| From the Black Belt Carl Fischer
Orchestra Bass Clarinet, Bassoon, Clarinet 1, Clarinet 2, Contrabass, Flute 1, F...(+)
Orchestra Bass Clarinet,
Bassoon, Clarinet 1,
Clarinet 2, Contrabass,
Flute 1, Flute 2, Harp,
Horn 1, Horn 2, Horn 3,
Oboe, Percussion,
Timpani, Trumpet 1,
Trumpet 2, Trumpet 3,
Viola, Violin 1, Violin
2, Violoncello SKU:
CF.SC89L Seven
Little Pieces.
Composed by William Grant
Still. Large Score. 36
pages. Duration 12
minutes. Carl Fischer
Music #SC89L. Published
by Carl Fischer Music
(CF.SC89L).
William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following
ways:Â William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€The
“Black beltâ€
refers to a region in the
southern United States
that was distinguished by
the color of its fertile
soil. It was an area
whose rich economy was
based on cotton and
tobacco plantations that
were controlled by rich
white people and worked
by poor black laborers.
Still’s piece From
the Black Belt from 1926
is presumably a musical
representation of these
laborers. He described
its seven parts in the
following ways:
Li’l Scamp If one
were to base his judgment
on the volume of sound,
he would think this
little fellow, who
delights in playing
childish pranks, a big
scamp. But the aptness of
the title is determined
by the brevity of the
piece rather than by the
volume of sound.
Honeysuckle A musical
suggestion of the
saccharine odor of the
honeysuckle. Dance This
title is
self-explanatory. Brown
GirlA tone picture of a
lovely girl. Mah Bones Is
Creakin’An old
man, afflicted with
rheumatism, complains
loudly. BlueThe lament of
a weary soul. Clap
Yo’
Han’sThe
participants in a game
for children form a
circle and clap their
hands at intervals. $48.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Deep Field Orchestre [Conducteur et Parties séparées] Hal Leonard
Full Orchestra Score and Parts Choral; Concert Band; Full Orchestra; Orchestra...(+)
Full Orchestra Score and
Parts
Choral; Concert Band;
Full
Orchestra; Orchestra
(Score and
Parts)
For Full Orchestra, with
Choir
and Smart Phone App.
Composed
by Eric Whitacre (1970-).
Eric
Whitacre Orchestra.
Concert.
Softcover. Published by
Hal
Leonard
$525.00 - Voir plus => Acheter | | |
| Konig Keks Carus Verlag
Orchestra arrangement 1: choir 1-2-part, actors/soloists, wind quartet (flute, t...(+)
Orchestra arrangement 1:
choir 1-2-part,
actors/soloists, wind
quartet (flute, trumpet,
alto saxophone,
trombone), string
orchestra (2 violin,
viola, cello), rhythm
section (piano, bass,
percussion); arrangement
2: choir 1-2-part,
actors/soloists, piano,
[bass, SKU:
CA.1282014 Eine
Musicaloper in zwei
Akten. Composed by
Peter Schindler. Carus
book series: More music
books. Violoncello.
Musicals for children,
Songs for children,
Secular choral music.
Single Part, Cello. 32
pages. Duration 90
minutes. Carus Verlag #CV
12.820/14. Published by
Carus Verlag
(CA.1282014).
Language: German.
Text: Schindler, Peter /
Dieterich, Babette. Text:
Peter Schindler, Babette
Dieterich. Courage,
tolerance and
conciliation - this is
the message of a sweet
and sharp, thrilling love
story. Based loosely on
Shakespeare and his
famous tragedy Romeo and
Juliet, a prince, smitten
with love, and a
courageous baroness bring
foreign cultures and two
hostile families together
in a dramatic happy end.
Musically, Konig Keks
thrives on contrasts:
Whereas the music of
Krokantia borrows from
the world of operetta,
the music of the Chili
islands is fiery and
rhythmic. On the one
hand, a small salon
orchestra, and on the
other a band produce a
diversified sound. An
experienced pianst can
accompany a performance
of the piece alone. Konig
Keks offers ample musical
as well as scenic
performance possibilities
for people of all ages.
Score and part available
separately - see item
CA.1282000. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pression Contre Basse [Conducteur] Breitkopf & Härtel
Double bass solo SKU: BR.EB-9268 Revised Version 2010. Composed by...(+)
Double bass solo SKU:
BR.EB-9268 Revised
Version 2010.
Composed by Helmut
Lachenmann. Arranged by
Caleb Salgado. Solo
instruments; Folder.
Edition Breitkopf. Music
post-1945; New music
(post-2000). Score.
Composed 1969/2010. 26
pages. Duration 9'.
