By Alexander Scriabin (1872-1915). Edited by Michael Schneidt and Valentina Rubc...(+)
By Alexander Scriabin
(1872-1915). Edited by
Michael Schneidt and
Valentina Rubcova. For
Piano. Henle Music
Folios. Softcover. 16
pages. G. Henle #HN1015.
Published by G. Henle
Composed by Jeffrey
Bishop. String Tracks
XVIII. Score. Neil A.
Kjos Music Company
#SO388F. Published by
Neil A. Kjos Music
Company (KJ.SO388F).
UPC:
8402704819.
Russian
composer Alexander
Scriabin was known for
his chromatic, almost
bitonal harmonies. This
lesser known gem,
Scriabin: Andante
for String
Orchestra,
arranged into G Major by
Jeffrey Bishop, showcases
the sheer beauty of the
evident chromaticism in
this soaring ballad, and
it's now accessible to
high school string
orchestras.
By Alexander Scriabin (1872-1915). Edited by Michael Schneidt and Valentina Rubc...(+)
By Alexander Scriabin
(1872-1915). Edited by
Michael Schneidt and
Valentina Rubcova. For
Piano. Henle Music
Folios. Softcover. 36
pages. G. Henle #HN1107.
Published by G. Henle
By Alexander Scriabin (1872-1915). Edited by Valentina Rubcova. Henle Music Foli...(+)
By Alexander Scriabin
(1872-1915). Edited by
Valentina Rubcova. Henle
Music Folios. Softcover.
24 pages. G. Henle Verlag
#HN855. Published by G.
Henle Verlag
Double Bass Part. By Alexander Scriabin. Arranged by Paul Ramsier. (Double Bass...(+)
Double Bass Part. By
Alexander Scriabin.
Arranged by Paul Ramsier.
(Double Bass). Boosey
and Hawkes Chamber Music.
Book only. Size 9x12
inches. 6 pages.
Published by Boosey &
Hawkes.
Piano Part. By Alexander Scriabin. Arranged by Paul Ramsier. (Piano). Boosey an...(+)
Piano Part. By Alexander
Scriabin. Arranged by
Paul Ramsier. (Piano).
Boosey and Hawkes Chamber
Music. Book only. Size
9x12 inches. 16 pages.
Published by Boosey &
Hawkes.
Piano (Piano) SKU: HL.14029515 No. 98. Composed by Alexander Scria...(+)
Piano (Piano)
SKU:
HL.14029515
No.
98. Composed by
Alexander Scriabin. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #PB41128. Published
by Music Sales
(HL.14029515).
Euphonium and Piano - advanced SKU: CY.CC2496 Composed by Alexander Scria...(+)
Euphonium and Piano -
advanced
SKU:
CY.CC2496
Composed by
Alexander Scriabin.
Arranged by Ralph Sauer.
Romantic Russian. Solo
part and piano score.
Published by Cherry
Classics (CY.CC2496).
* Alexander
Scriabin's music has been
described as mystical,
lyrical and
idiosyncratic. * He was a
most innovative and
controversial early
modern Russian composer.
* Scriabin's works were
ignored for many years
until recently and are
now seen as sincere
expression(s) of genius.
* The Three Etudes for
Euphonium and Piano are
early works of Scriabin,
originally written for
solo Piano. * They show
lyricism, passion,
moodiness, chromatic
harmonies and great
expression. * Mr. Sauer
has once again arranged
three wonderful new works
for advanced performers
who wish to explore
Scriabin's music, largely
unknown to the Euphonium
world. * Those who do
will be richly rewarded
with the great depth of
musicianship found in
these works. * The three
movements are about 9-10
in length and suitable
for advanced
performers.
Composed
by Zachary Cairns. Sws.
Yps. Full score. 24
pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217F.
Published by Carl Fischer
Music (CF.YPS217F).
ISBN 9781491156551.
UPC: 680160915095. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Composed by
Zachary Cairns. Folio.
Yps. Set of Score and
Parts.
8+8+4+8+8+4+2+6+4+4+4+8+8
+8+8+6+6+6+4+6+4+2+2+4+6+
10+24 pages. Duration 4
minutes, 48 seconds. Carl
Fischer Music #YPS217.
Published by Carl Fischer
Music (CF.YPS217).
ISBN 9781491156544.
