| O God Beyond All Praising Chorale SATB SATB, Cuivre(s) [Octavo] Hope Publishing Company
By Gustav Holst (1874-1934). Arranged by Mark Hayes. For SATB choir with optiona...(+)
By Gustav Holst
(1874-1934). Arranged by
Mark Hayes. For SATB
choir with optional brass
and timpani. The Mark
Hayes Choral Series.
Hymntune, General
Worship, Sacred. Octavo.
12 pages. Published by
Hope Publishing Company
$2.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Jubilate, O Amoeni Chori [Conducteur] Ricordi
Vocal and Orchestra SKU: HL.50495416 10 Choral Parts. Composed by ...(+)
Vocal and Orchestra
SKU: HL.50495416
10 Choral Parts.
Composed by Antonio
Vivaldi. MGB. Score Only.
Composed 1991. Ricordi
#NR135448/01. Published
by Ricordi (HL.50495416).
PER C. (O S.),
2 VL., VLA E B. - INTRO.
AL GLORIA RV639/639A) E
GLORIA RV 588 - PARTI
CORO. $56.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Songs of Cole and Johnson Brothers Piano, Voix Edward B. Marks Music Company
Piano/Vocal Piano; Voice SKU: HL.148619 Composed by Bob Cole, James Weldo...(+)
Piano/Vocal Piano; Voice
SKU: HL.148619
Composed by Bob Cole,
James Weldon Johnson, and
John Rosamond Johnson.
E.B. Marks. Vaudeville.
Softcover. 180 pages.
Edward B. Marks Music
#EBM148619. Published by
Edward B. Marks Music
(HL.148619). ISBN
9781495029684. UPC:
888680078515.
9.0x12.0x0.492 inches.
With a Foreword by Thomas
Riis. Late in his
life, composer J.
Rosamond Johnson (Lift
Ev'ry Voice and Sing)
submitted to his longtime
publisher, E.B. Marks, a
list of songs that would
comprise a volume of his
best early popular songs
written with his pre-1910
partner Bob Cole and his
brother, James Weldon
Johnson (Autobiography of
an Ex-Colored Man). That
list was never put into
print...until now.
Featuring an
introductionby Dr. Thomas
Riis (Just Before Jazz)
and several rare photos,
this new compilation is
the latest legacy
offering from the Marks
archive, which contains a
rich heritage of
turn-of-the-century
African-American, and
thus distinctly American,
pre-jazz-era popular
song. Includes: Ain't Dat
Scan'lous * Big Indian
Chief * The Big Red Shawl
* The Bleeding Moon *
Congo Love Song * The
Countess of Alagazam *
Fishing * I Don't Want to
Be No Actor Man No Mo' *
I'll Always Love Old
Dixie * I'll Keep a Warm
Spot in My Heart for You
* I've Got Troubles of My
Own * The Katy-Did, the
Cricket and the Frog *
Lazy Moon * Lit'l Gal *
Louisiana Lize * Lovely
Daughter of Allah * Ma
Mississippi Belle * The
Maiden with the Dreamy
Eyes * Mudder Knows * My
Heart's Desiah is Miss
Mariah * My Castle on the
Nile * Nobody's Lookin'
but de Owl an' de Moon *
Oh, Didn't He Ramble *
The Old Flag Never
Touched the Ground * On
the Road to Monterey *
The Pathway of Love *
Roll Them Cotton Bales *
Save It for Me! * The
Spirit of the Banjo! *
Sugar Babe * Two Eyes *
Under the Bamboo Tree *
When de Jack O'Lantern
Starts to Walk About *
When It's All Goin' Out,
and Nothin' Comin' In *
Who Do You Love? $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Solemnitas Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1216343-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1216343-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2021.
De Haske Publications
#DHP 1216343-010.
Published by De Haske
Publications
(BT.DHP-1216343-010).
English-German-French-
Dutch. This short
but solemn overture was
written on the occasion
of the 110th jubilee of
Harmonie Hautcharage,
Luxembourg. It is an
homage to Jean-Paul
Frisch and his son
Gérard (the present
conductor), who each have
been conducting
theensemble for many
years. Under their
leadership, the band has
developed and improved
remarkably. The very
first musical theme,
presented during the
introduction of this
little overture, is based
on the letters hidden in
the namesJean-Paul and
Gérard Frisch (in
which h is considered b
as it is in German), thus
aiming the spotlight on
both key figures in the
history of Harmonie
Hautcharage. After the
rather stately intro, the
allegro is more joyful
andlighthearted, thus
depicting the optimism of
the many young players of
the band. The end is
exciting and energetic:
it radiates positivity
and belief in the
future.
