blatter) werden
durch ein
dodekaphonisches
Leitmotiv verknupft, das
zu Anfang eines jeden
Satzes erklingt.Im
Circulo ostinato bestimmt
diese Figur entscheidend
den Verlauf des Stuckes;
zu Beginn des Finales
verdichtet sie sich zum
vierstimmigen Kanon.
Ostinate und rhythmische
Formeln pragen den
Charakter des ganzen
Werkes.Allegro ruzzone
(Ubermut)Ein knappes
lebhaftes Eingangsstuck;
auf dem Hohepunkt
erscheint, wie ein
Atemholen, ein
melodisch-ausdrucksvoller
Gedanke, der sich
imitatorisch im Kreise
dreht, ehe eine kurze
Stretta in schnellem
Tempo zum
Pianissimoschluss
fuhrt.Circulo ostinato
(Kreisende Wiederholung)
(Andante con moto)Der
Mittelteil des Satzes
entwickelt sich aus
gestauten
Tonwiederholungen und den
melodischen Flosklen des
Urthemas in immer neuen
Anlaufen zu grosser
Steigerung. Am Anfang und
Ende steht ein
mehrstimmiger Kanon, der
um eine abwarts
gerichtete chromatische
Tonfolge kreist.Ballo
estatico (,,Entfesselter
Tanz) (Allegro molto)In
diesem Satz dominieren
rhythmisch tanzerische
und aggressive Elemente;
drei verschiedene
Episoden entfalten sich
uber ostinaten
Bassbewegungen, die
letzte gerat zur ,,freien
Variation uber Debussys
(,,Golliwoggs cake walk
aus den ,,Children's
Corner).Sogno solitario
(Einsamer Traum)
(Andante)Der ,,langsame
Satz des Quartetts wachst
aus rezitativischem
Beginn, uber einen
ausdrucksvollen
Mittelteil (mit
engraumiger Melodik) bis
zu einer ausgedehnten
Trillerflache und
dichten, abwarts
sturzenden chromatischen
Figuren (Quintolen),
kehrt uber einen ruhigen
Abschnitt (in tiefer
Lage) zum Rezitativ
zuruck, klingt verhalten
aus.Fugato scherzando
(Allegro molto)Ein
virtuos humorvolles
Finale, nach dem
einleitenden
vierstimmigen
,,Kreisel-Kanon des
Leitmotivs entwickelt
sich aus einem skurrilen
Thema eine rhythmisch
vertrackte Fuge,
unterbrochen von einem
trioahnlichen Intermezzo
und wirkungsvoll
turbulent zum befreienden
Schluss gesteigert.(Jurg
Baur)Bibliography:Gudelho
fer, Matthias: Jurg Baur.
Die spate Kammermusik,
Koln: Dohr
2002.
World
premiere: Rottenburg am
Neckar, February 1,
1987. $55.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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