| Three Transparencies Orgue [Conducteur] Zimbel Press
Organ SKU: SU.80101515 For Organ. Composed by Carson Cooman. Keybo...(+)
Organ SKU:
SU.80101515 For
Organ. Composed by
Carson Cooman. Keyboard,
Organ. Score. Zimbel
Press #80101515.
Published by Zimbel Press
(SU.80101515).
The three
pieces in this collection
(Transparency, Second
Transparency, and Third
Transparency) were
written as separate
works. They can be played
that way or as a group of
three in the given order.
Organ Duration: 14'
Composed: 2022 Published
by: Zimbel Press. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Royal Coronation Dances Orchestre d'harmonie [Conducteur et Parties séparées] - Facile Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Graffiti Boosey and Hawkes
Study Score Ensemble (Score) SKU: HL.48024565 Large Ensemble Study Sco...(+)
Study Score Ensemble
(Score) SKU:
HL.48024565 Large
Ensemble Study Score.
Composed by Unsuk Chin.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 160 pages.
Duration 1680 seconds.
Boosey & Hawkes
#M060133718. Published by
Boosey & Hawkes
(HL.48024565).
Most of us,
when confronted with the
term graffiti, are likely
to associate it with the
rather desolate wall
scrawlings all over our
urban landscapes.
However, this is not the
whole picture: no less
artists than Klee, Miro,
Dubuffet, and Picasso
were interestedin it (the
latter painting examples
himself on Parisian
walls). In our time,
there is the highly
interesting and
controversial phenomenon
of Street Art, which has
occasionally wittily
succeeded in criticizing
the commercialization of
cities. At their best,
street artists have been
able to thwart the
expectations created by
omnipresent mass media
and by advertising - one
can find some
particularly remarkable
examples in metropolises
such as Berlin, Paris, or
New York. Though this was
the initial stimulus for
Graffiti, it finally
branched into rather
different directions: it
is only very loosely,
ifat all, connected to
the phenomenon of Street
Art (or to the visual
arts). The music is not
illustrative nor is it
programmatic and the main
idea was to compose a
music which is not
restricted as to time or
place, and which offers
strong contrasts between
different modes of
expression. The three
movements headings give a
hint of the changing
modes, moods, and
structures of the music.
The first movement,
Palimpsest,is
polydimensional and
many-layered; one can
hear allusions to a
multiplicity of styles.
The second movement,
Notturno urbano, forms a
strong contrast to the
hyperactive previous
movement. It starts with
distant and gradually
approaching bell-like
sounds, from which the
whole movement's musical
material is being
derived. The instruments
are often used in an
unconventional way: the
winds as well as the
strings employ extended
techniques, which
contributes to the
aloofness and the
mysteriousness of the
movement. The third,
highly virtuosic,
movement, is a kind of an
'urban passacaglia' (the
name of this musical form
actually derives from the
Spanish 'pasar una
calle', 'to walk along a
street'). It consists of
eight incisive chords,
which are played
continuously by the
brass, albeit always in a
different way. Two worlds
collide in this movement:
the brass attacks are
commented upon by
flitting interjections of
different instruments,
which are highly varied
in character and length.
As a whole, the musical
language of Graffiti
shifts between roughness
and refinement,
complexity and
transparency. It is rich
in contrast and
labyrinthine, neither
tonal nor atonal.
Graffiti calls for great
agility, virtuosity, and
constant changes of
perspective from the
musicians; each
instrument is being
treated as a soloist.
Graffiti was commissioned
by the Los Angeles
Philharmonic Association,
Barbican, London;
Orchestra Ensemble
Kanazawa, Kunststiftung
NRW and Ensemble
musikFabrik. It was first
performed on 26th of
February 2013 by the Los
Angeles Philharmonic New
Music Group conducted
b. $64.00 - Voir plus => Acheter | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:40.
Published by Manhattan
Beach Music.
$30.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Daphnis et Chloe Breitkopf & Härtel
Chorus (with soloists) and orchestra SKU: BR.PB-5651 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra SKU:
BR.PB-5651
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5651.
Published by Breitkopf
and Haertel (BR.PB-5651).
ISBN 9790004215487.
10.5 x 14
inches. The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites. $119.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:40. Published
by Manhattan Beach Music.
$195.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Daphnis et Chloe Breitkopf & Härtel
Chorus (with soloists) and orchestra SKU: BR.PB-5652 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra SKU:
BR.PB-5652
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5652.
