|
| Prophesies [Conducteur et Parties séparées]
Theodore Presser Co.
Chamber Music Cello, Viola, Violin 1, Violin 2 SKU: PR.114419030 Score...(+)
Chamber Music Cello,
Viola, Violin 1, Violin 2
SKU: PR.114419030
Score and Parts.
Composed by Mohammed
Fairouz. Sws. Score and
parts. With Standard
notation. 68 pages.
Duration 25 minutes.
Theodore Presser Company
#114-41903. Published by
Theodore Presser Company
(PR.114419030). ISBN
9781491114124. UPC:
680160669851. 9 x 12
inches. A
fascination with
polycultural synergy
between diverse literary
textsdrives the
inspiration for much of
Mohammed Fairouz’s
prodigiouscreative
output, including
instrumental music as
well as vocal. Inhis
profound and extensive
essay preceding the
score, Fairouz shedslight
on how Edgar Allen
Poe’s “Israfel”
relates to the
prophetsand prophesies of
the Quran, Old Testament,
and New Testament.The
eight-movement quartet
may be heard as a
dramatic galleryof
portraits and of
story-telling,
flourishing in a
post-traditionallanguage
that is at once
vernacular and spiritual,
Middle Easternand
Western. The complete set
of score and parts is
included in
thispublication.
(See
pages 2-3 of score for
clear distinction of
paragraphs,
etc.)Prophesies, by
Mohammed FairouzEdgar
Allen Poe’s rendition
of Israfel was the point
of departure for the
final movement of my
previous stringquartet
which is titled The Named
Angels. At the opening of
his poem, Poe evokes the
Quran:“And the angel
Israfel, whose
heartstrings are a lute,
and who has the sweetest
voice of all God’s
creatures.”This informs
the first lines of the
poem that, in turn, gave
me the title for the
final movement of The
Named
Angels,“Israfel’s
Spell”:In Heaven a
spirit doth dwell“Whose
heartstrings are a
lute”None sing so
wildly wellAs the angel
Israfel,And the giddy
stars (so legends
tell),Ceasing their
hymns, attend the spellOf
his voice, all mute.It is
the end of that poem,
however, that is the
starting point for the
current quartet,
Prophesies, which
concernsitself with
mortal prophets rather
than eternal Angelic
spirits.If I could
dwellWhere IsrafelHath
dwelt, and he where I,He
might not sing so wildly
wellA mortal melody,While
a bolder note than this
might swellFrom my lyre
within the sky.Islamic
thought has asked us to
look at the example of
the prophets. That’s
significant because of
the fact thatJoseph and
all the prophets were
human beings with the
flaws of human beings. No
prophet was perfect,
andIslamic tradition has
never asked its followers
to aspire to the example
of the Angels, the
perfected ones. Instead
weare given the gift of
our prophets. While The
Named Angels drew on the
motion and energy of
everlasting
spirits,Prophesies is a
depiction of the
movements within our own
mortal coil.This quartet
is a continuation of a
long tradition of Muslim
artists telling their
stories and singing their
songs.Many of these
renditions are, in fact,
figurative and (contrary
to popular belief) the
Quran contains no
“Islamicedict”
prohibiting figurative
renditions of the figures
described in the Old
Testament, New Testament,
or Quran.The majority of
artists, however, have
preferred eternal and
abstract forms such as
words and their
calligraphicrepresentatio
ns, poems (Yusuf and
Zuleikha or the
Conference of Birds come
immediately to mind),
architecture,and many
other non-figurative art
forms to the
representation of man.
These cold, ancient, and
everlasting shapesof
unending time flourished,
and the divine infinity
of representing geometric
forms gained favor over
the placementof the
explicit representation
of mankind and our own
likeness at the center of
the universes.Adding the
string quartet to these
forms which express the
recursive spheres of
heavens and earth
abstractly shouldexplain
why I have chosen to
render higher things
through the use of music
without the addition of
words or anyother
art-form. It is the
abstract art of pure
form, in which all is
form and all is content,
which compels me.
