| The Ultimate Fake Book - C Instruments (3rd Edition)
Fake Book [Fake Book] Hal Leonard
C Edition. Fake Book (Includes melody line and chords). Size 9x12 inches. 816 pa...(+)
C Edition. Fake Book
(Includes melody line and
chords). Size 9x12
inches. 816 pages.
Published by Hal Leonard.
(31)$55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Mantel G Mut Zum Lampenfieber Schott
(BR) SKU: HL.49041731 Mentale Strategien fur Musiker zur Bewaltigung v...(+)
(BR) SKU:
HL.49041731
Mentale Strategien fur
Musiker zur Bewaltigung
von Auftritts- und
Prufungsangst.
Composed by Mantel. This
edition: Paperback/Soft
Cover. Paperback. Serie
Musik. Anspannung vor
einem musikalischen
Auftritt ist ganz
naturlich. Dieser
Spannungszustand kann
sich jedoch zu einer
zerstorerischen Angst vor
der Angst potenzieren und
zu volliger mentaler und
korperlicher Blockade
fuhren. Dieses Buch
enthalt keine Tricks. 240
pages. Schott Music #SEM
8385. Published by Schott
Music (HL.49041731).
ISBN 9783254083852.
4.75x7.5x0.585 inches.
German. Stage
fright! For many people,
this word is tantamount
to fear, paralysis,
threat. And for many a
highly talented musician,
it was the reason to give
up their wish to become a
professional performing
artist. But: Doesn't
stage fright have 'its
good points' too? Is it
possible to turn the
paralyzing form of stage
fright into a positive
variant? In his book,
Gerhard Mantel mentions
the reasons for stage
fright and describes
strategies of how to
achieve confidence on the
stage - without falling
back on 'simple tricks'.
The most important
aspects are summed up in
checklists at the end of
each chapter. This book
is aimed at understanding
better 'my personal form
of stage fright - my
stage fright profile' and
overcoming it in a
creative manner. The
instrumentalization of
stage fright as artistic
stimulation brings
confidence,
self-assurance and a
better quality of
life. $19.99 - Voir plus => Acheter | | |
| The Real Book Of Great Songs Music Sales
| | |
| Greater Acoustic Guitar White Pages Guitare notes et tablatures [Partition] - Intermédiaire Warner Brothers
Edited by Aaron Stang. Fretted instrument mixed folio (guitar). Published by Wa...(+)
Edited by Aaron Stang.
Fretted instrument mixed
folio (guitar). Published
by Warner Brothers.
(4)$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Praise and Worship Fake Book
Instruments en Sib [Fake Book] Hal Leonard
The Praise and Worship Fake Book (B Flat Edition). By Various. For Bb Instrument...(+)
The Praise and Worship
Fake Book (B Flat
Edition). By Various. For
Bb Instruments. Fake
Book. Softcover. 432
pages. Published by Hal
Leonard
$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Elijah, Op. 70 [Vocal Score] Serenissima
By Felix Bartholdy Mendelssohn (1809-1847). Edited by Felix Bartholdy Mendelssoh...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Edited by Felix Bartholdy
Mendelssohn. Arranged by
August Ferdinand Hermann
Kretzschmar. For 2
Soprano voices, 2 Alto
voices, Tenor voice, and
2 Bass voices (Soli),
SATB Choir / Piano
(Chorus and piano).
Romantic; Sacred/Hymns.
Vocal Score. Text
Language: German,
English. Composed 1846.
200 pages. Duration 131
minutes
$16.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Scripture Songs for Children's Church Voix d'Enfants [Partition + CD] Hal Leonard
(40 Kids' Songs Straight from the Bible). Arranged by Pendleton Brown. For C Ins...(+)
(40 Kids' Songs Straight
from the Bible). Arranged
by Pendleton Brown. For C
Instruments,
Melody/Lyrics/Chords.
Lead Sheets: Melody line,
lyrics and chord symbols.
