| The Grand Irish Songbook Piano, Voix et Guitare [Partition] Hal Leonard
Ce livre rassemble 125 des chansons folkloriques irlandaises les plus aimées, v...(+)
Ce livre rassemble 125 des chansons folkloriques irlandaises les plus aimées, vous donnant tous les classiques en un volume complet ! Les chansons incluent Danny Boy, The Galway Races, Molly Malone, My Wild Irish Rose, Too-Ra-Loo-Ra-Loo-Ral (That's an Irish Lullaby), The Wearing of the Green, When Irish Eyes Are Smiling, et d'avantage. / Variétés Internationale / Partition /
23.50 EUR - vendu par Note4Piano Délais: 2-5 jours - En Stock Fournisseur | |
| E-Z Play Today Vol.263
The Grand Irish Songbook Ligne De Mélodie, (Paroles) et
Accords [Partition] - Facile Hal Leonard
Cette folio fournit une collection complète de plus de 120 favoris irlandais. C...(+)
Cette folio fournit une collection complète de plus de 120 favoris irlandais. Chansons comprennent : Avondale, bande de velours noir, falaises de Doneen, les coques et les moules (Molly Malone), Danny Boy, vers le bas par les jardins Salley, sillage du Finnegan, j'aime une fois une jeune fille, The Irish Rover, bande de MacNamara, Minstrel Boy, My Wild Irish Rose, Too-Ra-Loo-Ra-Loo-Ral (qui est une berceuse irlandais), lorsque Irish Eyes Are Smiling, Whiskey dans le pot, Rover sauvages et plus encore ! / Chant Et Guitare / 292 pages / Partition
40.70 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Double Concerto (Score
And Parts) Piano Trio: Violon, Alto, Piano [Partition] Chester
For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so...(+)
For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano
50.10 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Thierry Deleruyelle:
Cleopatra: Concert Band:
Score Orchestre d'harmonie De Haske Publications
The Last Queen of Egypt. Queen Cleopatra ruled Egypt for over 20 years. She is o...(+)
The Last Queen of Egypt. Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity's best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remains a mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises the Roman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra's femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love that Mark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third and last section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of the jealousy and ambition of Octavius, Julius Caesar's son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his own life. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History's most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directed by Philippe Rossignol, to mark its 90th anniversary.
23.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Thierry Deleruyelle:
Cleopatra: Concert Band:
Score & Parts Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
The Last Queen of Egypt. Queen Cleopatra ruled Egypt for over 20 years. She is o...(+)
The Last Queen of Egypt. Queen Cleopatra ruled Egypt for over 20 years. She is one of antiquity?s best-known women, in particular because of her relationships with Julius Caesar and, above all, Mark-Anthony, but also because the cause of her death remains a mystery. The work is split into three parts and performed without breaks. The first section begins with a bright introduction representing Mark-Anthony. Dynamic in nature and reminiscent of military music, this characterises the Roman general. But soon after, another theme emerges, softer and more melodic, symbolising Cleopatra?s femininity. The two characters then combine on a faster tempo. The middle section of the work depicts the love that Mark-Anthony and Cleopatra feel for each other. This passionate relationship lasted ten years and produced three children. This is expressed by a warm and intense theme, just like the beauty of the Egyptian queen. The third and last section opens in a determined and military mood. Mark-Anthony and Cleopatra were often apart, the Roman general was often away on a campaign. They met up in Alexandria to celebrate their triumph. But, as the targets of the jealousy and ambition of Octavius, Julius Caesar?s son, the lovers are trapped and await the inevitable conquest of Egypt by the Romans. When Mark-Anthony heard the false news that Cleopatra had committed suicide, he ended his own life. The Queen of Egypt, for her part, was imprisoned shortly afterwards. The two lovers remain one of History?s most famous couples. This piece was commissioned by the Wind Orchestra of the town of Antony, near Paris, directed by Philippe Rossignol, to mark its 90th anniversary.