Breitkopf and Haertel #EB
9268. Published by
Breitkopf and Haertel
(BR.EB-9268). ISBN
9790004185681. 12 x 9
inches. This piece
originated as an
introduction to
instrumental
musique-concrete. In this
sort of piece it is
common for sound
phenomena to be so
refined and organised
that they are not so much
the results of musical
experiences as of their
own acoustic attributes.
Timbres, dynamics and so
on arise not of their own
volition but as
components of a concrete
situation characterised
by texture, consistency,
energy, resistance.This
does not come from within
but from a liberated
compositional technique.
At the same time it
implies that our
customary sharply-honed
auditory habit is
thwarted. The result is
aesthetic provocation:
beauty denying
habit.(Helmut
Lachenmann),,Cette
nouvelle edition est une
invitation faite aux
violoncellistes qui
souhaiteraient
redecouvrir leur
instrument et la maniere
de la faire sonner en
realisant dessus un
nouveau genre de
polyphonie: une
polyphonie d'actions.
(Francois-Xavier Feron,
Circuit, Heft 25, Juni
2015)CDs/LPs:Michael Bach
CD cpo 999 102-2 Lucas
Fels CD Montaigne Auvidis
MO 782075 Walter Grimmer
CD col legno WWE 31863
Taco Kooistra CD Attacca
Babel 9369-1 Pierre
Strauch CD Accord 202082
Michael Bach LP ABE ERZ
1003 Werner Taube LP ABE
ERZ 1003ensemble
phorminxCD WER 6682
2Michael M. KasperCD
Michael M. Kasper rounds
per minute, Ensemble
Modern Medien,
EMCD-006Michael Svoboda
(trombone)CD Wittener
Tage fur neue Kammermusik
2011Bibliography:Deltz,
Eberhard: begegnung im
grenzbereich. Zwei Werke
von Helmut Lachenmann und
Hideaki Yamanobe im
Spiegel eines Haiku von
Matsuo Basho, in: Neue
Zeitschrift fur Musik 167
(2006), Heft 1, pp.
36-41.Feron,
Francois-Xavier: Enjeux
et evolution du systeme
de notation dans
,,Pression pour un(e)
violoncelliste de Helmut
Lachenmann, in: Circuit,
Heft 25, 2015, pp.
55-65.GoGwilt, Keir:
Templates for Technique
in Mantel and Lachenmann.
Between Transcendence and
Immanence, in: The Dark
Precursor: Deleuze and
Artistic Research. Band
I: The Dark Precursor in
Sound and Writing, hrsg.
von Paulo de Assis und
Paolo Giudici, Leuven:
Leuven University Press
2017, pp.
105-113.Griffiths, Paul:
ModernMusic and After,
3rd edition, Oxford
University Press 2010,
pp. 216-219.Handschick,
Matthias: Musik als
,,Medium der sich selbst
erfahrenden Wahrnehmung.
Moglichkeiten der
Vermittlung Neuer Musik
unter dem Aspekt der
Auflosung und Reflexion
von Gestalthaftigkeit (=
Schriften der Hochschule
fur Musik Freiburg 3),
Hildesheim u. a.: Olms
2015, dort pp.
161-167.Hiekel, Jorn
Peter: Helmut Lachenmann
und seine Zeit, Laaber:
Laaber 2023, S. 169-172,
231-232.Jahn, Hans-Peter:
simultan eine Erinnerung,
in: Neue Zeitschrift fur
Musik 167 (2006), Heft 1,
pp. 12-15.Lessing,
Wolfgang: Musizieren als
Prozess. Zur didaktischen
Dimension von Helmut
Lachenmanns Pression, in:
Musik inszeniert.
Prasentation und
Vermittlung
zeitgenossischer Musik
heute, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 46),
Mainz u. a.: Schott 2006,
pp. 73-83.ders.:
Verweigerung von
Gewohnheit.
Instrumentaldidaktische
Annaherungen an Pression
von Helmut Lachenmann,
in: Darstellen und
Mitteilen. Ein Handbuch
der musikalischen
Interpretation, hrsg. von
Ursula Brandstatter,
Martin Losert, Christoph
Richter und Andrea Welte,
Mainz: Schott 2010, pp.
111-122.ders.:
Interpretation, Verstehen
und Vermittlung, in: Ans
Licht gebracht. Zur
Interpretation Neuer
Musik, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 53),
Mainz u. a.: Schott 2013,
pp. 24-39.Mosch, Ulrich:
Das Unberuhrte beruhren
Anmerkungen zur
Interpretation von Helmut
Lachenmanns Werken
Pression und Allegro
sostenuto, in: Musik
inszeniert. Prasentation
und Vermittlung
zeitgenossischer Musik
heute, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 46),
Mainz u. a.: Schott 2006,
pp. 25-46.Musik als
Bildkritik Gesprach
zwischen Gottfried Boehm,
Helmut Lachenmann und
Matteo Nanni, in: Helmut
Lachenmann: Musik mit
Bildern? Hrsg. von Matteo
Nanni und Matthias
Schmidt (= eikones, hrsg.
von Nationalen
Forschungsschwerpunkt
Bildkritik an der
Universitat Basel),
Munchen: Wilhelm Fink
2012, pp.