UPC: 680160915088. 9 x 12
inches.
Hope
Remains Within was
commissioned by and
composed for the Mount
Nittany Middle School 7th
and 8th Grade Concert
Bands. Having heard the
students of Mount Nittany
perform another work of
mine, I was very excited
when their director,
Johanna Steinbacher,
approached me about
writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn't exactly sure
how, or what. Johanna
talked to some of her
students and learned
that, in 7th grade, the
students spend a good
deal of time studying
mythology in their
English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora. As
such, I decided to use
that story as the basis
of this composition. Hope
Remains Within doesn't
attempt to re-tell the
story, event by event, in
musical terms. Instead,
my goal was to address
what seems to be one of
the central issues of the
Pandora myth. Though
there are some
variations, we probably
all know the basics as
told by the ancient Greek
poet Hesiod. Zeus decides
to punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus's brother
Epimetheus as a bride.
Pandora is herself given
a jar (according to many
sources, jar seems to be
a more accurate
translation for what we
commonly call Pandora's
box) which contained
numerous evils, diseases,
and other pains. Out of
curiosity, Pandora opens
the jar and releases all
of these evils into the
world. But one thing
remains in the jar: hope.
The issue of hope seems
to be one of the big
interpretive questions of
the Pandora myth. Why
does hope remain within
the jar? Why doesn't it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place? I'm not enough of
a mythological scholar to
claim to have definitive
answers to those
questions, but these are
the questions that I've
tried to engage from a
musical perspective in
Hope Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed. Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope's
beginning played by alto
saxophones and chimes,
comes from the opening
measures of Skyrabin's
work. Given the important
role that Prometheus
plays in the Pandora
myth, this seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key. Additionally,
I have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the piece's
slow opening, I have
allowed these minor key
pitches to mingle freely
within the Bb major
tonality, adding extra
color and (I hope!)
beauty. As the piece
progresses, though, the
tempo increases, and we
lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn't
resist.). Hope Remains
Within was commissioned
by and composed for the
Mount Nittany Middle
School 7th and 8th Grade
Concert Bands. Having
heard the students of
Mount Nittany perform
another work of mine, I
was very excited when
their director, Johanna
Steinbacher, approached
me about writing a piece
specifically for them. I
knew right away that I
wanted to write something
that would tie in with
their non-music
curriculum in some way,
but I wasn’t
exactly sure how, or
what. Johanna talked to
some of her students and
learned that, in 7th
grade, the students spend
a good deal of time
studying mythology in
their English class. In
particular, two clarinet
students mentioned how
much they enjoyed the
story of Pandora.As such,
I decided to use that
story as the basis of
this composition. Hope
Remains Within
doesn’t attempt to
re-tell the story, event
by event, in musical
terms. Instead, my goal
was to address what seems
to be one of the central
issues of the Pandora
myth. Though there are
some variations, we
probably all know the
basics as told by the
ancient Greek poet
Hesiod. Zeus decides to
punish Prometheus for
stealing fire from heaven
and giving it to humans.
He and the other gods
create Pandora, a
beautiful and deceitful
woman, and they give her
to Prometheus’s
brother Epimetheus as a
bride. Pandora is herself
given a jar (according to
many sources,
“jar†seems
to be a more accurate
translation for what we
commonly call
“Pandora’s
boxâ€) which
contained numerous evils,
diseases, and other
pains. Out of curiosity,
Pandora opens the jar and
releases all of these
evils into the world. But
one thing remains in the
jar: hope.The issue of
hope seems to be one of
the big interpretive
questions of the Pandora
myth. Why does hope
remain within the jar?
Why doesn’t it
come out of the jar to
help humanity? Is hope
being held on a pedestal
of some sort? Is hope
deliberately withheld
from humanity? Why was
hope in the jar with all
those evils in the first
place?I’m not
enough of a mythological
scholar to claim to have
definitive answers to
those questions, but
these are the questions
that I’ve tried to
engage from a musical
perspective in Hope
Remains Within. I
encourage the students
and listeners to consider
their own ideas of what
hope is, and where you
can find your own hope
when needed.Musically,
Hope Remains Within draws
one of its main themes
from the Prometheus
Symphony by Alexander
Skryabin (Scriabin). The
note sequence F-D-Gb -F,
heard near Hope’s
beginning played by alto
saxophones and chimes,
comes from the opening
measures of
Skyrabin’s work.