Softcover with CD. 72
pages. Published by Hal
Leonard
$14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081). ISBN
9790200460032. 9.5 x 12
inches. Duration:
full evening
Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'. $76.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Daredevil Motion Picture Soundtrack Guitare notes et tablatures [Partition] Alfred Publishing
Edited by Carol Cuellar. Guitar songbook (Guitar tablature). Published by Alfred...(+)
Edited by Carol Cuellar.
Guitar songbook (Guitar
tablature). Published by
Alfred Publishing.
$21.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Thyellene Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
The Battle on the Heath. Composed by Kevin Houben. Set (Score & Parts). ...(+)
The Battle on the Heath.
Composed by Kevin Houben.
Set
(Score & Parts).
Composed
2020. Hal Leonard Europe
#HBE002-007. Published by
Hal
Leonard Europe
$162.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Thyellene Orchestre d'harmonie [Conducteur] - Intermédiaire Hal Leonard
The Battle on the Heath. Composed by Kevin Houben. Score Only. Composed 2020...(+)
The Battle on the Heath.
Composed by Kevin Houben.
Score Only. Composed
2020.
Hal Leonard Europe
#HBE007-
008. Published by Hal
Leonard
Europe
$34.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Gales of November Orchestre d'harmonie [Conducteur] - Facile Curnow Music
Concert Band - Grade 3 SKU: HL.44007680 Grade 3 - Score Only. Comp...(+)
Concert Band - Grade 3
SKU: HL.44007680
Grade 3 - Score
Only. Composed by
James Hosay. Curnow Music
Concert Band. 34 pages.
Published by Curnow Music
(HL.44007680). UPC:
884088310363. 9x12
inches. Grand and
expansive in sound, this
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band will be an excellent
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without fear of
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(Grade 3). $10.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Little Black Songbook: All-time Smash Hits Music Sales
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| The Frank Sinatra Fake Book Fake Book [Fake Book] Hal Leonard
| | |
| Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
INSSTR inches.
French. A
previously unreleased
piece by Francis Poulenc,
published with permission
from the Bibliothèque
Historique de la Ville de
Paris and Benoît
Seringe, secretary of the
Association des amis
de Francis Poulenc
[Association of the
Friends ofFrancis
Poulenc]. Le Voyageur
sans bagage [The
Traveller Without
Luggage], which had been
premiered in 1937 with
music by Darius Milhaud,
was reprised on 1 April
1944 at the Thé tre de
la Michodière; Francis
Poulenc was asked to
compose new stage music.
Theentire unpublished
score lay undiscovered
until Bérengère de
l’Épine, a
librarian at the
Bibliothèque
Historique de la Ville de
Paris, announced the
existence of a manuscript
in the Association de la
Régie Thé trale
collection.Poulenc
finalised the score
between 19 and 21 March
1944. It contains nine
songs, all written for a
small instrumental
ensemble including oboe,
clarinet, cello and
piano. However, at the
end of the manuscript,
the composer echoes the
second song Lent
[Slow] and creates
another version for cello
and piano; curiously, the
original version of the
song has not been erased
in the manuscript.
Poulenc seems to suggest
that we consider the
piece for cello and
piano, that we have
publishedhere, as a
different piece of music.
It was premiered on
Wednesday 23 January 2013
by Marc Coppey,
accompanied by
Jean-François Heisser,
in the organ auditorium
of the Conservatoire
National Supérieur de
Musique et Danse de Paris
(CNSMDP), during
thesymposium for the
fiftieth anniversary of
Poulenc’s
death.Given in a dramatic
context, some elements
allow us to get an idea
of the character of the
piece, which Benoît
Seringe, Poulenc’s
beneficiary, judiciously
chose to name
Souvenirs.The main
character of
Anouilh’s play,
Gaston, is suffering from
amnesia at the end of
World War One. Several
families try to claim
him; they want him to be
their missing relative.
