| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Woodwinds (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-30 ...(+)
Woodwinds (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-30
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Set
of parts. 90 pages.
Duration 43'. Breitkopf
and Haertel #OB 3210-30.
Published by Breitkopf
and Haertel
(BR.OB-3210-30). ISBN
9790004300749. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $92.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Gems for Violin Ensembles Trio à cordes: 3 violins [CD] - Intermédiaire Alfred Publishing
(Easy Repertoire for Group Lessons). By Helen Butterworth. For Violin. Book; CD;...(+)
(Easy Repertoire for
Group Lessons). By Helen
Butterworth. For Violin.
Book; CD; String Ensemble
(Suzuki). 32 pages.
Published by Alfred Music
Publishing
(2)$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 2 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-16 ...(+)
Violin 2 (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-16
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-16. Published by
Breitkopf and Haertel
(BR.OB-3210-16). ISBN
9790004300701. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Double bass (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-27(+)
Double bass (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-27
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-27. Published by
Breitkopf and Haertel
(BR.OB-3210-27). ISBN
9790004300732. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violoncello (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-23(+)
Violoncello (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-23
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-23. Published by
Breitkopf and Haertel
(BR.OB-3210-23). ISBN
9790004300725. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Viola (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-19 ...(+)
Viola (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-19
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
12 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-19. Published by
Breitkopf and Haertel
(BR.OB-3210-19). ISBN
9790004300718. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Stylistic Etudes for Trombone Carl Fischer
Chamber Music trombone SKU: CF.WF231 20 Original Etudes in a Variety o...(+)
Chamber Music trombone
SKU: CF.WF231
20 Original Etudes in
a Variety of Styles.
Composed by Tom Brantley.
Collection - Performance.
With Standard notation.
48 pages. Carl Fischer
Music #WF231. Published
by Carl Fischer Music
(CF.WF231). ISBN
9781491153314. UPC:
680160910816. Styli
stic Etudes for Trombone
was written for
intermediateto advanced
level trombonists,
seeking to meet
thedemands of the modern
marketplace for
performers. AsI often
tell my students,
it’s simply not
enough to mastera single
style and fake the rest.
To make a living as
aperformer, trombonists
are expected to play
many, manydifferent
styles authentically.
Classical performers
studyhard and devote
themselves to mastering
the stylisticnuances of
various eras, various
composers, variousforms;
jazz musicians seek to
accurately reflect the
stylesof everything from
bar-room burlesque to
Coltrane; hornbands in
the funk, rock, ska and
hip-hop idioms
mustreflect attention to
the details of their
influences even asthey
create new paths through
popular music.This etude
collection is an attempt
to help studentsand their
teachers work on the
details associated
withmastering each of
these various styles.In
order to perform with the
correct feel,
articulationand sound,
trombonists must first
get these concepts
intheir head through
diligent listening and
then disciplinedpractice
playing in every single
style. The same
wayorchestral players
study the symphonic
literature andexcerpts,
or the way a professional
jazz musician mightwork
on chord changes in
excruciating detail, a
wellroundedtrombone
player must master styles
by listeningto and
playing with great
recordings. Most of the
etudesin this book are
based on styles from
specific
orchestralliterature,
jazz standards and other
styles such as
NewOrleans’ funk
music (Meters) or the
music of JamesBrown and
Tower of Power.One final
note: some of these are
hard. On purpose.
Theseare not warm-ups
that you can play through
mindlesslyto get your
face going. These are
“study
pieces†in the
oldfashionedsense. They
are designed to challenge
you asa player, to make
you a little
uncomfortable. Some
aretougher than others,
of course, but none of
them are easy.If you can
play through each of
these well, with
greatmusicianship and
impeccable technique, you
will be anincredibly
versatile instrumentalist
and be able to
secureperformance
opportunities that are
outside the comfortzone
of many
trombonists.Thanks for
buying this book. I hope
you enjoy workingthrough
these, whether
you’re a teacher,
student,performer, or
weekend warrior. I
learned a lot by
puttingthese together and
I hope you find them
useful and
helpful. Stylistic
Etudes for Trombone was
written for intermediate
to advanced level
trombonists, seeking to
meet the demands of the
modern marketplace for
performers. As I often
tell my students,
it’s simply not
enough to master a single
style and fake the rest.