Thisquartet should be
seen as no more
programmatic than the
arches of the Great
Mosque at Cordoba.The
first movement, Yāqub
(Jacob), is slow, quiet
and prayerful. It evokes
the patient sorrow of a
slow choraledeveloping
over time as it coaxes
our pulse out of the
ticking of a clock-like
meter that defines our
day-to-day livesand into
a divine eternity.The
second, Saleh, imagines
the spirit of that
desert-prophet through
the use of a Liwa; the
dance-sequence that
hasbeen such a prevalent
form of expression in the
Arabian Peninsula for
much of our recorded
history.The third
movement is titled
Dawoōd, and it is
emblematic of the beloved
Prophet, King, and
Psalmist, David.Though it
has no lyrics, the
movement functions as a
dabkeh (an ancient dance
native to the Levant) and
also “sets”the
opening of Psalm 100
(Make a joyful noise unto
the Lord, all ye lands).
This line is never set to
music or sung inthe
quartet but is evoked
through the rhythmic
shape of the violin part
which imitates the
phonology and rhythmof my
speaking the opening line
in the Hebrew and
develops the contours of
that line incessantly
throughout
themovement.3The fourth
movement is an ode to
Yousef (Joseph) and
relates to the first
movement in tempo and
tone just as
Josephrelates to Jacob,
his father. Together, the
first and fourth
movements provide a sort
of Lamentation and
relief.Joseph had the
appearance of a noble
angel, but he was very
much a human being. And
the story of this
particularprophet had
tragic beginnings many
years before he found
himself in a position of
power in Egypt. Back in
his youth,still among the
Israelites, Joseph
experienced a series of
revelations through his
dreams that spoke of his
impendingcareer in
prophecy. He confided his
dreams to his father, the
Prophet Jacob, who told
his son of the greatness
thatawaited him in his
future only to have his
brothers throw him into a
well and leave him for
dead. Joseph
eventuallyfound his way
from Israel to Egypt and
rose out of slavery into
a position of power.
Meanwhile, famine engulfs
Israel.Forty years pass,
and back in the land of
Jacob and Rachel, of
Joseph’s brothers and
Abraham’s tribe, Israel
wasnot spared the effects
of the famine. They
sorely lacked Joseph’s
prophecy and his vision.
The Qur’an then tells
usthat Jacob, sensing
Joseph, sends the other
brothers to Egypt
instructing them to come
back with food and
grain.Arriving in Egypt,
they unwittingly appear
before Joseph. They
don’t recognize their
little brother who has
risen toa position of
might, dressed in his
Egyptian regalia. They
ask for the food and the
grain.After some
conversation, Joseph is
no longer able to contain
his emotion. Overcome, he
reveals himself to his
nowterrified brothers. He
embraces them. He asks
them eagerly, “How is
our father?” Joseph
gives them the gift of
thefood and the grain
that they came in search
of. He relieves them from
hunger and alleviates
their fear. He sendsthem
back with proof that he
is alive, and it is this
joyful proof from the
miraculous hands of a
prophet that bringsback
the ancient Jacob’s
vision after 40 years of
blindness.In this story,
I am struck by the fact
that Joseph may not have
made the decision to
forgive his brothers on
thespot, but that
something inside the
prophet’s soul found
forgiveness and peace for
the brothers who had so
gravelywronged him at
some point along his
journey. I would suspect
this point to have been
present at Joseph’s
inception,even before he
had ever been
wronged.This is proof, if
we needed it, that
Joseph’s angel-like
beauty was not only
physical and external,
but also internalas well:
Joseph possessed a
profound loveliness of
spirit that bound his
appearance and his soul.