126.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Torchbearers (Piano Vocal
Score) (MARSH LIN / COOK
WENDY) Piano, Voix [Partition] Faber Music Limited
Par MARSH LIN / COOK WENDY. Raconté à travers les yeux de trois filles de l'é...(+)
Par MARSH LIN / COOK WENDY. Raconté à travers les yeux de trois filles de l'école actuelle, ' Relayeurs ' sont l'histoire des femmes qui ont entrepris le voyage périlleux de la côte est de l'Angleterre à vivre en Nouvelle Angleterre au XVIIe siècle. Ils ont quitté soutenu uniquement par leurs croyances puritains, tout ce qui était familier de suivre leurs maris à une terre ' noire ', où ils voyaient eux-mêmes, ce qui porte à la lumière de leur foi aux personnes qui y vivaient. Jane Landon tente de concilier elle-même de s'acquitter de ce que la nouvelle communauté de femmes attend de lui, malgré les doutes soulevés par son esprit de questionnement. Elle apprend à respecter les façons Native American Indian par amitié avec son esclave qui elle nomme Rebecca. Mais lorsque bébé de Jane dies préjudice de la communauté, suscité par son serviteur possessif Martha, invite à une chasse aux sorcières avec une terrifiante de conséquences. ' Relayeurs ', écrits par Lin Marsh et Wendy Cook sont une pleine longueur musicale écrite spécialement pour les voix des filles. / Date parution : 2006-02-09/ Recueil / Chant
25.00 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Team Brass. Band
Instruments (With Cd)
(DUCKETT RICHARD) Saxophone Tenor [Partition + CD] - Débutant Faber Music Limited
Par DUCKETT RICHARD. For everyone who wants to play brass! Team Brass presents a...(+)
Par DUCKETT RICHARD. For everyone who wants to play brass! Team Brass presents a flexible course which can be tailored to suit each student - is ideal for individual, group or class tuition - contains plenty of carefully graded music in a wide variety of styles - encourages ensemble playing with varied repertoire for both Orchestral Brass and Brass Band instruments, and integrates with ensemble music in Team Strings, Team Woodwind, Team Recorder and Team Percussion - develops instrument-related aural skills, improvisation and composition - provides imaginative piano accompaniments to make every student feel like a star performer - offers helpful notes for the teacher, together with clear ensemble scores - includes scales and arpeggios as set by major Examination Boards. / Niveau : Débutant / Répertoire / Brass Ensemble
16.30 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Benjamin Britten: Two
Portraits for Strings
(1930): Viola: Study
Score Alto et orchestre [Conducteur d'étude / Miniature] Chester
Britten's Two Portraits for strings - the composer himself called them 'Sketches...(+)
Britten's Two Portraits for strings - the composer himself called them 'Sketches' - were composed in August and September 1930 during the summer holidays preceding the sixteen-year-old composer's first term at the RoyalCollege of Music in London.Both are musical depictions of character the first portraying Britten's school friend David Layton and the second introducing a solo Viola (Britten's own string instrument) a self-portraitof the composer. According to Britten's diary he planned to compose a third portrait again for strings that was to depict another school friend Peter Floyd but this movement was not written. However David Layton was to beportrayed again though very differently in Britten's later quartet suite Alla Quartetto Serioso (1933) itself revised and re-titled in 1936 as Three Divertimenti.The Pencil manuscript score in theBritten-Pears Library at Aldeburgh although hastily written is very detailed ad dynamics and phrasing are carefully notated throughout. However in several places in the first 'Portrait' the notes themselves are either difficultto decipher or due to the highly chromatic nature of the music difficult to interpret - in some cases Britten has clearly made notational 'spelling' mistakes which have been silently corrected in this editon. A list ofthose places where the reading of the manuscript is doubtful may be obtained from the Britten-Pears Library Aldeburgh.As with virtually all orchestral music from his youth Britten did not hear either 'Portrait'performed. The first performance of Two Portraits was given by the Northern Sinfonia conducted by Martyn Brabbins broadcast by BBC Radio 3 on 5th December 1995 as part of a series entitled 'Britten's Apprenticeship'.The first concert performance of Portrait No.1 was given by the Britten Chamber Orchestra conducted by Andreas Mitisek at the Konzerthaus Schubert-Saal Vienna on 10th February 1996. The first concert performance of
16.99 GBP - vendu par Musicroom GB | |
| Stijn Roels: Ex Tribus
Fontis: Fanfare Band:
Score and Parts
Fanfare [Conducteur et Parties séparées] De Haske Publications
The title Ex Tribus Fontis (Latin for ?from three sources?) refers to the three ...(+)
The title Ex Tribus Fontis (Latin for ?from three sources?) refers to the three sources of inspiration that were used for this composition. The legend of Saint Donatus, patron saint of the commissioning band describes how he and his soldiers prayed to God during a losing battle, the result of which being a thunderstorm which annihilated the Teutonic opponents. This three movement piece is extremely impressive and very much suitable for both concerts and contests.