The Renaud family prove
to be particularly
stubborn, but Gaston
doesnot recognize himself
in the child and young
man they depict: a
ruthless and violent
person. In Act 1 Scene 3,
left alone for a moment,
overwhelmed by the story
of the “old
Gaston†that is
gradually coming to
light, and outraged by
the desire ofthose around
him to appropriate him
(to the detriment of the
person he would like to
be from now on), he
whispers these words:
“You all have
proof, photographs that
look like me, memories as
clear as day…
I’ve listened to
you all and it’s
slowlycausing a hybrid
person to rise up in me;
a person in which there
is a piece of each of
your sons and nothing of
me.†Poulenc chose
to place the second piece
from his stage music
score as these words are
spoken.He borrowed part
of the material, as he
often did, from an
earlier composition. In
this particular case, the
beginning is a recycled
version of the
“slow and
melancholicâ€
section from
L’Histoire de
Babar , composed
between 1940 and 1945,
andpremiered in 1946
(unless it is Babar
that reuses the
musical idea from
Voyageur ).The
eponymous elephant
decides to leave in
search of the great
forest. He embraces the
old lady, promises her he
will return and reassures
her that he will never
forget her. Left alone,
the old lady, feeling sad
and pensive, wonders when
she’ll seeher
friend Babar again. The
situation is similar to
that in Voyageur sans
bagage: solitude,
sadness, a distressing
and introspective time,
fear of oblivion, the
presence of
memories…
Pi
èce inédite de
Francis Poulenc,
publiée avec
l’autorisation de
la Bibliothèque
historique de la ville de
Paris et de Benoît
Seringe, secrétaire de
l’Association des
Amis de Francis
Poulenc.Le 1er avril
1944, Le Voyageur sans
bagage d’Anouilh,
qui avait été
créé en 1937 avec
de la musique de Darius
Milhaud, est repris au
Thé tre de la
Michodière. Francis
Poulenc a été
sollicité afin
d’écrire une
nouvelle musique de
scène. On ignoraittout
de cette partition
inédite,
jusqu’au jour
où Bérengère de
l’Épine,
conservateur la
Bibliothèque
historique de la ville de
Paris, nous signala
l’existence
d’un manuscrit
dans le fonds de
l’Association de
la Régie thé
trale.Poulenc mit au
point sa partition entre
le 19 et le 21 mars 1944.
Elle comprend neuf
numéros, tous
écrits pour un petit
effectif instrumental
réunissant un
hautbois, une clarinette,
un violoncelle et un
piano.Cependant, la fin
de son manuscrit, le
compositeur reprend le no
2 Lent et en donne une
seconde version, pour
violoncelle et piano.
Curieusement, la version
originale de ce numéro
n’est pas
biffée dans le
manuscrit.Poulenc semble
nous inviter
considérer comme un
morceau distinct cette
pièce pour violoncelle
et piano dont nous
proposons ici
l’édition. Elle
a été créée
par Marc Coppey,
accompagné de
Jean-François Heisser,
lors du concert donné
durant lecolloque
organisé pour le
cinquantenaire du
décès de Poulenc,
le mercredi 23 janvier
2013, salle
d’orgue du
Conservatoire National
Supérieur de Musique
et de Danse de Paris
(CNSMDP).Quelques
éléments sur le
contexte dramatique
permettront de se faire
une idée du
caractère du morceau,
que Benoît Seringe,
ayant droit Poulenc, a
judicieusement choisi
d’intituler
Souvenirs.Le personnage
principal de la pièce
d’Anouilh, Gaston,
a été retrouvé
amnésique la fin de la
Première Guerre
Mondiale. Plusieurs
familles le réclament.