In Joseph, formand soul
are one.Time is to
musicians what light is
to a painter. In this
way, the story of Joseph
also shows us that time
can affectour perception
of even the most tragic
wounds. In fact, the most
common Arabic word for
“human being” is
insaan,which shares its
roots with the word
insaa, “to forget.”
While our ability to
remember is essential to
how we learnabout
ourselves, our capacity
to “forgive and
forget” may also be one
of our great gifts as
human beings.The fifth
movement follows my ode
to Joseph with a
structural memory of
Mūsa (Moses). The
movement consistsentirely
of descending motifs
which I constructed as an
indication of Moses’
descending movement as he
emergedto his people from
the heights of Mt. Sinai.
The music is constructed
in five phrases which
function as a
formalreference to the
five books of Moses, the
Pentateuch. The movement
is placed as the fifth of
the quartet for the
samereason.While Joseph
is always evoked as
supremely beautiful in
the Books of Judaism,
Christianity, and Islam,
Suleiman(Solomon) is
described as surpassing
in his quicksilver
intelligence. This
movement is composed of a
seven-partriddle which
passes by in an instant
but can be caught by the
attentive listener. From
Solomon, we work our
wayback to Yishak (Isaac)
in a seventh movement
that evokes Isaac’s
literal meaning in Arabic
and Hebrew: laughter.The
eighth and final movement
of this quartet is named
for the Patriarch of the
entire Book: Ibrahim
(Abraham). Itrelates to
Isaac just as Joseph
relates to Jacob; they
are father and son. The
lines are prayerful and
contemplative;the form of
the music evolves from a
fugue joining together
many different forms of
prayer into a single
tapestry ofcounterpoint,
to the cyclical form of
this entire quartet which
is rendered through the
motion of pilgrims
circling theKaaba (cube)
in Mecca — a structure
which was built by
Abraham for Hagaar and
their son Ismail.These
are just some of the
figures that are
cherished by all three of
the Middle Eastern
monotheisms
(Judaism,Christianity,
and Islam) that the
Qur’an refers to
collectively as Ahl
Al-Kitab. This Arabic
phrase is most
commonlytranslated as
“The People of the
Book,” but here the
most common translation
is a flawed one: the
Arabic word“ahl”
means “family” and
not just “people.” A
better translation would
be “Family of the
Book.” Each of the
eightmovements of
Prophesies grows from a
single musical cell.This
quartet is a family
album.—Mohammed Fairouz
(2018. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Classical Fake Book - 2nd Edition
Fake Book [Fake Book] - Facile
Hal Leonard
(Over 850 Classical Themes and Melodies in the Original Keys) For C instrument. ...(+)
(Over 850 Classical
Themes and Melodies in
the Original Keys) For C
instrument. Format:
fakebook (spiral bound).
With vocal melody
(excerpts) and chord
names. Lassical. Series:
Hal Leonard Fake Books.
646 pages. 9x12 inches.
Published by Hal Leonard.
(8)$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| The Real Little Classical Fake Book - 2nd Edition
Piano seul - Intermédiaire
Hal Leonard
Composed by Various. For Piano/Keyboard. Hal Leonard Fake Books. Classical. Diff...(+)
Composed by Various. For
Piano/Keyboard. Hal
Leonard Fake Books.
Classical. Difficulty:
medium to
medium-difficult.
Fakebook. Melody line,
chord names and lyrics
(on some songs). 413
pages. Published by Hal
Leonard
$27.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| 100 Gospel Songs and Hymns for Cello and Guitar
Violoncelle , Guitare (duo) - Intermédiaire
Mel Bay
With Suggested Chordal Accompaniment. Composed by Craig Duncan. Cello,Guitar...(+)
With Suggested Chordal
Accompaniment. Composed
by
Craig Duncan.
Cello,Guitar:
Gospel and
Sacred,Style,Gospel/Sacre
d,Du
et/Ensemble,Solos,Duets
and
Ensemble,Solos. 100
Hymns.
Book. 120 pages.