132.99 GBP - vendu par Musicroom GB | |
| Andy Pape Thomas Pape:
CO2pera - Dampenes Rejse:
Mixed Choir: Vocal Score SOP/TEN/BAR/PFA::Soprano, Tenor,
Baryton, Accompagnement Piano [Vocal Score] Wilhelm Hansen
Andy Pape's Chamber Opera CO2pera - Dampenes Rejse (2012). This is a Vocal score...(+)
Andy Pape's Chamber Opera CO2pera - Dampenes Rejse (2012). This is a Vocal score for three Sopranos Tenor and Baritone with Piano accompaniment. Libretto by Thomas Pape.
60.99 GBP - vendu par Musicroom GB | |
| 150 Rounds For Singing
And Teaching Voix moyenne, Piano Boosey and Hawkes
This flexible collection offers a wealth of excellent material for singing in ro...(+)
This flexible collection offers a wealth of excellent material for singing in rounds. All of the standard rounds are represented, including many by master composers as well as anonymous ones. The book is divided into three main sections: rounds with texts, rounds without texts and selected rounds in score format. In addition to a complete alphabetical index, there are separate listings of rounds with sacred texts, rounds with secular texts, rounds about animals, rounds about bells, Christmas rounds, rounds in foreign languages, lullabies, rounds about music, rounds about nature, rounds about singing and street cries. There's even an additional listing of rounds in two parts, three parts, four, five and six parts. This is one collection no music library should be without! From the Kodály Choral Concept. Includes index based on song content and teaching concepts. / Choeur Mixte
27.30 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Degg: Songs For Claire:
Soprano Saxophone:
Instrumental Album Saxophone Tenor et Piano [Partition + CD] - Intermédiaire/avancé Spartan Press
Also available for Alto (SP827). Songs for Claire is intended to portray a life ...(+)
Also available for Alto (SP827). Songs for Claire is intended to portray a life journey with all the joys and trials that may be encountered. From a personal point of view it was written in memory of my childhood best friend Claire who sadly died of cancer aged 10. I think most people will be able to relate to the moods of the three movements and draw from their ownlife experiences in order to create the expression desired.Living Life begins with a pure and innocent piano introduction where life twinkles into being. The performers should aim for a sweetness and pure innocence. At this stage there have been no challenges and trials. Try to see this through theeyes of a child. At bar 71 we should be able to soar with the sheer exuberance and joy of life. Themood begins to take a downward turn via the piano there after bar 91. This is where situations begin to take a turn for the worse with much more agitation and a darker emotion takes over.Troubled Times now takes us onto a road that we would prefer not to be on everything should be quite agitated and restless. I had a strong feeling in this movement that it should show a battle of wills within; trying to stay positive (the sweeter timbral trills) and trying to fight the ever nagging negative thoughts. Performers should feel able to release fully where the score is marked 'desperately' because these are the cries of one who is struggling to keep fighting. At letter E the pianist should play almost with anger with strong stress to accented notes. At letter H the timbral trills stop abruptly and this indicates that the struggle is over if you imagine a heart monitoring machine that suddenly gives out is length monotone indicating the end of life. The rest of the movement relaxesinto the peace of the final movement.Flying Free is similar in feel to Living Life. You will see that the initial theme is reversed. In the first movement we see the theme very introverted probably as we often look inwards in life. In
10.50 GBP - vendu par Musicroom GB | |
| Bass Workshop Basse electrique Hal Leonard
Victor Lemonte Wooten emerged as a once-in-a-lifetime, game-changing bassist in ...(+)
Victor Lemonte Wooten emerged as a once-in-a-lifetime, game-changing bassist in the early- 90s, via his highly innovative playing with Bela Fleck and the Flecktones. Launching his solo career a few years later, with A Show of Hands, it soon became apparent that Wooten was also a major musical force, thanks to an organic and highly original approach to music and music education. In this book/online video package, Victor Wooten Bass Workshop: The Language of Music and How to Speak It, Victor reveals his musical soul.In Part 1, he outlines his ten essential elements of music including such important and under-emphasized areas as emotion and feel, dynamics, tone, phrasing, space, and listening. This section deals more with Victor