Published by Breitkopf
and Haertel (BR.PB-5652).
ISBN 9790004215494.
10.5 x 14
inches. The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites. $146.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 4 "chaconne" - Score And Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639). ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches. Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl. $118.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Les Marteaux de la Marine Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000258-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6 SKU:
BT.GOB-000258-140
Composed by Rob Goorhuis.
Score Only. 34 pages.
Gobelin Music
Publications #GOB
000258-140. Published by
Gobelin Music
Publications
(BT.GOB-000258-140).
Les Marteaux de
La Marine was composed in
1999 as a commission by
the Marine Band of the
Royal Netherlands
Navy.
The
composition contains
three static elements
which interchange. Static
in this case means that
development of the
material isnot pursued
(by the composer).
The first element
with which the piece
begins is tranquil and
colourful. The second
element is sharp and
incisive, while the third
expresses energy. In all
elements a repeated tone
is the starting point
whichexplains the hammers
in the works title.The
instrumentation is richly
variegated with a harp
also determining the
palette of colours in the
slower movements.
The composition
opens with an atmospheric
Larghetto containing fine
harmonies in thesoft and
subtly moving wood-winds.
The introduction breathes
an impressionistic
atmosphere in which
expressive cantilenas and
soloistic agile motifs
stand out. A strong
setting is followed by an
Allegro virtuoso
containing fast motifs
contrasted withshort and
rhythmic stars of the
various instrumental
sections. Trumpets and
horns add a virtuoso
bugle-call motif.
After a short
stringendosection, the
transparent Larghetto
returns with a varied
setting of the opening
elements. The
beautifulleading roles in
this section are reserved
for cornet (trumpet) and
horn. Subsequently, the
flashing Vivo starts with
continuous movements in
triplets from both
wood-winds and brass.
Next, the opening Allegro
re-appears once again and
thus LesMarteaux de la
Marine ends with a fast
and virtuoso
climax.
Les
Marteaux de La Marine was
selected as a compulsory
grade 6 contest piece for
symphonic bands in the
Netherlands.
Les
marteaux de la marine
werd in 1999 gecomponeerd
in opdracht van de
Marinierskapel van de
Koninklijke
Marine.
De
compositie kent drie
statische elementen,
elkaar afwisselend.
Statisch wil in dit geval
zeggen dat er geen
ontwikkeling vanhet
materiaal wordt
nagestreefd. Het
eerste element waarmee
het stuk begint is rustig
en kleurrijk. Het tweede
element is vinnig en
scherp terwijl het derde
energie verbeeldt. In
alle elementen is de
herhaalde toon het
uigangspunt waarmee
dehamers (martaux)
verklaard kunnen worden.
De instrumentatie is rijk
geschakeerd waarbij in de
langzame gedeelten een
harp medebepalend is voor
het kleurenpalet.
De compositie vangt aan
met een sfeervol
Larghetto met fraaie
harmonieën in hetzachte,
subtiel bewegende,
houtregister. De
inleiding ademt een
impressionistische sfeer
uit, waarbij expressieve
cantilenes en solistische
beweeglijke motieven naar
voren komen. Dan
volgt een virtuoos
Allegro met snelle
motieven afgezet
doorkorte, ritmische
inzetten van de diverse
instrumentengroepen. De
trompetten en hoorns
voegen een virtuoos
signaalmotief toe. Na en
kort stringendo-gedeelte
keert het transparante
Larghetto terug met een
gevarieerde zetting van
de beginelementen.
Decornet (trompet) en
hoorn vervullen in dit
gedeelte een fraaie
hoofdrol. Vervolgens zet
het flitsende Vivo in met
voortdurende
trioolbewegingen in zowel
hout als koper.
Vervolgens duikt het
Allegro van het begin nog
op en Les marteaux de la
marinebesluit met een
snelle en virtuoze
climax.
Gobelin
Music Publications. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violin Concerto in A minor BWV 1041 Breitkopf & Härtel
Basso (cello/double bass) (solo: vl - str - bc) SKU: BR.OB-5354-26 Urt...(+)
Basso (cello/double bass)
(solo: vl - str - bc)
SKU: BR.OB-5354-26
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered. Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-26. Published by
Breitkopf and Haertel
(BR.OB-5354-26). ISBN
9790004337868. 10 x 12.5
inches. When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in A minor BWV 1041 Violoncelle, Orchestre [Conducteur] Breitkopf & Härtel
Violin and orchestra (solo: vl - str - bc) SKU: BR.PB-5354 Urtext....(+)
Violin and orchestra
(solo: vl - str - bc)
SKU: BR.PB-5354
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Partitur-Bibliothek
(Score Library).