To make a living as a
performer, trombonists
are expected to play
many, many different
styles authentically.
Classical performers
study hard and devote
themselves to mastering
the stylistic nuances of
various eras, various
composers, various forms;
jazz musicians seek to
accurately reflect the
styles of everything from
bar-room burlesque to
Coltrane; horn bands in
the funk, rock, ska and
hip-hop idioms must
reflect attention to the
details of their
influences even as they
create new paths through
popular music.This etude
collection is an attempt
to help students and
their teachers work on
the details associated
with mastering each of
these various styles.In
order to perform with the
correct feel,
articulation and sound,
trombonists must first
get these concepts in
their head through
diligent listening and
then disciplined practice
playing in every single
style. The same way
orchestral players study
the symphonic literature
and excerpts, or the way
a professional jazz
musician might work on
chord changes in
excruciating detail, a
well-rounded trombone
player must master styles
by listening to and
playing with great
recordings. Most of the
etudes in this book are
based on styles from
specific orchestral
literature, jazz
standards and other
styles such as New
Orleans’ funk
music (Meters) or the
music of James Brown and
Tower of Power.How these
etudes were conceived,
composed and transcribed:
The style or concept of
the etude was thought out
in my head and ear. I
then improvised in that
style and concept on my
trombone, recording my
efforts until I was
satisfied with the etude.
All along, my goal was to
play the range of the
instrument while
emphasizing certain
articulations, rhythms,
range and, fundamentally,
the intended style of the
etude. The resulting
etude was then
transcribed by a terrific
graduate student named
Zach Bornheimer, who also
works with many other
classical and jazz
composers as a
copyist/arranger.Tips for
working on the etudes:
Seek out professional
recordings that match the
style of each etude to
get a good idea of what
the etude should sound
like musically. My
recording of each of
these etudes is available
for download and can be
purchased online for a
modest fee. Search for
“Brantley
Etudes†at either
iTunes or CDBaby.
Practice each etude very
slowly and in segments as
needed, using a
metronome. Record
yourself and listen for
good technique,
musicianship and
authenticity of style
with your sound, feel and
articulations. Compare
your own efforts to the
sounds you’ve
heard on recordings.
Would you fit in that
ensemble or band? If
range is an issue, take
certain notes or passages
down or up an octave.
Work on your fundamentals
every day, including the
techniques and skills
needed for these etudes.
Be patient! Small
improvements every day
result in big success
over time. Always play
with a wide dynamic
range. Always play with
line and direction.
Always play with
impeccable time as well
as rhythm. Use a
metronome to help with
this. Always play in
tune. You can work on
this with a tuner as well
as with drones. Play
these for teachers,
friends, peers and
colleagues not only for
their feedback but also
for the experience of
informal performance. An
audience changes
everything. Make music,
listen to music, record
yourself, play in public
and have fun!One final
note: some of these are
hard. On purpose. These
are not warm-ups that you
can play through
mindlessly to get your
face going. These are
“study
pieces†in the
old-fashioned sense. They
are designed to challenge
you as a player, to make
you a little
uncomfortable. Some are
tougher than others, of
course, but none of them
are easy. If you can play
through each of these
well, with great
musicianship and
impeccable technique, you
will be an incredibly
versatile instrumentalist
and be able to secure
performance opportunities
that are outside the
comfort zone of many
trombonists.Thanks for
buying this book. I hope
you enjoy working through
these, whether
you’re a teacher,
student, performer, or
weekend warrior. I
learned a lot by putting
these together and I hope
you find them useful and
helpful.Best
wishes,—Tom
Brantley. $18.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gems for Violin Ensembles, Book 2 Violon et Piano [Partition + CD] Alfred Publishing
(Easy Ensemble Pieces with Piano). By Helen Butterworth. For Violin. Book; CD; S...(+)
(Easy Ensemble Pieces
with Piano). By Helen
Butterworth. For Violin.