On veut voir en lui un
parent disparu. Les
Renaud se montrent
particulièrement
tenaces ; maisGaston ne
parvient se
reconnaître dans
l’enfant et le
jeune homme dont on lui
trace le portrait : un
être violent et sans
scrupule. Au tableau 3 de
l’acte I, resté
seul un moment,
écrasé par
l’histoire de cet
autre lui-même
qu’il découvre
peu peu, indigné par
le désir des personnes
qui l’entourent de
le ramener elles au
détriment de celui
qu’il voudrait
être désormais, il
se murmure ces paroles :
« Vous avez tous des
preuves, des
photographies
ressemblantes, des
souvenirs précis
commedes crimes… je
vous écoute tous et je
sens surgir peu peu
derrière moi un
être hybride où il
y a un peu de chacun de
vos fils et rien de moi
»…C’est
sur ces mots que Poulenc
a choisi de placer le no
2 de sa partition de
musique de scène.Comme
il le fait souvent, il
emprunte une composition
antérieure une part de
son matériau. Dans ce
cas précis, il
réutilise pour le
début du morceau la
section « Lent et
mélancolique » de
l’Histoire de
Babar, composée entre
1940 et 1945, créée
en1946 ( moins que ce ne
soit Babar qui
réutilise
l’idée musicale
du Voyageur). Le
héros-éléphant
s’est décidé
partir pour retrouver la
grande forêt. Il a
embrassé la vieille
dame, lui a promis de
revenir, l’a
rassurée : jamais il
ne
l’oubliera.RestÃ
e seule, la vieille
dame, triste et pensive,
se demande quand elle
reverra son ami Babar. La
situation est similaire
celle du Voyageur sans
bagage : solitude,
tristesse, instantde
trouble et de retour sur
soi, crainte de
l’oubli,
présence des
souvenirs…. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Easy Pop/Rock Fake Book Ligne De Mélodie, Paroles et Accords [Diagrammes] Hal Leonard
(Melody, Lyrics and Simplified Chords in the Key of C). Composed by Various. For...(+)
(Melody, Lyrics and
Simplified Chords in the
Key of C). Composed by
Various. For C
Instruments. Easy Fake
Book. Softcover.
Published by Hal Leonard
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| The Greatest Guitar Songbook
Guitare notes et tablatures [Partition] - Intermédiaire Hal Leonard
For guitar and voice. Format: guitar tablature songbook. With guitar tablature, ...(+)
For guitar and voice.
Format: guitar tablature
songbook. With guitar
tablature, standard
notation, vocal melody,
lyrics, chord names and
guitar chord diagrams.
Rock, Classical Period,
Movies, Pop, Standards
and Country. 240 pages.
9x12 inches. Published by
Hal Leonard.
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| Guitar Chord Songbook White Pages Paroles et Accords [Partition] Hal Leonard
By Various. For Guitar. Guitar Chord Songbook. Softcover. 1024 pages. Published ...(+)
By Various. For Guitar.
Guitar Chord Songbook.
Softcover. 1024 pages.
Published by Hal Leonard
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| 100 Of The Best Songs Ever! For Keyboard Music Sales
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| Ballade Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.110418250 Composed by Shulamit Ran. Sws. Perf...(+)
Chamber Music Piano
SKU: PR.110418250
Composed by Shulamit Ran.
Sws. Performance Score.
12 pages. Duration 11
minutes. Theodore Presser
Company #110-41825.
Published by Theodore
Presser Company
(PR.110418250). ISBN
9781491133859. UPC:
680160683345. 9 x 12
inches. This
intriguing 11-minute work
builds on alternations
between declamatory
unmetered phrases
(beginning as
“sonorous, rubato,
with great aplomb and
resonanceâ€) and
strictly motoric rhythmic
sections, developing in
waves of increasing drama
and intensity.