Given the important role
that Prometheus plays in
the Pandora myth, this
seemed like an
appropriate musical
gesture to quote. This
Prometheus motive is
varied throughout the
course of the piece, and
even provides closure at
the end, recast in a
major key.Additionally, I
have tried to involve a
manageable amount of
chromaticism in this
piece. I have worked from
the key of Bb major, no
doubt familiar to every
student who has ever
played an instrument in a
band. But I have added
three extra notes: Db,
Gb, and Ab, which are
drawn from the key of Bb
minor. During the
piece’s slow
opening, I have allowed
these minor key pitches
to mingle freely within
the Bb major tonality,
adding extra color and (I
hope!) beauty. As the
piece progresses, though,
the tempo increases, and
we lose sense of the Bb
major key entirely, and
these extra notes play a
more important role. But
finally, Bb major returns
triumphantly and all the
extra notes are gone,
except for a brief memory
near the very end. (Ok,
there are a couple of
E-naturals that sneak in
there along the way. I
couldn’t
resist.).
Tuba or Bass Trombone and Piano - Advanced SKU: CY.CC3092 Composed by Ale...(+)
Tuba or Bass Trombone and
Piano - Advanced
SKU:
CY.CC3092
Composed by
Alexander Scriabin.
Arranged by Ralph Sauer.
Classical. Score and
Parts. Cherry Classics
#CC3092. Published by
Cherry Classics
(CY.CC3092).
ISBN
9790530110690. 8.5 x 11
in
inches.
Alexander
Scriabin's music has been
described as mystical,
lyrical and
idiosyncratic. He was
known as the most
innovative and
controversial early
modern Russian composer.
His works were ignored
for many years until
recently and are now seen
as sincere expression(s)
of genius. The Three
Etudes for Tuba or Bass
Trombone and Piano are
early works of Scriabin,
originally written for
Solo Piano. They show
lyricism, passion,
moodiness, chromatic
harmonies and great
expression. Mr. Sauer has
brought three wonderful
new works for advanced
performers who wish to
explore this area,
largely unknown to the
low brass world. The
three movements are about
9-10 in length and
suitable for advanced
performers.
Tenor Trombone and Piano - advanced SKU: CY.CC2494 Composed by Alexander ...(+)
Tenor Trombone and Piano
- advanced
SKU:
CY.CC2494
Composed by
Alexander Scriabin.
Arranged by Ralph Sauer.
Romantic Russian. Solo
part and piano score.
Published by Cherry
Classics (CY.CC2494).
Alexander
Scriabin's music has been
described as mystical,
lyrical and
idiosyncratic. He was a
most innovative and
controversial early
modern Russian composer.
His works were ignored
for many years until
recently and are now seen
as sincere expression(s)
of genius.
The Three
Etudes for Trombone and
Piano are early works of
Scriabin, originally
written for solo Piano.
They show lyricism,
passion, moodiness,
chromatic harmonies and
great expression.
Mr.
Sauer has once again
brought three wonderful
new works for advanced
performers who wish to
explore this area,
largely unknown to the
Trombone world. Those who
do will be richly
rewarded with the depth
of musicanship found in
these works.
By Alexander Scriabin. Arranged by Ralph Ford. By Alexander Scriabin / arr. Ralp...(+)
By Alexander Scriabin.
Arranged by Ralph Ford.
By Alexander Scriabin /
arr. Ralph Ford. For
Concert Band. Concert
Band. Belwin Young Band.
Level: 2 (Easy) (grade
2). Conductor Score.
Published by Alfred
Publishing.
Piano Quintet SKU: FG.55011-674-0 Composed by Kalevi Aho. Score/piano & p...(+)
Piano Quintet
SKU:
FG.55011-674-0
Composed by Kalevi Aho.
Score/piano & parts.
Fennica Gehrman
#55011-674-0. Published
by Fennica Gehrman
(FG.55011-674-0).
ISBN
9790550116740.