Deze korte
maar plechtige ouverture
is geschreven ter
gelegenheid van het
110-jarig bestaan van
Harmonie Hautcharage uit
Luxemburg. Het stuk is
een eerbetoon aan
Jean-Paul Frisch en diens
zoon Gérard (de
huidige dirigent), die
hetensemble ieder vele
jaren lang hebben
gedirigeerd. Onder hun
leiding heeft het orkest
zich enorm ontwikkeld en
verbeterd. Het eerste
muzikale thema, ge
ntroduceerd in de
inleiding van deze kleine
ouverture, is gebaseerd
op deletters die
verborgen zitten in de
namen Jean-Paul en
Gérard Frisch (waarbij
de h als b wordt
beschouwd zoals in
Duitsland het geval is).
Hiermee worden beide
sleutelfiguren uit de
geschiedenis van Harmonie
Hautcharage in
deschijnwerpers gezet. Na
de vrij statige opening
klinkt het allegro
vreugdevoller en
luchtiger, waarmee het
optimisme van de vele
jonge spelers uit het
orkest wordt
weerspiegeld. Het
meeslepende en energieke
slot ademt positiviteiten
geloof in de
toekomst.
Diese
kurze, aber feierliche
Ouvertüre wurde
anlässlich des
110-jährigen
Jubiläums der Harmonie
Hautcharage aus Luxemburg
geschrieben. Es ist eine
Hommage an Jean-Paul
Frisch und seinen Sohn
Gérard (den
derzeitigen
Dirigenten),die das
Ensemble seit vielen
Jahren leiten. Unter
ihrer Leitung hat sich
das Blasorchester auf
bemerkenswerte Art und
Weise weiterentwickelt
und verbessert. Das
allererste musikalische
Thema, das in der
Einleitung dieser
kleinenOuvertüre
vorgestellt wird, basiert
auf den Buchstaben, die
in den Namen Jean-Paul
und Gérard Frisch
enthalten sind. Damit
rückt es die beiden
Schlüsselfiguren in
der Geschichte der
Harmonie Hautcharage in
den Vordergrund. Auf
diemajestätische
Einleitung folgt ein
fröhliches und
unbeschwertes Allegro,
das den Optimismus der
vielen jungen Mitspieler
des Blasorchesters
widerspiegelt. Der
Schluss ist spannend,
energiegeladen und
strahlt eine
positiveEinstellung
Courte mais
solennelle, cette
ouverture a été
écrite
l’occasion du 110e
anniversaire de
l’harmonie
luxembourgeoise
Hautcharage. Il
s’agit d’un
hommage Jean-Paul Frische
et son fils, Gérard
(le chef actuel de
l’harmonie),
quidirigent tous deux
l’ensemble depuis
de nombreuses années.
Sous leur direction,
l’orchestre
s’est
remarquablement
développé et
amélioré. Le tout
premier thème,
exposé dès
l’introduction de
cette petite ouverture,
est fondé surcertaines
lettres des noms
Jean-Paul en Gérard
Frisch (où le « h
» représente un
« Si », comme dans
la notation allemande),
mettant ainsi en avant
les deux personnages
clés de
l’histoire de
l’harmonie
Hautcharage. Après
uneintroduction quelque
peu majestueuse,
l’allegro est plus
léger et enjoué,
reflétant ainsi
l’optimisme des
nombreux jeunes musiciens
de l’orchestre. La
conclusion est
énergique et
exubérante, rayonnant
de positivité et de
confianceen
l’avenir. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Solemnitas Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1216343-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.DHP-1216343-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2021. 23
pages. De Haske
Publications #DHP
1216343-140. Published by
De Haske Publications
(BT.DHP-1216343-140).