Book; CD; String Ensemble
(Suzuki). Published by
Alfred Music Publishing
(1)$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Der beleidigte Papagei Piano seul [Partition + CD] Breitkopf & Härtel
11 Miniaturen. Composed by Claus Kuhnl. Edition Breitkopf. In these eleven s...(+)
11 Miniaturen. Composed
by
Claus Kuhnl. Edition
Breitkopf.
In these eleven short
piano
pieces, the composer
follows
the cue of such
modern-day
masters as Olivier
Messiaen,
Karlheinz Stockhausen,
Helmut
Lachenmann and Nicolaus
A.
Huber.
Pedagogical. Breitkopf
and
Haertel #EB-9175.
Published
by Breitkopf and Haertel
$28.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 1 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-15 ...(+)
Violin 1 (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-15
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo: pno - 2.2.2.2 -
4.2.0.0 - timp - str.
Solo concerto; Romantic.
Part. 8 pages. Duration
43'. Breitkopf and
Haertel #OB 3210-15.
Published by Breitkopf
and Haertel
(BR.OB-3210-15). ISBN
9790004300695. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto In E Minor Flûte traversière et Piano Theodore Presser Co.
Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Jasmine Choi....(+)
Composed by Felix
Bartholdy
Mendelssohn (1809-1847).
Edited by Jasmine Choi.
Sws.
Score. 52 pages. Duration
6
minutes. Theodore Presser
Company #114-41935.
Published
by Theodore Presser
Company
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Left-Handed Modern Guitar Method Grade 1 Guitare [Partition + Accès audio] Mel Bay
Composed by Mel Bay. Saddle- stitched. Modern Method. Book and online audio. 48...(+)
Composed by Mel Bay.
Saddle-
stitched. Modern Method.
Book and online audio. 48
pages. Published by Mel
Bay
Publications, Inc
$14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| organ plus one (Original Works and Arrangements for Church Servce and Concert) Barenreiter
Epiphany, Whitsuntide. Edited by Carsten Klomp. Stapled. Performance scor...(+)
Epiphany,
Whitsuntide. Edited
by Carsten Klomp.
Stapled. Performance
score and parts,
anthology. 56/15/15/15/15
pages. Published by
Baerenreiter Verlag
(BA.BA8502).
$36.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Modern Guitar Method Grade 1 Guitare [Partition] - Débutant Mel Bay
by Mel Bay. For all guitars. Modern Guitar Method. Acoustic music, solos & duets...(+)
by Mel Bay. For all
guitars. Modern Guitar
Method. Acoustic music,
solos & duets. Level:
Beginning. Book. Method.
Size 8.75x11.75. 48
pages. Published by Mel
Bay Pub., Inc.
$9.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| My First Concert - 23 Easy Concert Pieces from 4 Centuries Clarinette [Partition + CD] - Facile Schott
Mein erstes Konzert. Composed by Various. Edited by Rudolf Mauz. Woodwind So...(+)
Mein erstes Konzert.
Composed
by Various. Edited by
Rudolf
Mauz. Woodwind Solo.
Softcover with CD. 52
pages.
Schott Music #ED21107.
Published by Schott Music
$23.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dutch Harp Music Harpe Ut Orpheus
Books and Journals; Harp SKU: UT.LB-4 Composed by Mirella Vita. Paperback...(+)
Books and Journals; Harp
SKU: UT.LB-4
Composed by Mirella Vita.
Paperback (Soft Cover).
Classical. Books and
Journals. Ut Orpheus #LB
4. Published by Ut
Orpheus (UT.LB-4).
ISBN 9788881094479.