Scor
ed for piano left hand
and string quartet,
Kalevi Aho's Mysterium
(2019) consists of four
movements performed
without a break. Aho had
earlier come across the
sketches for what was to
be the last, unfinished
work, Mysterium, by
Alexander Scriabin. These
fragmentary sketches
inspired him to write
this piano quintet
dedicated to its
commissioner, pianist
Izumi Tateno. It is
founded throughout on
six-part Scriabin-like
harmonies that also
served as a basis for the
melodic material. The
first movement
(Misterioso) is, as its
name suggests, shadowy,
mysterious in mood. The
dynamic, quick second
movement (Vivace)
proceeds in quintuple
10/16 and 15/16 rhythms.
The third movement
(Adagio, misterioso) is
again slow and dreamy,
before arriving at the
finale (Moderato)
beginning in 11/16 time.
The finale draws all the
quintet's musical
material together, and
the work finally fades on
mysterious Scriabin
harmonies.
Piano (Piano Solo) SKU: HL.51481594 For Piano Solo Op. 2, No. 1. C...(+)
Piano (Piano Solo)
SKU: HL.51481594
For Piano Solo Op. 2,
No. 1. Composed by
Alexander Scriabin.
Edited by Valentina
Rubcova. Henle Music
Folios. Classical.
Softcover. 4 pages. G.
Henle #HN1594. Published
by G. Henle
(HL.51481594).
UPC:
196288215837.
9.0x12.0x0.046
inches.
One of
Scriabin's best-known
piano pieces is also one
of his very first
compositions. He wrote it
when he was only fifteen
years old; when it
appeared in print in
1893, the
twenty-one-year-old was
still so unknown that he
did not receive any
remuneration from the
publisher. The rapturous
etude was soon to enjoy
unprecedented success.
Marked “Andante”, it
is not a virtuoso piece
– but nevertheless it
is a challenge to master
the full-handed chords in
legato and to clearly
work out the upper and
middle parts at the same
time. In the Henle Urtext
edition, Boris Giltburg's
fingerings support this
task in an exemplary
manner. As an etude of
medium difficulty, this
earworm offers a
wonderful introduction to
the piano world of
Scriabin!
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages with
a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most
beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Orchestra SKU: HH.HH003-STR Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-STR
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. String set.
Duration 8 minutes.
Edition HH Music
Publishers #HH003-STR.
Published by Edition HH
Music Publishers
(HH.HH003-STR).
Here presented
as a colourful orchestral
suite, these preludes
dating from Scriabin's
European tours of 1894 95
lend themselves
delightfully to the small
orchestra. The original
piano part is published
at the bottom of the
score.
Five Preludes Orchestre SATB, Orchestre [Conducteur] Edition HH
Orchestra SKU: HH.HH003-FSC Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-FSC
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. Full score.
Duration 8 minutes.
Edition HH Music
Publishers #HH003-FSC.
Published by Edition HH
Music Publishers
(HH.HH003-FSC).
ISBN
9790708024200.
Here
presented as a colourful
orchestral suite, these
preludes dating from
Scriabin's European tours
of 1894 95 lend
themselves delightfully
to the small orchestra.
The original piano part
is published at the
bottom of the score.
Orchestra SKU: HH.HH003-MIN Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-MIN
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. Miniature
score. Duration 8
minutes. Edition HH Music
Publishers #HH003-MIN.
Published by Edition HH
Music Publishers
(HH.HH003-MIN).
ISBN
9790708024194.
Here
presented as a colourful
orchestral suite, these
preludes dating from
Scriabin's European tours
of 1894 95 lend
themselves delightfully
to the small orchestra.
The original piano part
is published at the
bottom of the score.
Orchestra SKU: HH.HH003-IPT Composed by Alexander Scriabin. Arranged by P...(+)
Orchestra
SKU:
HH.HH003-IPT
Composed
by Alexander Scriabin.
Arranged by Per Hartmann.
Orchestral. Set of parts.
Duration 8 minutes.
Edition HH Music
Publishers #HH003-IPT.
Published by Edition HH
Music Publishers
(HH.HH003-IPT).
ISBN
9790708024682.
Here
presented as a colourful
orchestral suite, these
preludes dating from
Scriabin's European tours
of 1894 95 lend
themselves delightfully
to the small orchestra.
The original piano part
is published at the
bottom of the score.
Trombone & Piano - advanced SKU: CY.CC2987 Composed by Alexander Scriabin...(+)
Trombone & Piano -
advanced
SKU:
CY.CC2987
Composed by
Alexander Scriabin.
Arranged by Bob Burnham.