Bach's manuscript
leaves several questions
unanswered. Solo
concerto; Baroque. Full
score. 24 pages. Duration
16'. Breitkopf and
Haertel #PB 5354.
Published by Breitkopf
and Haertel (BR.PB-5354).
ISBN 9790004211533. 9
x 12 inches. When
an editorial formula
proves to be as
compelling as in the case
of the E-major Concerto
BWV 1042, then its
obvious that it is going
to be applied again: this
time to Klaus Hofmanns
new Urtext edition of the
A-minor Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music.
Bac
h's manuscript leaves
several questions
unanswered. $30.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Summer Carol Chorale 3 parties SAB [Octavo] Hope Publishing Company
By Russell Schulz-Widmar. For SAB choir and 8 handbells (2-part). Ring and Sing ...(+)
By Russell Schulz-Widmar.
For SAB choir and 8
handbells (2-part). Ring
and Sing Series. Sacred,
Hymntune, Praise. Octavo.
Published by Hope
Publishing Company
$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Three Sonatas for Pianoforte Piano seul - Intermédiaire Barenreiter
C minor, F major, D major; Op. 10. Composed by Ludwig van Beethoven (1770-1827...(+)
C minor, F major, D
major;
Op. 10. Composed by
Ludwig
van Beethoven
(1770-1827).
Edited by Jonathan Del
Mar.
This edition: urtext.
Paperback. Performance
score, anthology. 65
pages.
Published by Baerenreiter
Verlag
$28.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Franz Liszt: Un Sospiro
Piano seul [Feuillet] - Avancé Alfred Publishing
By Franz Liszt (1811-1886). Edited by Maurice Hinson. For solo piano. Piano Solo...(+)
By Franz Liszt
(1811-1886). Edited by
Maurice Hinson. For solo
piano. Piano Solo. Alfred
Masterwork Edition.
Classical Period. SMP
Level 10 (Advanced).
Single piece. Performance
notes (does not include
words to the songs). 14
pages. Published by
Alfred Music Publishing
(8)$5.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Homenaje a Lorca Chorale SATB Schott
Choral (SATB) SKU: HL.49019430 SATB a cappella. Composed by Raquel...(+)
Choral (SATB) SKU:
HL.49019430 SATB a
cappella. Composed by
Raquel Cristóbal. This
edition: Saddle
stitching. Sheet music.
Choral. Classical,
Spanish. Softcover. 16
pages. Schott Music
#C55223. Published by
Schott Music
(HL.49019430). ISBN
9790001190312.
7.75x11.0x0.06 inches.
Spanish. This cycle
is a musical setting of
three poems by Lorca: the
transparent Zarzamora con
el Tronco Gris
(Blackberry with Grey
Trunk), the dim Tarde
(Evening) and the
dark-coloured Canción
de Jinete (Rider's Song).
The third song is a
harmonic and melodic
variation of the first
song which provides a
uniform framework for the
whole cycle. $5.99 - Voir plus => Acheter | | |
| Sonata Para Violonchelo y Piano Violoncelle, Piano Editorial de Musica Boileau
Cello and piano SKU: BO.B.3652 Composed by Jordi Cervello. Published by E...(+)
Cello and piano SKU:
BO.B.3652 Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3652).
Sonata for
cello and piano was
written between September
and October of 2010. It
is made up of three
movements, each of which
has unique
characteristics. The
first, Allegro
appassionato, is
monothematic, although
the theme itself is
presented in several
ways. Following a
vigorous start featuring
cello cadenza, the
movement is developed
with a lively feel,
alternating lyrical
fragments with other
energetic ones. Its
conclusion is
resounding. Meanwhile,
the second movement,
Quasi un lamento, is
introspective and
fragile. A long melody is
sustained by a delicate
and transparent piano
accompaniment, evoking
once again the theme of
the first movement and
concluding with a Lento
of descending piano
harmonies while the cello
follows, in octaves, with
heartfelt
glissando.