6.5 x 9.5
inches. â??During
my career spanning half a
century, like all my
fellow harpists I
constantly had to grapple
with the commonly held
view that the harp has
neither music nor history
of its
own. Fortunately, over
the years I have been
able to give the lie to
this myth and have tried
to bring to light some of
the vast repertoire, both
early and modern,
expressly composed for
this instrument which has
been treated somewhat as
an outsider in the
musical world. The
research work for my
books on Italian and
Swiss harp music was
plain sailing because
source materials were
specific titles and title
pages. Were I to write
books on French, German,
Austrian, British,
Bohemian, Spanish,
Portuguese or
Scandinavian harp music,
the work involved would
be equally smooth and
straightforward. Howev
er, where Dutch music is
concerned, the approach
is rather different,
because here it is the
painters,
treatise-writers and
historians who provide
the evidence and guidance
necessary to discover the
musical customs and
traditions where the harp
played a significant
part. Performers
looking for pieces of
music may use this book
as follows: chapter II
deals with treatises,
chapter III with
paintings, chapter IV
with history and research
accounts. Chapters V and
VI are concerned with
confusions in
terminology. Chapter VII
describes recent
developments and chapters
VIII and IX cover
composers and pieces of
music. Libraries and
publishers are listed
with their addresses in
chapters X and XI, and
finally chapter XII
consists of the index
based on the various
groups of
performers. In this
last chapter harpists
will find the composers
most suited to their
programme, and can then
turn to chapters VIII and
IX for details. The
actual pieces can be
obtained by consulting
chapters X and XI. I wish
you every success in your
search, in your
rehearsals and in your
concerts ! In order to
define what is Dutch or
non-Dutch in early music,
I have followed the
current approach, i.e.
all art and history prior
to the separation of the
â??Seven ProvinÂces
in the 16th century is
the common heritage of
the Low Countries,
whereas everything
pertaining to those
courageous lands from
then onwards is
specifically Dutch.. $27.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Guitar Meditations - Contemplative Solos for Plectrum Guitar Guitare notes et tablatures [Partition + Accès audio] - Intermédiaire Mel Bay
By William Bay. For Guitar (All). Solos. Bill's Music Shelf. Contemporary. Inter...(+)
By William Bay. For
Guitar (All). Solos.
Bill's Music Shelf.
Contemporary.
Intermediate. Book
Online Audio. 24 pages.
Published by Mel Bay
Publications,
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Agrippina HWV 6 Barenreiter
Solo voices, orchestra (3 Soprano Voice Solo, 3 Alto Voice Solo, 3 Bass Voice So...(+)
Solo voices, orchestra (3
Soprano Voice Solo, 3
Alto Voice Solo, 3 Bass
Voice Solo, 2 Ob, 2 Trp,
timpani, 3V, Va, Bassi(2
Vc, double bass,
harpisc.), Continuo)
SKU: BA.BA04092-01
Opera in three
acts. Composed by
George Frideric Handel.
Edited by John E. Sawyer.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 3. Complete
edition, Score. HWV 6.
Duration 3 hours.
Baerenreiter Verlag
#BA04092_01. Published by
Baerenreiter Verlag
(BA.BA04092-01). ISBN
9790006550050. 33 x 26 cm
inches. Text Language:
Italian. Preface: John E.
Sawyer. Text: Vincenzo
Grimani. Handel'sAg
rippinaHWV 6 was
performed with great
success at the 2015
International Handel
Festival in Gottingen
(Germany) using the new
Barenreiter edition
including the performance
material and this vocal
score.
Agrippinais the last
opera that Handel
completed and premiered
in Italy. The excellent
libretto is one of the
few original opera
libretti that he set to
music. The plot is
tightly constructed, the
characters sharply etched
and equipped with a wide
range of human
emotions.
Agrippin
a is married to her third
husband, the Roman
emperor Claudius. After
he is presumed dead, she
attempts with deception
and intrigue to place her
son Nero on the
throne.
The vocal
score includes all the
numbers from the appendix
of the full score. These
were used either during
the successful Venetian
series of performances in
1709/10 or were deleted
or replaced by other
numbers, versions and
variants.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$737.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Gems for Cello Ensembles Ensemble de Violoncelles [Partition + CD] Alfred Publishing
(Easy Ensemble Pieces with Piano). By Helen Butterworth. For Cello. Book; CD; St...(+)
(Easy Ensemble Pieces
with Piano). By Helen
Butterworth. For Cello.