19th Century Romantic
Russian. Solo part and
Piano accompaniment. 11
pages. Cherry Classics
#2987. Published by
Cherry Classics
(CY.CC2987).
ISBN
9790530058060.
In
1891 Scriabin hurt his
right hand from
over-practicing. He
practiced only using his
left hand and composed
the Prelude et Nocturne
opus 9 in 1894. It became
a big hit and sold
thousands of
copies. Bob Burham
has done a wonderful job
in arranging this magical
work of about 9 minutes
in length for Trombone
and Piano. For advanced
performers.
Concert Band (Parts And Score) SKU: HL.35017421 Composed by Alexander Scr...(+)
Concert Band (Parts And
Score)
SKU:
HL.35017421
Composed
by Alexander Scriabin.
Arranged by Rhoads.
Symphonic band. Shawnee
Press. Print on demand -
publisher prints this
title after order is
received. Score and
Parts. Shawnee Press
#K0414. Published by
Shawnee Press
(HL.35017421).
Piano - Level 3 SKU: FV.FUE-10073 Composed by Florentine Mulsant. Piano m...(+)
Piano - Level 3
SKU:
FV.FUE-10073
Composed
by Florentine Mulsant.
Piano music. Sound
Research of Women
Composers: Contemporary
Music C192. Sound
Research of Women
Composers: Contemporary
Music C192. Contemporary.
Score. Duration 45'00.
Furore Verlag #FUE 10073.
Published by Furore
Verlag (FV.FUE-10073).
The 45-minutes
work has been composed
between 2010 et 2011.
These ,,Preludes pour
piano are a tribute to
the Preludes of Alexander
Scriabine. There is no
tonal reference in the
writing of my Preludes
that were written in a
chronological way. It is
possible to play some of
them, however a complete
interpretation is
preferable. They are
mysterious, playing with
piano resonance, rhythmic
and passionate. They are
linked by a great unity
of language.
(7 Pieces for Cello and Piano). Composed by Various. For Cello, Piano Accompanim...(+)
(7 Pieces for Cello and
Piano). Composed by
Various. For Cello, Piano
Accompaniment (Score and
Solo Part). String.
Softcover. 52 pages.
Forberg Edition #F95056.
Published by Forberg
Edition
Piano SKU: PA.H07988 Fur Klavier. Composed by Luboš Fišer. S...(+)
Piano
SKU:
PA.H07988
Fur
Klavier. Composed by
Luboš Fišer.
Stapled. Performance
score. With Text
Language:
Czech/German/English.
Editio Baerenreiter Praha
#H07988_00. Published by
Editio Baerenreiter Praha
(PA.H07988).
ISBN
9790260104471. 31 x 23.5
cm inches.
Piano
Sonata No. 4 from the
years 1962-1964 is
dedicated to the memory
of Fiser's friend, the
pianist Antonin Jemelik,
who died tragically. As a
tribute to their
friendship the composer
incorporated into the
introduction a quotation
from their favourite
work, Piano Sonata No.
10, Op. 70, by Alexander
Scriabin. The tragedy of
the death of the
composer's friend
pervades the emotionally
intense passage of unison
octaves which follows the
three-bar quotation. From
a compositional point of
view this work is a
masterpiece of the
mid-Sixties. Written as
one movement, the piece
is divided into numerous
mutually contrasting
segments which themselves
are clearly grouped into
two sections, exposition
and development. The
individual themes are
introduced in the first
section and thematically
expanded in the second
section. The motif
treatment lies almost
exclusively in the
fragmenting or curtailing
of the theme, or in the
use of a combination of
several themes, for the
most part brief and
eloquent. This
compositional method,
together with a clear-cut
manner of execution,
mainly semitonal melody
and sharply contrastive
dynamics, lends force and
transparency to the
piece. Piano Sonata No. 4
was completed in 1964
together with Symphonic
Fresco, Concerto da
camera for piano and
orchestra and Fifteen
Prints after Durer's
Apocalypse and has earned
its rightful place
alongside them as
masterpieces of Fiser's
oeuvre.
The work
was first performed by
Pavel Stepan in Prague's
Rudolfinum in 1965. The
new setting for this
piece is based on the
single edition to date
(Panton, 1969); only with
regard to a few
inconsistencies in the
score was it necessary to
consult the composer's
manuscript (kept at the
National Museum - Czech
Museum of Music).