s concepts and approaches and are more theoretical in nature.In Part 2, Victor addresses the personal lessons, using text, notation, tablature, and video footage to cover such key topics as warming up and hand-strengthening, tone, harmonics, thumb technique, tapping, looping, and soloing. This section is a more how to approach with hands-on demonstrations. Throughout, Victor underscores this vital material with a groove first ethic, as well an accent on being musical and creative three mandatory ingredients to becoming a highly-sought-after professional bassist. All of which makes Victor Wooten Bass Workshop a must-have tool for bass players at all levels. Includes online 4 hrs. of video that can be streamed or downloaded. / Guitare Basse
28.60 EUR - vendu par LMI-partitions Délais: En Stock | |
| Andrew R. Mackereth:
Hymnus: Fanfare Band:
Score & Parts Fanfare [Conducteur et Parties séparées] Gobelin Music Publications
Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Au...(+)
Hymnus was commissioned by the Wilhelmina Easterein Fanfare Orchestra in the Autumn of 1999 for their performance at the World Music Contest Kerkrade. The commission was the result of a collaboration between the composer and the thenmusical director Marten van der Wal. The exact meaning of the word Hymnus is not known but it is taken in this presentation to mean hymn or hymn-like. The melodic material is organic and grows from an initial unison tone. Thisinterval is gradually expanded to form the cell F E C F a semitone third fifth. The only other melodic motif is the ascending three-note pattern spanning a major third. This is the second of his compositions to use this ascending motif theother being Fanfare for a Bright New Age for Brass Band and Organ also of 2000. These characteristic intervals appear in many contrasting moods and guises throughout the piece. The opening unison notes are intended to convey as sense ofpower and magnificence like the first sounds at the dawning of the universe. After the immense power a period of stunned silence and reverence. The evolution of the hymn melody incorporates a variety of moods and atmospheres sometimes expressing much joy and celebration whilst also suggesting periods of intense savagery or prayerful contemplation. The hymn builds as the piece progresses and is finally stated in its complete form at letter W. The official worldpremiere of the work was given by Wilhelmina Easterein at the World Music Contest 2001. Whilst the composer was unable to attend in person he was able to enjoy the premier simultaneously transmitted via a mobile phone from the audience! Conductors Note The tempo indications are to be viewed as a guide rather than a literal instruction. Within the music there is an innate sense of pulse and metre lending itself to considerable rubato. Melody is king and all else is mere support and decoration careful attention must therefore be given to balance.
144.99 GBP - vendu par Musicroom GB | |
| Christmas Oratorio, Part
II (BACH JOHANN
SEBASTIAN) Soli, choeur mixte et accompagnement [Conducteur] Carus Verlag
Und es waren Hirten in derselbigen Gegend - BWV 248.2. Par BACH JOHANN SEBASTIAN...(+)
Und es waren Hirten in derselbigen Gegend - BWV 248.2. Par BACH JOHANN SEBASTIAN. The Christmas Oratorio with just organ instead of orchestral accompaniment' Can this work with such a festive and colorfully orchestrated piece' This arrangement shows that it can, and surprisingly well!Carsten Klomp has carefully transcribed the orchestral writing for organ. Staying close to the original score goes hand-in-hand with a transcription brilliantly suited to the organ, with full use of the tonal and performing possibilities of the instrument.The first three parts of the Christmas Oratorio are now available from Carus in this form. So for the first time, a complete performance of Parts I?III of the work can now be given in an arrangement for soloists, choir and organ. Each of the organ parts is available to match the scores. These allow for optimal page-turns, as the choral parts are not printed and the da capo sections are always written out in full.The editions are available individually or as a set (including the three scores with the individual organ parts).The vocal parts (for soloists and choir) are identical to the original version, so that the vocal score and choral score of that version can be used.This work (original version) is also available in carus music, the choir app! / Date parution : 2022-10-12/ Répertoire / Solistes, SATB et Orgue
34.00 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Bonis Mel - Oeuvres Pour
Piano Vol.1 - Femmes De
Legende Furore
Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour pia...(+)