The
third movement,
Scherzando-Allegro, is a
light-hearted game
between the piano and the
cello. The main theme is
repeated once again, this
time with a binary time
signature. The cello uses
ricochet (the rebounding
of notes in a bow
stroke), as well as
natural and artificial
harmonies in quick time.
The piano part unfolds
completely naturally,
excluding any gratuitous
artifice.
The
piece lasts approximately
20 minutes. $35.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Violin Concerto in A minor BWV 1041 Breitkopf & Härtel
Harpsichord/piano (solo: vl - str - bc) SKU: BR.OB-5354-12 Urtext....(+)
Harpsichord/piano (solo:
vl - str - bc) SKU:
BR.OB-5354-12
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered. Solo
concerto; Baroque. Part.
12 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-12. Published by
Breitkopf and Haertel
(BR.OB-5354-12). ISBN
9790004337820. 10 x 12.5
inches. When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music. $14.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Les Marteaux de la Marine Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000258-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 6 SKU:
BT.GOB-000258-010
Composed by Rob Goorhuis.
Set (Score & Parts).
Gobelin Music
Publications #GOB
000258-010. Published by
Gobelin Music
Publications
(BT.GOB-000258-010).
Les Marteaux de
La Marine was composed in
1999 as a commission by
the Marine Band of the
Royal Netherlands
Navy.
The
composition contains
three static elements
which interchange. Static
in this case means that
development of the
material isnot pursued
(by the composer).
The first element
with which the piece
begins is tranquil and
colourful. The second
element is sharp and
incisive, while the third
expresses energy. In all
elements a repeated tone
is the starting point
whichexplains the hammers
in the works title.The
instrumentation is richly
variegated with a harp
also determining the
palette of colours in the
slower movements.
The composition
opens with an atmospheric
Larghetto containing fine
harmonies in thesoft and
subtly moving wood-winds.
The introduction breathes
an impressionistic
atmosphere in which
expressive cantilenas and
soloistic agile motifs
stand out. A strong
setting is followed by an
Allegro virtuoso
containing fast motifs
contrasted withshort and
rhythmic stars of the
various instrumental
sections. Trumpets and
horns add a virtuoso
bugle-call motif.
After a short
stringendosection, the
transparent Larghetto
returns with a varied
setting of the opening
elements. The
beautifulleading roles in
this section are reserved
for cornet (trumpet) and
horn. Subsequently, the
flashing Vivo starts with
continuous movements in
triplets from both
wood-winds and brass.
Next, the opening Allegro
re-appears once again and
thus LesMarteaux de la
Marine ends with a fast
and virtuoso
climax.
Les
Marteaux de La Marine was
selected as a compulsory
grade 6 contest piece for
symphonic bands in the
Netherlands.
Les
marteaux de la marine
werd in 1999 gecomponeerd
in opdracht van de
Marinierskapel van de
Koninklijke
Marine.
De
compositie kent drie
statische elementen,
elkaar afwisselend.
Statisch wil in dit geval
zeggen dat er geen
ontwikkeling vanhet
materiaal wordt
nagestreefd. Het
eerste element waarmee
het stuk begint is rustig
en kleurrijk. Het tweede
element is vinnig en
scherp terwijl het derde
energie verbeeldt. In
alle elementen is de
herhaalde toon het
uigangspunt waarmee
dehamers (martaux)
verklaard kunnen worden.
De instrumentatie is rijk
geschakeerd waarbij in de
langzame gedeelten een
harp medebepalend is voor
het kleurenpalet.
De compositie vangt aan
met een sfeervol
Larghetto met fraaie
harmonieën in hetzachte,
subtiel bewegende,
houtregister. De
inleiding ademt een
impressionistische sfeer
uit, waarbij expressieve
cantilenes en solistische
beweeglijke motieven naar
voren komen. Dan
volgt een virtuoos
Allegro met snelle
motieven afgezet
doorkorte, ritmische
inzetten van de diverse
instrumentengroepen. De
trompetten en hoorns
voegen een virtuoos
signaalmotief toe. Na en
kort stringendo-gedeelte
keert het transparante
Larghetto terug met een
gevarieerde zetting van
de beginelementen.
Decornet (trompet) en
hoorn vervullen in dit
gedeelte een fraaie
hoofdrol. Vervolgens zet
het flitsende Vivo in met
voortdurende
trioolbewegingen in zowel
hout als koper.