English-German-French-
Dutch. This short
but solemn overture was
written on the occasion
of the 110th jubilee of
Harmonie Hautcharage,
Luxembourg. It is an
homage to Jean-Paul
Frisch and his son
Gérard (the present
conductor), who each have
been conducting
theensemble for many
years. Under their
leadership, the band has
developed and improved
remarkably. The very
first musical theme,
presented during the
introduction of this
little overture, is based
on the letters hidden in
the namesJean-Paul and
Gérard Frisch (in
which h is considered b
as it is in German), thus
aiming the spotlight on
both key figures in the
history of Harmonie
Hautcharage. After the
rather stately intro, the
allegro is more joyful
andlighthearted, thus
depicting the optimism of
the many young players of
the band. The end is
exciting and energetic:
it radiates positivity
and belief in the
future.
Deze korte
maar plechtige ouverture
is geschreven ter
gelegenheid van het
110-jarig bestaan van
Harmonie Hautcharage uit
Luxemburg. Het stuk is
een eerbetoon aan
Jean-Paul Frisch en diens
zoon Gérard (de
huidige dirigent), die
hetensemble ieder vele
jaren lang hebben
gedirigeerd. Onder hun
leiding heeft het orkest
zich enorm ontwikkeld en
verbeterd. Het eerste
muzikale thema, ge
ntroduceerd in de
inleiding van deze kleine
ouverture, is gebaseerd
op deletters die
verborgen zitten in de
namen Jean-Paul en
Gérard Frisch (waarbij
de h als b wordt
beschouwd zoals in
Duitsland het geval is).
Hiermee worden beide
sleutelfiguren uit de
geschiedenis van Harmonie
Hautcharage in
deschijnwerpers gezet. Na
de vrij statige opening
klinkt het allegro
vreugdevoller en
luchtiger, waarmee het
optimisme van de vele
jonge spelers uit het
orkest wordt
weerspiegeld. Het
meeslepende en energieke
slot ademt positiviteiten
geloof in de
toekomst.
Diese
kurze, aber feierliche
Ouvertüre wurde
anlässlich des
110-jährigen
Jubiläums der Harmonie
Hautcharage aus Luxemburg
geschrieben. Es ist eine
Hommage an Jean-Paul
Frisch und seinen Sohn
Gérard (den
derzeitigen
Dirigenten),die das
Ensemble seit vielen
Jahren leiten. Unter
ihrer Leitung hat sich
das Blasorchester auf
bemerkenswerte Art und
Weise weiterentwickelt
und verbessert. Das
allererste musikalische
Thema, das in der
Einleitung dieser
kleinenOuvertüre
vorgestellt wird, basiert
auf den Buchstaben, die
in den Namen Jean-Paul
und Gérard Frisch
enthalten sind. Damit
rückt es die beiden
Schlüsselfiguren in
der Geschichte der
Harmonie Hautcharage in
den Vordergrund. Auf
diemajestätische
Einleitung folgt ein
fröhliches und
unbeschwertes Allegro,
das den Optimismus der
vielen jungen Mitspieler
des Blasorchesters
widerspiegelt. Der
Schluss ist spannend,
energiegeladen und
strahlt eine
positiveEinstellung
Courte mais
solennelle, cette
ouverture a été
écrite
l’occasion du 110e
anniversaire de
l’harmonie
luxembourgeoise
Hautcharage. Il
s’agit d’un
hommage Jean-Paul Frische
et son fils, Gérard
(le chef actuel de
l’harmonie),
quidirigent tous deux
l’ensemble depuis
de nombreuses années.
Sous leur direction,
l’orchestre
s’est
remarquablement
développé et
amélioré. Le tout
premier thème,
exposé dès
l’introduction de
cette petite ouverture,
est fondé surcertaines
lettres des noms
Jean-Paul en Gérard
Frisch (où le « h
» représente un
« Si », comme dans
la notation allemande),
mettant ainsi en avant
les deux personnages
clés de
l’histoire de
l’harmonie
Hautcharage. Après
uneintroduction quelque
peu majestueuse,
l’allegro est plus
léger et enjoué,
reflétant ainsi
l’optimisme des
nombreux jeunes musiciens
de l’orchestre. La
conclusion est
énergique et
exubérante, rayonnant
de positivité et de
confianceen
l’avenir. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| My Life with Albertine Piano, Voix [Vocal Score] Hal Leonard
By Ricky Ian Gordon, Richard Nelson. Vocal Score. 230 pages. Published by Hal Le...(+)
By Ricky Ian Gordon,
Richard Nelson. Vocal
Score. 230 pages.
Published by Hal Leonard.