237-269.Neuwirth, Markus:
Strukturell vermittelte
Magie.
Kognitionswissenschaftlic
he Annaherungen an Helmut
Lachenmanns Pression und
Allegro sostenuto, in:
Musik als
Wahrnehmungskunst.
Untersuchungen zu
Kompositionsmethodik und
Horasthetik bei Helmut
Lachenmann, hrsg. von
Christian Utz und Clemens
Gadenstatter (=
musik.theorien der
gegenwart 2),
Saarbrucken: Pfau 2008,
pp. 73-100.Orning, Tanja:
The Polyphonic Performer.
A Study of Performance
Practice in Music for
Cello Solo by Morton
Feldman, Helmut
Lachenmann, Klaus K.
Hubler and Simon
Steen-Andersen, Diss.
Oslo 2014, Oslo:
NMH-publikasjoner (mit
DVD).Sparrer,
Walter-Wolfgang: Wider
den geolten Gleichlauf.
Von der Notwendigkeit
strukturierender
Verfahrensweisen bei der
Interpretation von Musik.
Modell I: Kompositionen
fur Violoncello solo von
J. S. Bach, Isang Yun und
Helmut Lachenmann, in:
Musikalische Produktion
und Interpretation, hrsg.
von Otto Kolleritsch,
Wien/Graz 2003 (= Studien
zur Wertungsforschung,
Band 43), pp. 75-100.Utz,
Christian: Erinnerte
Gestalt und gebannter
Augenblick. Zur Analyse
und Interpretation
post-tonaler Musik als
Wahrnehmungspraxis
Klangorganisation und
Zeiterfahrung bei Morton
Feldman, Helmut
Lachenmann und Brian
Ferneyhough, in: Ans
Licht gebracht. Zur
Interpretation Neuer
Musik, hrsg. von Jorn
Peter Hiekel (=
Veroffentlichungen des
Instituts fur Neue Musik
und Musikerziehung
Darmstadt, Band 53),
Mainz u. a.: Schott 2013,
pp. 40-67.
World
premiere: Como (Autunno
musicale), September 30,
1970. $49.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Rueggeberg M Ein Haus Voll Musik [Conducteur] - Intermédiaire Schott
Speakers and orchestra - intermediate to advanced SKU: HL.49033128 Ein...(+)
Speakers and orchestra -
intermediate to advanced
SKU: HL.49033128
Eine musikalische
Geschichte. Composed
by Rueggeberg. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott. This work
is based on a children's
book by Margret and Rolf
Rettich (ED 9307 = Book;
ED 9307-50 = Book + CD)A
contemporary piece
suitable for a young
audience. The various
soloists and instrumental
sections of the orchestra
are introduced in
characteristi. Score.
Composed 1999. 160 pages.
Duration 32'. Schott
Music #ED 9498. Published
by Schott Music
(HL.49033128). ISBN
9790001132626.
German. A man lives
in a town in which he can
barely hear the music
going round in his head
for the noise. He
purchases a house in the
country and numerous
tenants move in: the
string family, wind
players, a pianist, a
female harpist, a drummer
and a timpanist. They all
learn to listen to each
other and play together
whilmaking music. During
the progress of the work,
orchestral instruments
and the role of the
conductor are
explained.
This
work is based on a
children's book by
Margret and Rolf Rettich
(ED 9307 = Book; ED
9307-50 = Book + CD)A
contemporary piece
suitable for a young
audience. The various
soloists and instrumental
sections of the orchestra
are introduced in
characteristic passages.
The story linking the
musical items is told by
a narrator. $42.00 - Voir plus => Acheter | | |
| Mist [Conducteur] Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Oboe 1,
Oboe 2, Percussion,
Timpani, Trombone,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.416416130
Composed by Diane Wittry.
Full score. With Standard
notation. Duration 16
minutes. Theodore Presser
Company #416-41613.