Vervolgens duikt het
Allegro van het begin nog
op en Les marteaux de la
marinebesluit met een
snelle en virtuoze
climax.
Gobelin
Music Publications. $295.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Duo-Sonata Violin y Piano Violon et Piano SATB, Orchestre Editorial de Musica Boileau
Violin and piano SKU: BO.B.3632 Composed by Jordi Cervello. Published by ...(+)
Violin and piano SKU:
BO.B.3632 Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3632).
Duo-Sonata for
violin and piano was
written between September
and October of 2010. It
is made up of three
movements, each of which
has unique
characteristics. The
first, Allegro
appassionato, is
monothematic, although
the theme itself is
presented in several
ways. Following a
vigorous start featuring
violin cadenza, the
movement is developed
with a lively feel,
alternating lyrical
fragments with other
energetic ones. Its
conclusion is
resounding.
Meanwh
ile, the second movement,
Quasi un lamento, is
introspective and
fragile. A long melody is
sustained by a delicate
and transparent piano
accompaniment, evoking
once again the theme of
the first movement and
concluding with a Lento
of descending piano
harmonies while the
violin follows, in
octaves, with heartfelt
glissando.
The
third movement,
Scherzando-Allegro, is a
light-hearted game
between the piano and the
violin. The main theme is
repeated once again, this
time with a binary time
signature. The violin
uses ricochet (the
rebounding of notes in a
bow stroke), as well as
natural and artificial
harmonies in quick time.
The piano part unfolds
completely naturally,
excluding any gratuitous
artifice. $24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Violin Concerto in A minor BWV 1041 Breitkopf & Härtel
Viola (solo: vl - str - bc) SKU: BR.OB-5354-19 Urtext. Composed by...(+)
Viola (solo: vl - str -
bc) SKU:
BR.OB-5354-19
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered. Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-19. Published by
Breitkopf and Haertel
(BR.OB-5354-19). ISBN
9790004337851. 10 x 12.5
inches. When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in A minor BWV 1041 Breitkopf & Härtel
Violin 1 (solo: vl - str - bc) SKU: BR.OB-5354-15 Urtext. Composed...(+)
Violin 1 (solo: vl - str
- bc) SKU:
BR.OB-5354-15
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered. Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-15. Published by
Breitkopf and Haertel
(BR.OB-5354-15). ISBN
9790004337837. 10 x 12.5
inches. When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Violin Concerto in A minor BWV 1041 Breitkopf & Härtel
Violin 2 (solo: vl - str - bc) SKU: BR.OB-5354-16 Urtext. Composed...(+)
Violin 2 (solo: vl - str
- bc) SKU:
BR.OB-5354-16
Urtext. Composed
by Johann Sebastian Bach.
Edited by Klaus Hofmann.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Bach's manuscript
leaves several questions
unanswered. Solo
concerto; Baroque. Part.
8 pages. Duration 16'.
Breitkopf and Haertel #OB
5354-16. Published by
Breitkopf and Haertel
(BR.OB-5354-16). ISBN
9790004337844. 10 x 12.5
inches. When an
editorial formula proves
to be as compelling as in
the case of the E-major
Concerto BWV 1042, then
its obvious that it is
going to be applied
again: this time to Klaus
Hofmanns new Urtext
edition of the A-minor
Concerto. Bachs
manuscript leaves several
questions unanswered. The
slurring, particularly in
the solo part, is once
again equivocal and
inconsistent. Bach
himself expected his
performers to be
creative, which is why
the interpretative
suggestions of Baroque
expert Sigiswald Kuijken
are particularly welcome.
The edition for violin
and keyboard instrument
(with continuo ad lib.)
once again contains three
violin parts (the first
unmarked, the second with
markings and comments by
Sigiswald Kuijken, the
third as a facsimile).
This provides
well-grounded stimuli for
ones own personal
interpretation based on
historically informed
performance practice. The
keyboard arrangement by
Siegfried Petrenz is
transparent and easy to
play. A violoncello part
has been added for
chamber-music. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| tellement froid que [Conducteur] Carus Verlag
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics,
Scene SKU:
CA.1631000
(georgiques I), fur
bass flute and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
(r)TELLEMENT FROID QUE-
(GEORGIQUES I). Full
score. Composed 1995-96.
66 pages. Duration 20
minutes. Carus Verlag #CV
16.310/00. Published by
Carus Verlag
(CA.1631000). ISBN
9790007242800. Language:
all
languages. 1989.