$75.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Gabriel Faure: Requiem
Chorale SATB SATB, Piano [Conducteur] - Avancé Schirmer
(SATB). By Gabriel Faure (1845-1924). Arranged by Bruce Howden and B Howden. For...(+)
(SATB). By Gabriel Faure
(1845-1924). Arranged by
Bruce Howden and B
Howden. For SATB choir,
soprano voice solo,
baritone voice solo and
piano accompaniment
(SATB). Choral Large
Works. Classical Period.
Difficulty: difficult.
Conductor's score. Vocal
score, piano reduction
and lyrics. 76 pages. G.
Schirmer #ED2243.
Published by G. Schirmer
(3)$8.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Die Kurrende, Bd. 2 Chorale [Partition] Carus Verlag
By Various. Edited by Trubel, Gerhard. Hymn settings, Mass Sections, Psalms, Ger...(+)
By Various. Edited by
Trubel, Gerhard. Hymn
settings, Mass Sections,
Psalms, German; Choral
Collections, Mixed Choir,
Music for Casuals;
Occasions: Eucharist,
Communion, Peace and
Justice, Prayer, Wedding,
Confirmation, Praise and
thanks, Morning, Midday,
Evening, Psalms, Baptism,
Mourning, Death, Our
Father; Use during church
year: Advent
$26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340). ISBN
9788480207591. Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor. $42.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Venti Pezzi per Pianoforte Piano seul [Conducteur] Suvini Zerboni
Piano SKU: BT.ESZ-01494800 Composed by Sandor Veress. Score Only. Edizion...(+)
Piano SKU:
BT.ESZ-01494800
Composed by Sandor
Veress. Score Only.
Edizioni Suvini Zerboni
#ESZ 01494800. Published
by Edizioni Suvini
Zerboni
(BT.ESZ-01494800).
With his Venti
pezzi per pianoforte
(1938), the Hungarian
composer Sándor Veress
(1907-92) wanted to
create a collection of
piano miniatures on folk
melodies destined for use
in the concert hall as
well as for teaching
purposes. Each piece is
based on one or more
songs and dances from
different Hungarian
speaking areas, which are
re-elaborated and
presented in a carefully
conceived alternation of
character, musical
writing and technical
difficulty. The result is
a multi-colored overview
of Hungarian folk music:
songs of a pathetic or
even dramatic nature are
contrasted with lighter
and high-spirited pieces,
interspersed with dances
of varying types, among
which a homogeneousblock
stands out formed by the
group of Csárdás, a
typical tavern dance also
used by Liszt. The Venti
pezzi per pianoforte
represent the culmination
of the extensive
ethnomusicological
research made by Veress
in the ’30s and
‘40s, while working
as assistant to
László Lajtha and
to Béla Bartók, and
at the same time carrying
out field work in Hungary
and neighboring
countries. The composer
intended that this
collection should play a
fundamental role of
mediation between
folklore and western
“art†music,
by revitalizing the
language from within,
without resorting to the
abstractions of the
experimentation being
developed in Europe at
the time. During his
lifetime Veress never
succeeded in publishing
the complete version of
the Venti pezzi per
pianoforte, but issued
various selections of the
pieces, two of which
remained totally
unpublished. The present
critical edition prepared
by Giada Viviani
reconstructs the complete
text of the Venti pezzi
per pianoforte on the
basis of manuscript
sources kept at the Paul
Sacher Foundation in
Basel: the musical
scores, with fingering by
Jakub Tchorzewski, are
accompanied by an
introductory essay on the
context in which the
collection was created,
including a description
of the state of the
sources and a detailed
apparatus criticus of the
textual variants.