Published by Theodore
Presser Company
(PR.416416130). UPC:
680160642182. 9 x 12
inches. On the
island of Elba, off the
coast of Italy, I
composed this work as the
sun was rising over the
ocean in the mornings and
gently sifting through
the clouds against the
lingering fog. As the
piece developed, it took
on a shape of its own and
gradually became centered
around diminished chords
and the interval of a
tri-tone (diminished
5th). I love these chords
for their angst and for
their sadness, but also
for their flexibility. My
piece is very textural in
nature; and yes, it does
have a melody of sorts,
and yet, this melody
comes and goes, and is
never quite grasped until
the end. Portions of it
are repeated and spun out
creating layers of sound
without the heaviness of
form. It is indeed a
depiction of mist, where
one minute you see things
and the next they are
gone. As you move through
the piece, you find that
the trumpet is also an
antagonist, creeping in
with a haunting cry; a
reminder of things
unsettled. Throughout the
piece, we are quietly
searching. We search for
a tonal center for
stability, and also for a
melody that will make us
feel fulfilled. Once
found, we hold them for
an instant, and then like
the clouds and like life
itself, they are gone. We
are warmed by their
presence and saddened by
their loss. I hope that
you will reflect upon
your own memories of
life's quiet moments as
we enjoy the world
premiere of this new work
together. Mist is not a
piece to be analyzed, but
rather a piece to be
experienced and absorbed.
As you listen, release
your mind, embrace your
emotions, close your
eyes, and allow the mist
to creep in. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mist Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, English Horn...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
English Horn, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Oboe 1,
Oboe 2, Percussion,
Timpani, Trombone,
Trumpet, Tuba, Viola,
Violin 1, Violin 2,
Violoncello SKU:
PR.41641613L Composed
by Diane Wittry. Large
Score. With Standard
notation. Duration 16
minutes. Theodore Presser
Company #416-41613L.
Published by Theodore
Presser Company
(PR.41641613L). UPC:
680160642199. 11 x 17
inches. On the
island of Elba, off the
coast of Italy, I
composed this work as the
sun was rising over the
ocean in the mornings and
gently sifting through
the clouds against the
lingering fog. As the
piece developed, it took
on a shape of its own and
gradually became centered
around diminished chords
and the interval of a
tri-tone (diminished
5th). I love these chords
for their angst and for
their sadness, but also
for their flexibility. My
piece is very textural in
nature; and yes, it does
have a melody of sorts,
and yet, this melody
comes and goes, and is
never quite grasped until
the end. Portions of it
are repeated and spun out
creating layers of sound
without the heaviness of
form. It is indeed a
depiction of mist, where
one minute you see things
and the next they are
gone. As you move through
the piece, you find that
the trumpet is also an
antagonist, creeping in
with a haunting cry; a
reminder of things
unsettled. Throughout the
piece, we are quietly
searching. We search for
a tonal center for
stability, and also for a
melody that will make us
feel fulfilled. Once
found, we hold them for
an instant, and then like
the clouds and like life
itself, they are gone. We
are warmed by their
presence and saddened by
their loss. I hope that
you will reflect upon
your own memories of
life's quiet moments as
we enjoy the world
premiere of this new work
together. Mist is not a
piece to be analyzed, but
rather a piece to be
experienced and absorbed.
As you listen, release
your mind, embrace your
emotions, close your
eyes, and allow the mist
to creep in. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| A Timeless Procession [Conducteur] Theodore Presser Co.
Chamber Music Viola, Violin 1, Violin 2, Violoncello, baritone voice SKU: PR....(+)
Chamber Music Viola,
Violin 1, Violin 2,
Violoncello, baritone
voice SKU:
PR.14140086S For
Baritone And String
Quartet. Composed by
David Leisner. Text by
Rosemary Thomas.
Premiere: Thomas
Meglioranza, baritone,
and Enso String Quartet;
Symphony Space, New York,
NY. Contemporary. Full
score. With Standard
notation. Composed 2004.
28 pages. Duration 8:30.
Theodore Presser Company
#141-40086S. Published by
Theodore Presser Company
(PR.14140086S). UPC:
680160618392. 9 x 12
inches. Text: Rosemary
Thomas. Rosemary Thomas.
Text by Rosemary
Thomas. Composed in
2004 for baritone
Wolfgang Holzmair,
Leisner's A Timeless
Procession was premiered
in 2011 with Thomas
Meglioranza and the ENSO
String Quartet at
Symphony Space (New York
City). Of that premiere,
Art Leonard writes, The
centerpiece of the
program was the world
premiere of Mr. Leisner's
composition for baritone
and string quartet, A
Timeless Procession,
setting a lengthy
narrative poem by
Rosemary Thomas about the
parade of elephants past
Carngie Hall when the
circus came to town. This
provided a nice balance
of drama and humor... Of
the music, itself,
Leisner says, [Rosemary
Thomas'] poem, The
Elephants Pass Carnegie
Hall, begins with an
image, maybe real, maybe
surreal, of circus
elephants parading by
Carnegie Hall, and ends
with a sharp, mystical
left turn into the
prehistoric times of
their ancestors. My piece
views the poem through
the lens of time -
beginning with a
primordial awakening,
progressing into real
time (the parade of
elephants), and then
through slow motion,
frozen time, a return to
real time (but with a
surreal overlay of
baritone falsetto), and
finally, in the canonic
last section, time past.
For advanced
performers. $28.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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