Book; CD; String Ensemble
(Suzuki). 60 pages.
Published by Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto IV in B flat Clifton Edition
Bassoon & String Orchestra SKU: ST.C354 Composed by Henry Hargrave. Wind ...(+)
Bassoon & String
Orchestra SKU:
ST.C354 Composed by
Henry Hargrave. Wind &
brass music. Clifton
Edition #C354. Published
by Clifton Edition
(ST.C354). ISBN
9790570813544.
Attractive and very
playable concerto for
bassoon with either piano
or strings.
The
five concertos of Henry
Hargrave were published
in 1760 or 1765 and were
available to customers in
London, Grantham and
Cambridge, as well as
from Henry Hargrave’s
home in Nottingham. He
has an impressive list of
subscribers backing the
publication, suggesting
that he was a respected
musician and a shrewd
businessman. They are
probably the earliest
concerti to be published
in parts in Britain.
Concertos I, II and IV
are scored for bassoon
and strings, whereas Nos.
II and V are for oboe,
bassoon and strings. In
Concerto IV, there is a
figured bass provided for
use by a keyboard player.
A string quartet will
provide a very successful
accompaniment to the
concerto, with or without
keyboard. The bassoon
concerto has been
recorded by Daniel Smith
with the English Chamber
Orchestra, conducted by
Philip
Ledger.
This
edition and the piano
reduction were prepared
by C.M.M. Nex, F.H. Nex
and K.R. Malloch from the
copy held in the British
Library (shelf mark g.32.
and h.210.j.(1.).
Originally published by
Phylloscopus
Publications.
Grad
es 6–8 Former
Spartan Press Cat. No.:
PP26
Piano
reduction version
available here.
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Concerto IV in B flat Clifton Edition
Bassoon & Piano SKU: ST.C353 Composed by Henry Hargrave. Wind & brass mus...(+)
Bassoon & Piano SKU:
ST.C353 Composed by
Henry Hargrave. Wind &
brass music. Clifton
Edition #C353. Published
by Clifton Edition
(ST.C353). ISBN
9790570813537.
Attractive and very
playable concerto for
bassoon with either piano
or strings.
The
five concertos of Henry
Hargrave were published
in 1760 or 1765 and were
available to customers in
London, Grantham and
Cambridge, as well as
from Henry Hargrave’s
home in Nottingham. He
has an impressive list of
subscribers backing the
publication, suggesting
that he was a respected
musician and a shrewd
businessman. They are
probably the earliest
concerti to be published
in parts in Britain.
Concertos I, II and IV
are scored for bassoon
and strings, whereas Nos.
II and V are for oboe,
bassoon and strings. In
Concerto IV, there is a
figured bass provided for
use by a keyboard player.
A string quartet will
provide a very successful
accompaniment to the
concerto, with or without
keyboard. The bassoon
concerto has been
recorded by Daniel Smith
with the English Chamber
Orchestra, conducted by
Philip
Ledger.
This
edition and the full
score and parts were
prepared by C.M.M. Nex,
F.H. Nex and K.R. Malloch
from the copy held in the
British Library (shelf
mark g.32. and
h.210.j.(1.). Originally
published by Phylloscopus
Publications.
Grad
es 6–8 Former
Spartan Press Cat. No.:
PP26A
Full score
and parts available here.
$23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Messa da Requiem [Conducteur] Carus Verlag
Orchestra Soli SMsTB, Coro SATB, Fl, Ob, Clt, Fg, Cor, Tr, [4 (2) Tr da lontano]...(+)
Orchestra Soli SMsTB,
Coro SATB, Fl, Ob, Clt,
Fg, Cor, Tr, [4 (2) Tr da
lontano], Trb, Timp, Gran
Cassa, 2 Vl, Va, Vc, Cb -
5 SKU: CA.2730800
Arrangement for
chamber orchestra (arr.