Con i suoi Venti
pezzi per pianoforte
(1938), il compositore
ungherese Sándor
Veress (1907-92) ha
voluto creare una
raccolta di miniature
pianistiche su melodie
popolari destinate sia a
un uso concertistico, sia
all’attivit
didattica. In ogni
branovengono rielaborati
uno o più canti e
danze provenienti da
diverse aree geografiche
di lingua ungherese, che
si susseguono in base a
una sapiente alternanza
di carattere, scrittura
musicale, difficolt
esecutiva. Viene così
offerta una
variegatapanoramica della
musica popolare di questa
nazionalit : a canti di
contenuto patetico o
addirittura drammatico se
ne affiancano di più
leggeri e giocosi,
avvicendandosi a danze di
natura differente, tra
cui spicca come un blocco
omogeneo il gruppodelle
Csárdás, tipica
danza da locanda
utilizzata anche da
Liszt.I Venti pezzi per
pianoforte rappresentano
il coronamento della
ricca attivit
etnomusicologica condotta
da Veress tra gli anni
’30 e ‘40,
sia lavorando come
assistente di
László Lajtha e di
Béla Bartók, sia
svolgendo ricerca sul
campo in Ungheria enei
paesi limitrofi. Per il
compositore, questa
raccolta doveva svolgere
un fondamentale ruolo di
mediazione tra il
folklore e la musica
“coltaâ€
occidentale, in maniera
da rivitalizzarne il
linguaggio
dall’interno,
senza gli astrattismi
dellesperimentazioni
allora condotte in
Europa.Nel corso della
sua vita Veress non
riuscì mai a
pubblicare la versione
integrale dei Venti pezzi
per pianoforte, mentre ne
fece uscire sul mercato
alcune selezioni,
lasciando del tutto
inediti due brani. La
presente edizione critica
a cura di GiadaViviani
ricostruisce il testo
completo dei Venti pezzi
per pianoforte in base
alle fonti manoscritte
conservate presso la
Fondazione Paul Sacher di
Basilea: gli spartiti
musicali, corredati dalla
diteggiatura di Jakub
Tchorzewski, sono
accompagnatida un saggio
introduttivo sul contesto
di creazione della
raccolta, dalla
descrizione dello stato
delle fonti e da un
dettagliato apparato
critico delle varianti
testuali. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Oraciones para Cada Día GIA Publications
SKU: GI.G-9068 Composed by Taize Community. Taize Community. Sacred. 224 ...(+)
SKU: GI.G-9068
Composed by Taize
Community. Taize
Community. Sacred. 224
pages. GIA Publications
#9068. Published by GIA
Publications (GI.G-9068).
ISBN 9781622771653.
Spanish. Cada uno
de estos servicios de
oración para las
diferentes épocas del
año contiene un salmo,
una selección de
lecturas bÃblicas,
intercesiones y una
selección de oraciones
finales. Una
introducción detallada
da sugerencias
prácticas para
preparar un tiempo de
oración. For the first
time, the beloved
Taizé book Prayer for
Each Day is available in
Spanish. Each of these
prayer services for the
different times of the
year contain a psalm, a
choice of Bible readings,
intercessions, and a
choice of closing
prayers. A detailed
introduction gives
practical suggestions for
preparing a time of
prayer. Contents:
Prólogo,
Introducción, Esquema
de una oración,
Preparar un lugar
acogedor, para una
oración meditativa,
Los iconos, La oración
en torno a la cruz, y la
fiesta de la
Resurrección, Los
cantos meditativos, La
oración personal,
Tiempo Ordinario, Tiempo
de Adviento, Tiempo de
Navidad, Tiempo de
Cuaresma y Semana Santa,
Tiempo de Pascua y de
Pentecostés, Ãndice
de salmos, Ãndice de
lecturas bÃblicas,
Otras publicaciones. $15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Aprende a leer musica GIA Publications
SKU: GI.G-012290 Composed by Jennifer Kerr Breedlove Budziak. Sacred. GIA...(+)
SKU: GI.G-012290
Composed by Jennifer Kerr
Breedlove Budziak.
Sacred. GIA Publications
#012290. Published by GIA
Publications
(GI.G-012290). UPC:
641151172903. El
contenido de este lobro
es una excelente
introducción para
aprender lo básico
para leer música,
diseñado para adultos
con minima o nula
habilidad de lectura de
música que quieren
aprender o mejorar esta
habilidad en su trabajo
parroquial en la pastoral
de música. Cada una de
las ocho lecciones tiene
una duración adecuada,
con varios ejercicios y
ejemplos para ayudar a
los estudiantes a usar
sus habilidades. En el
apéndice hay una hoja
con el teclado para que
el estudiante pueda
visualizar el orden de
las notas musicales. This
book is an excellent
introduction to the
basics of reading and
sight-singing music,
designed for adult
learners with minimal or
no music-reading ability
who want to acquire or
improve their skills for
parish music ministry.
Each of the eight lessons
is of manageable size,
with plenty of exercises
and examples to assist
new music readers in
using their skills.
There's even a printed
keyboard in the appendix
that can be used by new
sight-singers to review
concepts independently,
outside of rehearsal,
with greater
confidence. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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