Instrumentation: piano Edition: score Publisher: Eberhard Mayer OEuvres pour piano/Klaviermusik/Piano Music Edition en 10 recueils/Edition in 10 Bänden/Edition in 10 volumes Volume 1: Femmes de Légende Editor: Eberhard Mayer Item no.: fue 4180 Difficulty: medium ISMN: 979-0-50012-918-9 Contents: Mélisande, Desdémona, Ophelie, Viviane, Ph?bé, Omphale und Salomé The pieces for piano represent a great stylistic variety. One gets the impression that Mel Bonis may have intended to give a summary of musical development, not quoting historic styles but adapting the past through her personal tone and to translate it into contemporary musical language. The first volume includes an original series of musical portraits dedicated to legendary women, where Mel Bonis explores the enigmatic feminine universe. ?Femmes de légende? A collection we have called ?Femmes de légende? contains seven piano pieces by Mel Bonis named after women whose fates have become legendary. They have not always been arranged in this way. The first piece, ?Mélisande?, was published separately by Alphonse Leduc in 1898. In 1909, a collection called ?Trois pièces pour piano? (Three pieces for the piano), dedicated to the composer Paul Locard and which included ?Ph?bé?, ?Viviane? and ?Salomé?, was published by Leduc. In 1913, ?Mélisande? was added to the four last pieces for a final collection called ?Cinq pièces?. ?Omphale? appeared in a Berlin edition ?Signale für die musikalische Welt? in 1910. As to ?Ophélie?, it was never published in Mel Bonis? lifetime and we discovered a manu-script in 1997 without any indication at all of when it was writ-ten. ?Ophélie? was first published by the publishing house Ar-miane in Versailles in 1998. Mélisande (1898) Written before Debussy?s famous opera, Mel Bonis? piano piece ?Mélisande? was also inspired by the poet Maeterlinck (Mélisande, 1893). These short pages of magical harmonies, of radi-ant impressionist colours use music to describe Mélisande?s hair as described by Pelleas: ?your hair and its beautiful light... It escapes everywhere, it shivers, it shakes, it trembles in my hand like a golden bird.? This piece enjoyed quite a success in Mel Bonis? lifetime. She noted of it ?my favourite? in the margin of her hand-written catalogue. Desdémona (1913) The female heroine in Shakespeare?s ?Othello? inspired Mel Bonis to write a nostalgic piece with a fairly easy, rather classical beginning, a kind of romance without words, of great elegance and of a deep and melancholic beauty. Ophélie Ophelia, the lover of Shakespeare?s Hamlet, is a deeply melan-cholic character who goes mad and drowns in mysterious cir-cumstances. Ophelia inspired the poet Rimbaud and the painter Millais ? each of them created a masterpiece. Mel Bonis too evokes images of water, sadness and death in music for a third work of art. With its delicate and chilling beauty and also with its moments of passion, this impressionist piece - the work which owes most to Debussy - calls for great intelligence when performed. Viviane (1909) The figure of the fairy of the lake is musically described here in a well-structured, many-facetted piece; first of all, the initial dancing theme has an air of the ?salon? about it, typical of its time, evoking the fairy?s charm, her smile. Then follow succes-sions of majestic chords and fluent harmonies which represent the underwater castle and the fairy?s power. This piece is easily approachable. Ph?bé (1909) The sister of Phoebus, the sun, symbolises the moon, the night, chastity. The piece creates an impression of night. Steeped in twilight, languor and a sense of immense space, the atmosphere is one of unreality. This feeling of alienation is reinforced by the incoherence of rhythm between the two hands. Salomé (1909) Inspired by the Orient, Mel Bonis creates a very original musical illustration of the biblical character of Salome. She is characterised by shifting moods in which slow syncopes follow light glissandos, and urgent, mysterious psalmodies accompany sensual melopeias, where surprising tempo varia-tions lead to outbreaks of violence. With its relatively difficult beginning, this piece is especially interesting from the viewpoint of research into interpretation. Omphale (1910) The queen of Lydia is a female character from the violent depths of Greek mythology. This powerful female is described here with glittering sensuality and Oriental subtlety. The impressive work shows a complex structure both in harmony and rhythm, it is a lively and rich work which calls for much thought and great virtuosity on the performer?s part. ?Omphale? was awarded a prize for composition by the Berlin magazine ?Signale für die musikalische Welt? in 1910.