Commissioned by the
Naumburg Foundation for
pianist Xiaohui
Yang’s Carnegie
Hall premiere. Ballade
is a one-movement work of
approximately 11 minutes,
divided into three main
parts that are played
without significant
break.Ballade alternates
sections where the
performer is invited to
apply great interpretive
freedom, especially on
the temporal plane, with
contrasting sections that
are quite precise and
rhythmic. Although
carefully notated, the
“freerâ€
sections (often marked
rubato) certainly allude
at times to the kind of
repertoire that is
familiar to most concert
pianists, doing so not by
way of quotation but by
the type of expressivity,
affect, and even
passagework. Thus, the
performer should think of
the score as a
“blueprint,â€
where the many
descriptive words I have
inserted throughout the
score (ranging from
sonorous, rubato, with
great aplomb and
resonance as the work
begins, to with greater
motion, in a series of
ever-expanding
“waves†later
on) are intended to act
as triggers for
one’s sense of
imagination and fantasy
to take off and bring the
music alive! An
inscription in the score
urges the pianist to play
fearlessly and
exuberantly, but also
tenderly! $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Unterhaltung zweier Schlagzeuger Percussion [Conducteur] Deutscher Verlag für Musik
Percussion solo SKU: BR.DV-8173 Composed by Karl Ottomar Treibmann. Solo ...(+)
Percussion solo SKU:
BR.DV-8173 Composed
by Karl Ottomar
Treibmann. Solo
instruments; Softcover.
Deutscher Verlag. World
premiere Leipzig, 1980.
Music post-1945. Score.
Composed 1979. 30 pages.
Duration 10'. Deutscher
Verlag fur Musik #DV
8173. Published by
Deutscher Verlag fur
Musik (BR.DV-8173).
ISBN 9790200480832. 9
x 12 inches. World
premiere Leipzig, 1980
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'. $35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| HH-1 Hal Leonard
SKU: HL.366183 Drum Microphone Mount. Heil Sound. Drums. Hal Leona...(+)
SKU: HL.366183
Drum Microphone
Mount. Heil Sound.
Drums. Hal Leonard #HH-1.
Published by Hal Leonard
(HL.366183). UPC:
810100410483.
3.0x9.0x1.714
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| 100 Piano Solos Music Sales
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| Libera Me, Domine Chorale SATB SATB A Cappella - Avancé Schott
Choral (SATB a cappella) - advanced SKU: HL.49045586 SSAATTBB a cappel...(+)
Choral (SATB a cappella)
- advanced SKU:
HL.49045586
SSAATTBB a
cappella. Composed by
Iriana Rebhuna. This
edition: Saddle
stitching. Sheet music.
Choral. Classical,
General Worship, Latin,
Sacred. Octavo. Composed
2016. 12 pages. Duration
4' 40''. Schott Music
#C59047. Published by
Schott Music
(HL.49045586). ISBN
9790001166270. UPC:
841886032705. 7.5x10.75
inches. Latin. As a
singing teacher, choir
director and not least as
a passionate professional
choir singer, Irina
Rebhuna is perfectly
familiar with the
possibilities of the
human voice. And so it is
hardly surprising that
the Latvian musician born
in 1988 has devoted
herself especially to the
composition of vocal
music. Her sacred choral
work Libera me, Domine
for mixed a cappella
choir (SSAATTBB) won the
special prize for the
'best composition for 4-6
voices' at the
International Composition
Competition 'Musica Sacra
Nova' 2016. This church
music gem, in which the
eponymous Gregorian
chorale is intonated by
one of the (two) bass
baritone sections at the
beginning - over a
musical tapestry woven by
the remaining voices -
and taken up again by all
tenors at the end, is
ideal for ambitious
amateur choirs. The idea
behind this work, says
the composer, is 'the
human reflection on the
uncertain - on death, on
Judgment Day or on what
is inexplicable to us.
Such as humility,
excitement, fear,and
atonement. The chant ends
without ending, there is
no solution. Life goes on
because we ask the
following question again
and again: What will
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| Do-It-Yourself Guitar Guitare [Partition + Accès audio] Hal Leonard
Book with Online Audio & Video Guitar SKU: HL.346730 The Best Step-by-...(+)
Book with Online Audio &
Video Guitar SKU:
HL.346730 The Best
Step-by-Step Guide to
Start Playing. Do It
Yourself. Method.
Softcover Media Online.
136 pages. Published by
Hal Leonard (HL.346730).
ISBN 9781540094797.
UPC: 840126925111.
9.0x12.0x0.329
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elf Guitar is a fun way
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