J. Linckelmann).
Composed by Giuseppe
Verdi. Arranged by
Joachim Linckelmann.
Gattungen vokal: Sacred
vocal music. Full Score.
272 pages. Duration 90
minutes. Published by
Carus Verlag
(CA.2730800). ISBN
9790007254667.
Latin. Verdi's
Requiem is one of those
works that almost every
choir would like to have
sung (at least) once.
This arrangement for
chamber orchestra means
that smaller choirs and
choirs with more limited
space or financial means
also now have the
opportunity of performing
this popular work. The
scoring, with seven
different wind and brass
instruments (flute, oboe,
clarinet, bassoon, horn,
trumpet, and trombone)
plus strings, timpani and
bass drum, guarantees a
wide dynamic range and a
nuanced sonority. The
four offstage trumpet
parts can be played
either as in the
original, reduced to two
trumpets, or even
omitted. The relevant
passages in the Tuba
mirum also contain ossia
passages for the
orchestral brass, so that
they can play their parts
in performance without
the need for offstage
trumpets. All the vocal
parts (soloists and
chorus) are identical to
the original version, so
the vocal score, vocal
score XL, and chorus
scores of the existing
Carus edition can be used
by the chorus. Michael
Betzner-Brandt's
successful arrangement of
the Requiem (Carus
27.303/50) radically
reduces the scoring to
five instrumentalists and
transfers the work to a
different sonority, but
in the arrangement by
Joachim Linckelmann the
symphonic character is
retained.
*wind
and brass parts reduced
to just seven single
instruments *maximum
flexibility in the use of
offstage
trumpets *vocal scores
and chorus scores from
the original version can
be used *carus plus:
the work (original
version) is available in
carus music, the choir
app, and in the practice
series Carus Choir
Coach. $185.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Circus Allegro Carus Verlag
Orchestra version 1: 1-2 voice choir, soloists as actors, wind quintet (flute, c...(+)
Orchestra version 1: 1-2
voice choir, soloists as
actors, wind quintet
(flute, clarinet,
trumpet, saxophone,
trombone), string
orchestra (2 violin,
viola/violin 3, cello),
rhythm section (piano,
bass, drums) version 2:
1-2 voice choir, soloists
as actors, piano (ba
SKU: CA.1282505
A Circus Musical for
all kids under 100.
Composed by Peter
Schindler. Carus book
series: More music books.
Circus Allegro (Engl).
Musicals for children,
Songs for children,
Secular choral music.
Choral Score. 32 pages.
Duration 70 minutes.
Carus Verlag #CV
12.825/05. Published by
Carus Verlag
(CA.1282505). ISBN
9790007164058. Language:
English. Text: Schindler,
Peter / Dieterich,
Babette. Text: Peter
Schindler, Babette
Dieterich. Followin
g the great success of
this musical in German,
it is now also available
in English. Everything
seems to be going wrong
at Circus Allegro. Bruno
the Bear refuses to
appear on stage, his
assistant, Bella Stella,
has disappeared, and
finally, even the tiger
escapes! Circus director
Ricardo Grande has to
improvise constantly.
Luckily, his new
assistant, clumsy August
the Clown, always has a
brilliant idea just at
the right time. Despite
all mishaps, the audience
gets to experience a
splendid circus evening.
And in the middle of all
the excitement, the tiger
and Bella suddenly
reappear. The audience is
swept off its feet.
Wherever the world-famous
Circus Allegro appears,
audiences shed tears of
joy and are enchanted -
visually, acoustically
and emotionally. The
individual numbers of
this children's musical
are composed in different
styles and the songs can
be performed either with
an orchestra or just with
a piano. Score available
separately - see item
CA.1282500. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sky High Orchestre d'harmonie [Conducteur] - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 5 SKU: BT.1289-06-140-MS Composed by Desmon...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.1289-06-140-MS
Composed by Desmond Dyer.
Arranged by Tomohiro
Tatebe. New Sounds for
Concert Band. Original
Light Music. Score Only.