Stay in Aix-en-Provence,
France, doing a language
course. Reading,
discussing and analyzing
Les Georgiques; this
pursuit is going to be
the foundation of the
multiple intellectual and
literary levels of my
composing. 2. THE WOODEN
PLATFORM IS COVERED WITH
FINE WHITE SAND (OR
SALT), THE TWO SHELVES
WITH BLACK CLOTH ... At
the time I work on my
first serious piece,
still a far cry from the
under-standing of writing
music I have today. <<
tellement froid que >>
(georgiques I) for bass
flute, electronics and
scene (1995-96), sections
1-7. << comme si le froid
>> (georgiques II) for
baritone saxophone,
timpani and piano (1998),
sections 18-24. <<
n'etait le froid >>
(georgiques III) for
orchestra (2000-2002),
sections not yet decided.
3. THE INTERPRETER WILL
BE DRESSED IN BLACK AND
WHITE, MAINLY WHITE IF
BLUISH LIGHT IS AT HAND
... The enormously rich
vocabulary and the
accuracy of expression -
in temporal, spatial and
material terms - is
particularly impressive.
To comprehend all of it,
a reading on three
different levels is
called for: a first
reading of one passage,
then the acquisition of
unknown vocabulary;
thirdly a repeated -
knowing - reading, which
points out the utopia of
precise expression: The
text is treated in a
rather problematic (cold:
le froid?) manner: it's
not the semantic content
that is primarily
dominant, but rather the
outward appearance, the
mise en page and the
syntactic structure. 4.
THE INTERPRETER ENTERS
THE STAGE WITH ALL THE
FLUTES (S)HE WILL PLAY
DURING THE CONCERT AND
DEPOSITS THEM - EXCEPT
FOR THE BASS FLUTE - ON
SHELF B; IF (S)HE ONLY
PLAYS THIS PIECE, (S)HE
SHOULD PUT THE PROGRAMME
OF THE CONCERT THERE; IN
ANY CASE THE INSTRUCTIONS
IN BAR 195 MUST BE
FOLLOWED ... In concrete
terms the 10 centimetres
of a line in the minuit
edition correspond to 10
seconds of musical
structure (which is three
times as slow as the
average reading speed).
Only seven years later is
the term / expression
casse ferique changed
into casse ferrique, and
thus its secret is
revealed, which almost
becomes - due to its
unreadability - the key
to the planned musical
cycle. The text is
measured from section to
section (big format: each
section is marked with a
continuous, ,,cold chord
by the bass flute, played
on tape recorder), from
full stop to full stop
(new entry of keynote
material), from comma to
comma (tripling of
continuous resonances)
etc. 5. DURING THE
PERFORMANCE UP TO BAR
195, THE INTERPRETER WILL
TRY - IN A KIND OF
THEATRICAL ADAPTATION -
TO EXPRESS HIS/HER OWN
FEELING OF IRREPRESSIBLY
GROWING FRUSTRATION; FROM
BAR 195 ONWARDS (S)HE
WILL DEFINITELY HAVE PUT
UP WITH THE BASS FLUTE
... Brackets in the text
bring about a reduction
of sound (the
differentiating micro
tones are no longer
used), the syntactical
progression to
subordinate clauses of
the remotest degree has
its immediate effect on
dynamics (degree of
volume). Then: the
perception of a logical
and yet erratic syntax,
vastly progressive layers
of subordinate clauses
and brackets (lowering
tone of voice?), a
polyphony of ,,memoire,
which leads to a
maelstrom of attention, a
tonally centric /
concentrated (main
material?) and
progressive (subordinate
and brackets-material?)
reading, listening and
proceeding. The different
levels are constantly in
touch - transferring the
sensuous moment of scenes
of bodily encounter
(Tryptique) that are
evoked again and again -
in perpetual excitement
of text and imagination,
memory and remembering
sensitivity. 6. THE BODY
MOVEMENTS AND FIXATION
(FIGE) , BOTH CLEARLY
PERCEPTIBLE, WILL EVOKE
AND SUPPORT THE SAME
EMOTIONS ... The basic
moods of the text will be
reflected in the
relationship (which is
very important here) of
the interpreter to the
music; (s)he is somehow
at the mercy of given
(and not always
transparent) structures
on the one hand and the
complexity of musical
sensations on the other,
which has to be defeated
inspite of exhaustion.