20.10 EUR - vendu par Woodbrass Délais: Sur commande | |
| Martin Shaw: Martin Shaw:
Sursum Corda: Tenor &
SATB: Vocal Score TEN/SATB/ORCH::Tenor, SATB, Orchestra [Vocal Score] Novello & Co Ltd.
POD-Sursum Corda is a work by Martin Shaw. A cantata for Tenor Solo Chorus and ...(+)
POD-Sursum Corda is a work by Martin Shaw. A cantata for Tenor Solo Chorus and Orchestra the work sets a poem by Laurence Binyon and was written for the Three Choirs Festival Hereford in 1933.
6.50 GBP - vendu par Musicroom GB | |
| Kenneth Leighton: Sonata
For Four Hands Op. 92:
Piano Duet: Instrumental
Work 1 Piano, 4 mains [Partition] Novello & Co Ltd.
Piano duet score. 1st performance Ellesmere College January 1986 by Richard Mar...(+)
Piano duet score. 1st performance Ellesmere College January 1986 by Richard Markham and David Nettle. Duration c.24 minutes. The work is in three movements and the musical thought is symphonic. The first movement (based entirely on the opening motive) goes through a series of paragraphs which eventually culminate in an extended melodic line played entirely by the treble player. The middle movement is a playful Scherzo with a rather sardonic waltz for its Trio. The slow movement (which comes last) is much more relaxed and concentrates on a D major motive with sharpened fourths but the more intense moods of the first movement return in a suddenly impassioned middle section.
22.99 GBP - vendu par Musicroom GB | |
| Harold L. Walters:
Instant Concert: Concert
Band: Score and Parts Orchestre d'harmonie [Partition + CD] - Intermédiaire Rubank Publications
Often imitated but never duplicated this is THE original! Harold Walters uses t...(+)
Often imitated but never duplicated this is THE original! Harold Walters uses thirty melodies found on band concert programs over the world and very cleverly condenses them into an instant performance of three minutes and ten seconds in one single tempo. This fabulous edition continues to be one of our best sellers ever - a guaranteed hit with your audience.
64.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Piano Concerto In A Minor
And Other Works For Piano
And Orchestra (SCHUMANN
ROBERT) Piano et Orchestre [Partition] Dover Publications
Par SCHUMANN ROBERT. Clara Wieck's sincerest wish was that her future husband, R...(+)
Par SCHUMANN ROBERT. Clara Wieck's sincerest wish was that her future husband, Robert Schumann, turn his extraordinary genius toward the larger and more challenging task of composing orchestral music. Confiding in her diary in 1839, just one year before her marriage, she explained that ; it would be best if he composed for Orchestra: his imagination cannot find sufficient scope in the Piano… In the years that followed their marriage Robert Schumann continued to devote much of his attention to Piano music, but he also found the time to comply with his beloved Clara's wish by creating a number of musical pieces composed specifically for Piano andOrchestra. Although Schumann 's genius is most in evidence in his masterful solo Piano compositions and superb lieder, his lively and provocative imagination manifests itself with equal aplomb in the works composed for Piano and Orchestra. The same compelling romantic and lyrical qualities that captivate lovers of Schumann 's Piano music are evident in these compositions. Three of his finest are presented here in full score, including the A Minor Piano Concerto, one of the most popular and frequently performed concertos ever written. All demonstrate his remarkably innovative approach to music, diverting substantially from the classic models of the day, and display his immense creativity as well as his warmth and sensitivity. Included in this collection of Schumann 's compositions for Piano and Orchestra are: Piano Concerto In A minor, Op. 54 (published 1846) Concertstuck, Op. 92 (Introduction and Allegro appassionato; published 1852) Introduction and Allegro, Op. 134 (published 1855) These three works by one of the greatest masters of romanticism will delight musicians, music lovers and students, as well as devotees of Schumann. Pianists will be especially pleased to have these appealing Schumann works in one convenient edition available at / Date parution : 2019-12-12/ Répertoire / Piano et Orchestre
26.90 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Alan Smith: In Flanders
Fields: Mixed Choir:
Vocal Score Chorale SATB SATB, Orgue Recital Music
In Flanders Fields is a series of poignant and evocative choral works with a the...(+)
In Flanders Fields is a series of poignant and evocative choral works with a theme of reconciliation and remembrance set to iconic texts by John McCrae and Rupert Brooke.Alan Smith was born in London in 1962 and spent his childhood in Croydon. He sang with various local choirs and attended the nearby Royal School of Church Music where he began organ lessons with Michael Fleming at the age of ten. He was appointed as Organist and Choirmaster of a local church at the age of 16 and later became Organ Scholar at Kings' College London where he studied from 1981 to 1984. As part of his music degree he specialized in composition studying with Nicola LeFanu David Lumsdaine and George Nicholson.Following postgraduate training at the London Institute of Education Alan began his teaching career. After working in various schools he became Head of Music at Hazelwick School Crawley in 1990 a post he continues to hold. In the same year he came to some prominence by winning the RSCM's annual composing competition. His successful entry Let the Peoples Praise You became his first published piece and continues to be widely performed. Since then his choral compositions have won several awards most recently the Thornesian Prize in 2003 and an honorable mention in the 2004 Vanguard Premieres Competition.Alan's output is predominantly of choral and vocal music much of it written for specific choirs or occasions and his catalogue runs to over 150 works. In the UK his music is published by Animus Curiad Cantiones Press Escorial Edition Fagus Music and RSCM while in America he is published by Abingdon Press CanticaNOVA OUP Pavane and Roger Dean.Since 1998 Alan has been Director of Music at St Andrew's church in Burgess Hill West Sussex where he lives with his wife and three children.