Composed 2006. 28 pages.
Music Sales #1289-06-140
MS. Published by Music
Sales
(BT.1289-06-140-MS).
9x12 inches.
English-German-French-Dut
ch. In 1966, the
British
singer-songwriters Des
Dyer and Clive Scott
founded the pop group
Jigsaw. Nine years later
they enjoyed their first
great success with the
catchy song Sky High
which rode high in the
charts in many countries
throughout the world. The
Japanese arranger
Tomohiro Tabete has
composed this exciting
version for concert band.
In 1966 richtten
de Britse
singer-songwriters Des
Dyer en Clive Scott de
popgroep Jigsaw op. Negen
jaren later boekten ze
hun eerste grote succes
met de fraaie song Sky
High, waarmee ze hoog
scoorden op
internationale
hitlijsten.De Japanse
arrangeur Tomohiro Tabete
schreef van dit nummer
een sprankelende versie
voor
harmonieorkest.
De
smond Dyer und Clive
Scott gründeten 1966
in Australien die
Popgruppe Jigsaw. Der
große Erfolg stellte
sich aber erst neun Jahre
später ein - dann aber
gewaltig: Mit dem Hit
Sky High landeten
sie weltweit in den Top
20 der Hitparaden.
Seither wurde das Lied
von verschiedenen Bands
und Künstlern neu
interpretiert. Tomohiro
Tabete sorgte nun
dafür, dass auch
Blasorchester ihr
Repertoire um diesen
Pophit erweitern
können.
En
1966, Des Dyer et Clive
Scott fondent le groupe
Jigsaw. Neuf ans plus
tard, ils connaissent
leur premier grand
succès avec la chanson
Sky High qui se
classera dans le top 3
des hit-parades
internationaux et fera
l’objet de
nombreuses reprises,
remix et autres versions.
Tomohiro Tabete vous
propose sa pétillante
version pour Orchestre
d’Harmonie.
Nel 1966, Des
Dyer e Clive Scott
formano il gruppo Jigsaw.
Nove anni dopo, ottengono
il successo di pubblico
con la canzone Sky
High che si
classificher in testa
alle hit-parade
internazionali e sar
oggetto di numerose
riprese e altre versioni.
Tomohiro Tabete vi
propone la sua
scintillante versione per
banda. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sky High Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 5 SKU: BT.1289-06-010-MS Composed by Desmon...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.1289-06-010-MS
Composed by Desmond Dyer.
Arranged by Tomohiro
Tatebe. New Sounds for
Concert Band. Original
Light Music. Set (Score &
Parts). Composed 2006.
Music Sales #1289-06-010
MS. Published by Music
Sales
(BT.1289-06-010-MS).
9x12 inches.
English-German-French-Dut
ch. In 1966, the
British
singer-songwriters Des
Dyer and Clive Scott
founded the pop group
Jigsaw. Nine years later
they enjoyed their first
great success with the
catchy song Sky High
which rode high in the
charts in many countries
throughout the world. The
Japanese arranger
Tomohiro Tabete has
composed this exciting
version for concert band.
In 1966 richtten
de Britse
singer-songwriters Des
Dyer en Clive Scott de
popgroep Jigsaw op. Negen
jaren later boekten ze
hun eerste grote succes
met de fraaie song Sky
High, waarmee ze hoog
scoorden op
internationale
hitlijsten.De Japanse
arrangeur Tomohiro Tabete
schreef van dit nummer
een sprankelende versie
voor
harmonieorkest.
De
smond Dyer und Clive
Scott gründeten 1966
in Australien die
Popgruppe Jigsaw. Der
große Erfolg stellte
sich aber erst neun Jahre
später ein - dann aber
gewaltig: Mit dem Hit
Sky High landeten
sie weltweit in den Top
20 der Hitparaden.
Seither wurde das Lied
von verschiedenen Bands
und Künstlern neu
interpretiert. Tomohiro
Tabete sorgte nun
dafür, dass auch
Blasorchester ihr
Repertoire um diesen
Pophit erweitern
können.