Published by
Mel Bay Publications, Inc
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| LYRE OF ORPHEUS
Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.114414290 For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed December 16
2008. 22+8+8+7+8+8+8
pages. Duration 15
minutes. Theodore Presser
Company #114-41429.
Published by Theodore
Presser Company
(PR.114414290). UPC:
680160594030. Writt
en for Concertante, a
string sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers.
Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players.This particular
commission was made with
the goal of giving
center-stage to the
ensemble’s first
cello, a choice I was
especially grateful for,
not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way.As sometimes
happens, naming the piece
was the final act in the
process of creation.Â
Once titled, though, I
found myself looking
through the piece with a
mixture of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning…Lyre of
Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower notes.This
commission has been made
possible by the Chamber
Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| LYRE OF ORPHEUS [Conducteur]
Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.11441429S For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Full score.
With Standard notation.
Composed December 16
2008. 22 pages. Duration
15 minutes. Theodore
Presser Company
#114-41429S. Published by
Theodore Presser Company
(PR.11441429S). UPC:
680160594054. 9.5 x 13
inches. Written for
Concertante, a string
sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers.
Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players. This
particular commission was
made with the goal of
giving center-stage to
the ensemble’s
first cello, a choice I
was especially grateful
for, not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way. As
sometimes happens, naming
the piece was the final
act in the process of
creation. Once
titled, though, I found
myself looking through
the piece with a mixture
of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning… Lyre
of Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower
notes. This commission
has been made possible by
the Chamber Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund.—Shulamit
Ran. $37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Trio [Conducteur et Parties séparées]
Theodore Presser Co.
Chamber Music Flute, Horn, Piano SKU: PR.114424380 Composed by Eric Ewaze...(+)
Chamber Music Flute,
Horn, Piano SKU:
PR.114424380 Composed
by Eric Ewazen. Sws.
Score and parts. Theodore
Presser Company
#114-42438. Published by
Theodore Presser Company
(PR.114424380). ISBN
9781491138076. UPC:
680160693467. 18 x 12
inches. If you love
playing Eric Ewazen’s
flute sonatas or horn
chamber music, or if you
are fan of Brahms’s
chamber music, then this
exhilarating work is for
you! Among Ewazen’s
most performed works, the
TRIO, inspired by the
Brahms horn trio and
originally for Violin,
Horn, and Piano, has been
adapted by the composer
for Flute, Horn, and
Piano. With a rollicking
scherzo and beautiful
melodic movements, this
21-minute work is a joy
to play and to listen
to.
I’ve always been
fascinated and inspired
by chamber works offering
several instrumental
versions of the same
piece, resulting in a new
feel and color. One
famous example is the
great Franck Sonata,
originally for violin and
piano, and beautifully
arranged for flute and
piano by Jean-PIerre
Rampal. Subsequently
other versions of the
piece were created for an
array of instruments:
cello, oboe, clarinet,
saxophone, and even tuba!