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| Elliot del Borgo: New
England Suite: Concert
Band: Score and Parts Orchestre d'harmonie [Partition] - Intermédiaire FJH
This one-movement festival work uses a slightly reduced instrumentation insurin...(+)
This one-movement festival work uses a slightly reduced instrumentation insuring that bands of all sizes will be able to enjoy it. The work is written in three sections each based on material from a New England song. Consider this new piece from one of the country's most prolific composers.
73.50 GBP - vendu par Musicroom GB | |
| Gustav Holst: Two Welsh
Folk Songs: Score Chorale [ ] J. Curwen and Sons
Holst's collection of Twelve Welsh Folk Songs was published in 1931 with the ly...(+)
Holst's collection of Twelve Welsh Folk Songs was published in 1931 with the lyrics translated into English by Steuart Wilson. Two of these are presented here scored for SAB three-partchorus with a Piano reduction provided for rehearsal purposes. Gustav Holst (1874-1934) was an English composer and teacher. Having studied under Stanford and Parry he became a close friend of Vaughan Williams they would often critique each other’s work and influenced composers such as Tippet and Britten. He is best remembered for his Planets suite.
3.99 GBP - vendu par Musicroom GB | |
| Judith Weir: Three
Interludes: Clarinet &
String Quartet: Score and
Parts Clarinet, 2 Violins, Viola and Cello [Conducteur et Parties séparées] Chester
Written for clarinet two violins viola and cello.
15.99 GBP - vendu par Musicroom GB | |
| Hans Abrahamsen: Left
Alone: Piano: Score Piano et Orchestre [Partition] - Intermédiaire/avancé Wilhelm Hansen
Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen ...(+)
Left Alone for Piano (left hand) and Orchestra was composed by Hans Abrahamsen in 2014-15. Commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic Orchestra. Premiered by the WDR Sinfonieorchester and Alexandre Tharaud (piano) concducted by Ilan Volkov on January 29 2016 Cologne. Programme Note: I was born with a right hand that is not fully functional and though it never prevented me from loving playing the piano as well as I could with this physical limitation it hasobviously given me an alternative focus on the whole piano literature and has given me a close relationship with the works written for the left hand by Ravel and others. This repertoire has been with me since my youth. My very first public performance of one of my own works was in autumn 1969. The piece was called October and I played the piano with my left hand and the horn my principal instrument (the only instrument that can be played with only the left hand). Part of the piece requires the performer to play natural harmonics of the horn directly into the open strings of the grand piano to create resonance. The pedal was kept down by an assistant lying on the floor. Through decades the idea of writing a larger work for piano left hand has been in my mind. This new work is not written for a pianist with only one hand but rather by a composer who can only play with the left hand. The title Left alone contains all kinds of references not only to the obvious fact that the left hand is playing alone. Left alone is divided into two large parts each consisting of three smaller movements – in effect six in total. The work was commissioned by Westdeutscher Rundfunk and co-commissioned by City of Birmingham Symphony Orchestra Danish National Symphony Orchestra and Rotterdam Philharmonic and written for Alexandre Tharaud. Hans
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