It's not only here that
semantic agreement
(besides the
materialistic structure)
of music and text can be
felt: On top of that
there's the existential
helplessness in view of
the mercilessly flowing
polyphony of levels and
events -- as a mirror of
this there are the
remembered scenes of the
Flemish cold in the
second chapter (Les
Georgiques). The
interpreters are
confronted with unusual
directions which
correspond to the
adjectives in the
respective passages of
the text: anachronique,
engourdi, glace et acre,
monotone et desert etc.
The possibilities of
interpretation are
amplified, the ability to
perceive and personal
reaction is opened. The
impression of this
inexorability is
multiplied in the
extremest way by the fact
that the particular
layers can be found in
Simon's complete works.
It's a continuous work of
art in which each novel
turns into a chapter of a
complex, cyclic whole;
its title denoting only
one main strand, as it
were. A personal comment
is made also as regards
the clearly defined
stage; the mise en scene
points out the
extra-musical elements
and the correlation
between text, human being
and music. 7. THE
INTERPRETER IS ASKED TO
MOVE FREELY WITHIN A
DEFINED SPOT WITHOUT
LOOKING ARTIFICIAL;
SOUNDS CAUSED BY THE FEET
MOVING ON THE SAND ARE
WELCOME DURING THE WHOLE
PIECE ... And here the
idea of a cycle is born,
an attempt to transfer
these nuances of
memorized structures,
this clarity and
coldness, to transform
the text into musical
material. Walter
Feldmann. $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Trumpet Sonata Forton Music
Trumpet and piano - Advanced SKU: FT.FM531 Composed by Brian Inglis. Trum...(+)
Trumpet and piano -
Advanced SKU:
FT.FM531 Composed by
Brian Inglis. Trumpet and
Piano. Score and Part.
Forton Music #FM531.
Published by Forton Music
(FT.FM531). ISBN
9790570484300. All
three movements of this
sonata are concerned
metaphorically with
overcoming adversity; or
in registral terms, with
rising from the depths
(more directly at some
times than others). This
concept is referenced in
the subtitle of the first
movement, from Psalm 130:
'Out of the depths have I
cried unto thee, O
Lord...' A slowly rising
figure, emerging from the
lowest register of the
trumpet and the bottom of
the piano, progresses
throughout the movement,
transforming itself as it
rises through the
registers to triumphant,
glittering heights. This
is interrupted and
alternated with
dancelike, scherzando
material, which features
a rigorously mechanistic
process of contraction
and expansion in the
chords of the piano part.
The slow movement has
elements of polystylism,
with echoes of modern
jazz and of the ballroom
in the presentation (by
trumpet and piano
alternately) of the
melancholy main theme,
The climactic rise begins
around two-thirds of the
way through (from bar
44), taking the trumpet
from the bottom to the
top of it's range within
a dozen bars, In the
final chaconne the
process of ascent is
heard transparently in
the piano part: a six-bar
ground bass rises
inexorably through six
octaves of the keyboard,
against which the trumpet
presents increasingly
elaborate
counterpoint. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Hallgrimsson: Herma, Concerto For Cello & String Orchestra (Score) Music Sales
This concerto is one continuous movement that is clearly divided into 3 main sec...(+)
This concerto is one
continuous movement that
is clearly divided into 3
main sections. The first
movement is moderately
fast and rhapsodic in
charachter followed by a
second section with an
accompanied cadenza in
the middle, the final
movement is a fast-paced,
energetic crescendo that
leads to the climax of
the work at the end. The
solo part is a long and
endlessly varied
narrative that embraces
the whole technical
vocabulary of the cello
available to both
composer and soloist,
with the harmonic aura
being established by the
orchestra from the
beginning. The orchestra
provides a platform of
chords based on major and
minor thirds which are
the building blocks for
the entire concerto both
for soloist and
orchestra. The harmonic
scenery created by the
orchestra is very much at
the service of the
soloist, always seeking
to support and highlight
the poetic and dramatic
content of the solo part
as well as providing a
transparent and clear
harmonic framework. The
accompaniment for the
piece is dense, at times
polyphonic and sometimes
multi-layered but only
towards the very end is
the orchestra allowed to
dominate, in the final
climax of the work.
Commissioned by William
Conway. First performed
with the Scottish Chamber
Orchestra in 1995
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