Creating this flute
version of my TRIO (flute
replacing the original
violin part), considered
the range, allowing the
flute to sometimes sing
in a bright, higher
register than the
original violin part;
passages where there were
double stops in the
violin now have
arpeggiated
figurations. The
original scoring for
Horn, Violin, and Piano
was commissioned by and
gratefully dedicated to
Chamberosity,
representing an homage to
one of my favorite
chamber pieces of all
time, the Trio for Horn,
Violin, and Piano by
Brahms. Having both
performed (on piano) and
analyzed that work, I so
loved Brahms’ wonderful
weaving of the colors of
the instruments, creating
an almost orchestral
color palette. For years
I wanted to write a trio
for the same combination,
and when my friends in
Chamberosity were
enthusiastic about me
writing that piece for
them, I was
delighted. The four
movements are modeled
after the Brahms, with a
slow-fast-slow-fast
scheme to the entire
work. A gentle, somewhat
mysterious first movement
accumulates depth and
momentum as it proceeds,
only to return to the
gentle world of the
opening. The second
movement is a rip-roaring
scherzo, a true energetic
dance with melodies
tossed back and forth
from the violin to the
horn, while the piano
provides a resonant
accompaniment, inserting
its own lively melodies
as counterpoint to the
violin and horn. The
third movement is filled
with melancholy, with
long lyric melodies
appearing sometimes as
solos, sometimes as
duets, and sometimes as a
chorale with all three
instruments singing their
soulful songs. The final
movement, following an
austere, dramatic
introduction, turns into
a grand fugue, with a
jumping fugue theme full
of life and excitement,
culminating in the themes
heard in augmentation,
strong and bold. $34.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Hymn Strings Book 2 - Viola
Quatuor à cordes: 2 violons, alto, violoncelle [Partie séparée] - Facile
Jackman Music Corporation
By Various. Arranged by Brent Jorgensen. For String Quartet. Level: Easy. Publis...(+)
By Various. Arranged by
Brent Jorgensen. For
String Quartet. Level:
Easy. Published by
Jackman Music
Corporation.
$8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Hymn Strings Book 2 - Violin
Quatuor à cordes: 2 violons, alto, violoncelle - Facile
Jackman Music Corporation
By Various. Arranged by Brent Jorgensen. For String Quartet. Level: Easy. Publis...(+)
By Various. Arranged by
Brent Jorgensen. For
String Quartet. Level:
Easy. Published by
Jackman Music
Corporation.
$9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Primera Luz (The First Light)
Quatuor à cordes: 2 violons, alto, violoncelle
Sikorski
(String Quartet No. 2 Score and Parts). By Lera Auerbach. For String Quartet. G ...(+)
(String Quartet No. 2
Score and Parts). By Lera
Auerbach. For String
Quartet. G Schirmer
String Ensemble. Book
only. 70 pages. Sikorski
#SIK8576. Published by
Sikorski
$56.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| 101 Jazz Songs for Cello
Violoncelle
Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 104 pages. Published by...(+)
Composed by Various.
Instrumental Solo.
Softcover. 104 pages.
Published by Hal Leonard
$17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Pieces- Deux Improvisations Sur Des Airs Irlandais
Violoncelle, Piano
Leduc, Alphonse
(Cello Part And Piano Score) SKU: HL.48186482 Composed by Reynaldo Hahn. ...(+)
(Cello Part And Piano
Score) SKU:
HL.48186482 Composed
by Reynaldo Hahn. Leduc.
24 pages. Alphonse Leduc
#AL30749. Published by
Alphonse Leduc
(HL.48186482).
Reynaldo Hahn:
Works for cello and piano
[AL 30 749] For quite
some time, posterity
remembered Reynaldo Hahn
(1874-1947) for just a
handful of songs and the
operetta Ciboulette,
overlooking the
incredible diversity of a
catalogue as eclectic as
it is appealing. Yet his
chamber music contains
many little-known
treasures: thus, cellist
Steven Isserlis, in his
preface, hastens to hail
the first modern edition
of these two scores,
which he regularly plays
in recital, so much does
their beauty enchant the
audience. Published in
1911, the Two
Improvisations on Irish
Airs for cello and piano
turn out to be the
transcription of his
first and third Preludes
for piano four hands
(1894). These folk themes
come from the collection
Songs of Old Ireland,
published 12 years
earlier by Charles
Villiers Stanford:
gracefully and tenderly,
The Little Red Lark
unfurls a melancholic
tune of which the regular
foundation respects the
breadth of phrase typical
of folk songs; in The
Willow-Tree, the lover
begs his beloved in vain
to take him in her arms
one last time before he
lies down, lifeless, in
the shade of the tree.
Beyond this sensitive
exploration of the Irish
soul, Hahn offers us a
journey into the past:
the Variations chantantes
sur un air ancien develop
a theme borrowed from
Cavalli?s opera Xerse. In
this aria (1660 version:
Act IV, sc. 6),
Ambassador Periarco
dreams of moving away
from court intrigues to
be able to taste the
pleasures ?to which the
gods have destined him?.