En
1966, Des Dyer et Clive
Scott fondent le groupe
Jigsaw. Neuf ans plus
tard, ils connaissent
leur premier grand
succès avec la chanson
Sky High qui se
classera dans le top 3
des hit-parades
internationaux et fera
l’objet de
nombreuses reprises,
remix et autres versions.
Tomohiro Tabete vous
propose sa pétillante
version pour Orchestre
d’Harmonie.
Nel 1966, Des
Dyer e Clive Scott
formano il gruppo Jigsaw.
Nove anni dopo, ottengono
il successo di pubblico
con la canzone Sky
High che si
classificher in testa
alle hit-parade
internazionali e sar
oggetto di numerose
riprese e altre versioni.
Tomohiro Tabete vi
propone la sua
scintillante versione per
banda. $161.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Cherry Tree Carol Chorale SATB SATB, Clavier [Octavo] Schirmer
By James Helme Sutcliffe. For SATB choir, keyboard (organ or piano). Christmas. ...(+)
By James Helme Sutcliffe.
For SATB choir, keyboard
(organ or piano).
Christmas. Octavo. 12
pages. Published by E.C.
Schirmer Publishing
Octavo Christmas
$2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sky High Ensemble de cuivres [Conducteur] - Intermédiaire Music Sales
Brass Band - Grade 5 SKU: BT.1576-08-130-MS Composed by Clive Scott and D...(+)
Brass Band - Grade 5
SKU:
BT.1576-08-130-MS
Composed by Clive Scott
and Desmond Dyer.
Arranged by Klaas van der
Woude and Tomohiro
Tatebe. New Sounds in
Brass. Pop & Rock. Score
Only. Composed 2008. 28
pages. Music Sales
#1576-08-130 MS.
Published by Music Sales
(BT.1576-08-130-MS).
9x12 inches.
English-German-French-Dut
ch. In 1966, the
British
singer-songwriters Des
Dyer and Clive Scott
founded the pop group
Jigsaw. Nine years later
they enjoyed their first
great success with the
catchy song Sky High
which rode high in the
charts in many countries
throughout the world. The
Japanese arranger
Tomohiro Tabete has
composed this exciting
version for concert band.
In 1966 richtten
de Britse
singer-songwriters Des
Dyer en Clive Scott de
popgroep Jigsaw op. Negen
jaren later boekten ze
hun eerste grote succes
met de fraaie song Sky
High, waarmee ze hoog
scoorden op
internationale
hitlijsten.De Japanse
arrangeur Tomohiro Tabete
schreef van dit nummer
een sprankelende versie
voor
harmonieorkest.
De
smond Dyer und Clive
Scott gründeten 1966
in Australien die
Popgruppe Jigsaw. Der
große Erfolg stellte
sich aber erst neun Jahre
später ein - dann aber
gewaltig: Mit dem Hit
Sky High landeten
sie weltweit in den Top
20 der Hitparaden.
Seither wurde das Lied
von verschiedenen Bands
und Künstlern neu
interpretiert. Tomohiro
Tabete sorgte nun
dafür, dass auch Brass
Bands ihr Repertoire um
diesen Pophit erweitern
können.
En
1966, Des Dyer et Clive
Scott fondent le groupe
Jigsaw. Neuf ans plus
tard, ils connaissent
leur premier grand
succès avec la chanson
Sky High qui se
classera dans le top 3
des hit-parades
internationaux et fera
l’objet de
nombreuses reprises,
remix et autres versions.
Tomohiro Tabete vous
propose sa pétillante
version pour Orchestre
d’Harmonie.
Nel 1966, Des
Dyer e Clive Scott
formano il gruppo Jigsaw.
Nove anni dopo, ottengono
il successo di pubblico
con la canzone Sky
High che si
classificher in testa
alle hit-parade
internazionali e sar
oggetto di numerose
riprese e altre versioni.
Tomohiro Tabete vi
propone la sua
scintillante versione per
banda. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Page suivante 1 31 |