Reynaldo Hahn?s
variations succeed in
maintaining the sweet
simplicity of this theme,
as noble as it is
refined. Let us wager
that this publication
will delight cellists and
pianists alike: it
contains some nuggets.
Deux improvisations sur
des airs irlandais (The
Little Red Lark, The
Willow-Tree) Variations
chantantes sur un air
ancien. $16.20 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| The Harvey Pittel Saxophone Quartet Live In Chicago
Quatuor de Saxophones: 4 saxophones
Mark Custom Music
By The Harvey Pittel Saxophone Quartet. By Various. For saxophone ensemble. Mark...(+)
By The Harvey Pittel
Saxophone Quartet. By
Various. For saxophone
ensemble. Mark Records.
Classical. Audio CD.
Published by Mark Custom
Music
$15.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Luminous Night of the Soul
Chorale SATB
SATB, Cordes [Conducteur et Parties séparées]
Walton Music
By Ola Gjeilo. For Cello, Choral, Viola, Violin 1, Violin 2 (SCORE/PARTS FOR STR...(+)
By Ola Gjeilo. For Cello,
Choral, Viola, Violin 1,
Violin 2 (SCORE/PARTS FOR
STRINGS). Walton Choral.
38 pages. Walton Music
#WW1490A. Published by
Walton Music
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Luminous Night of the Soul
Chorale SATB
SATB, Cordes [Conducteur]
Walton Music
By Ola Gjeilo. For Cello, Choral, Viola, Violin 1, Violin 2 (FULL SCORE ONLY). W...(+)
By Ola Gjeilo. For Cello,
Choral, Viola, Violin 1,
Violin 2 (FULL SCORE
ONLY). Walton Choral. 38
pages. Walton Music
#WW1490B. Published by
Walton Music
$30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Sonatina Op. 35c
Violoncelle, Piano
Simrock
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48024888 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score) SKU:
HL.48024888 Cello
and Piano. Composed
by Bertold Hummel. Boosey
& Hawkes Chamber Music.
Classical. Softcover. 20
pages. Duration 360
seconds. Simrock
#M221122575. Published by
Simrock (HL.48024888).
UPC:
840126919769. As a
lesson and lecture piece,
Bertold Hummel's Sonatine
op. 35, created in 1969,
accompanied many young
musicians on their way.
Sold a thousand times all
over the world, it is one
of the composer's
best-known works and has
been included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. Warmth and
sparkling rhythm
characterize the three
movements: inthe powerful
maestoso, the sonority of
the main theme is
contrasted with a lyrical
side theme; the
recapitulation ends with
an impulsive fugato. The
second movement Elegie
consists of a single
soulful melody about
spherical harmonies of
the piano. As the
highlight in the Finale
vivace, playful
lightness, marching
rhythms and dramatic
increases replace each
other in quick
succession; wild
arpeggios lead to the
end. Originally composed
for violin, versions for
viola and cello were
already familiar. For the
50th birthday, Simrock /
Boosey &
Hawkespresents the work
in a revised, revised
edition. A repertoire
enrichment for beginning
instrumentalists are the
first available versions
for alto and tenor
saxophone, which the
composer made himself in
the 1990s. $23.99 - Voir plus => Acheter | | | |
| Celtic Psalms - Volume 1
GIA Publications
Musical Resource for Meditation and Worship. Arranged by Kiran Young Wimb...(+)
Musical Resource for
Meditation and
Worship. Arranged by
Kiran Young Wimberly.
Sacred. With guitar chord
names. 48 pages. GIA
Publications #9353.
Published by GIA
Publications (GI.G-9353).
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Requiem aeternam
Chorale 3 parties
MorningStar Music Publishers
STB choir, viola or cello, and organ - Early Intermediate Composed by J. Chris...(+)
STB choir, viola or
cello,
and organ - Early
Intermediate
Composed by J.
Christopher
Pardini. All Saints/All
Souls, Funeral, 21st
Century.
Score and instrument
part.
MorningStar Music
Publishers
#50-7085. Published by
MorningStar Music
Publishers
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Into The Light, Deliver Me
Chorale SSATB
Gentry Publications
Choral (SSATB) SKU: HL.1197753 Gentry Publications. Octavo. 12 pages. Dur...(+)
Choral (SSATB) SKU:
HL.1197753 Gentry
Publications. Octavo. 12
pages. Duration 285
seconds. Gentry
Publications #JG2662.
Published by Gentry
Publications
(HL.1197753). UPC:
196288134831.
6.75x10.5x0.029
inches. “Deat
h, thou art welcome to my
arms attended by a
thousand charms...â€
a text that dates back as
far as 1818 speaks to the
human desire for a
peaceful end to life.
This new setting by
Richard Burchard provides
your tenor-bass choir
with an exciting and
contemporary approach to
this rich traditional
hymn melody. In typical
Burchard fashion, he has
beautifully crafted
phrases that combine the
hymn text, touches of
Latin, and a folk-style
solo designed to draw
attention to the rhythm,
melody, and message of
the hymn. Looking for
that perfect piece with a
special soulful appeal?
Look no further;
accompanied by cello and
percussion, here's the
ideal candidate, sure to
become a choir and
audience favorite. $3.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Evening in December
Chorale SATB
SATB, Piano [Octavo]
Heritage Music Press
By Victor C Johnson. For SATB choir and piano (with optional cello). Christmas. ...(+)
By Victor C Johnson. For
SATB choir and piano
(with optional cello).
Christmas. Octavo
$2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Charles Mingus - More Than a Play-Along - Eb Edition
Hautbois, Clarinette, Violoncelle (trio) [Partition + CD]
Hal Leonard
Performed by Charles Mingus. Instrumental Jazz. Book and CD Package. Size 9x12 i...(+)
Performed by Charles
Mingus. Instrumental
Jazz. Book and CD
Package. Size 9x12
inches. 64 pages.
Published by Hal Leonard.
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Sonatina Op. 35b
Simrock
Piano Accompaniment; Viola (Viola With Piano Accompaniment) SKU: HL.48024887<...(+)
Piano Accompaniment;
Viola (Viola With Piano
Accompaniment) SKU:
HL.48024887 Viola
and Piano. Composed
by Bertold Hummel. Boosey
& Hawkes Chamber Music.
Classical. Softcover. 20
pages. Duration 360
seconds. Simrock
#M221122568. Published by
Simrock (HL.48024887).
UPC:
840126919752. As a
teaching and lecture
piece, Bertold Hummel's
Sonatine op. 35, created
in 1969, accompanied many
young musicians on their
way. Sold a thousand
times all over the world,
it is one of the
composer's best-known
works and has been
included in the
repertoire list for the
'Jugend musiziert'
competition by the German
Music Council. Warmth and
sparkling rhythm
characterize the three
movements: inthe powerful
maestoso, the sonority of
the main theme is
contrasted with a lyrical
side theme; the
recapitulation ends with
an impulsive fugato. The
second movement Elegie
consists of a single
soulful melody about
spherical harmonies of
the piano. As the
highlight in the Finale
vivace, playful
lightness, marching
rhythms and dramatic
increases replace each
other in quick
succession; wild
arpeggios lead to the
end. Originally composed
for violin, versions for
viola and cello were
already familiar. For the
50th birthday, Simrock /
Boosey &
Hawkespresents the work
in a revised, revised
edition. A repertoire
enrichment for beginning
instrumentalists are the
versions for alto and
tenor saxophone available
for the first time, which
the composer himself
produced in the
1990s. $23.99 - Voir plus => Acheter | | |
|
