| Classics for Two (12 Masterwork Duets from the Renaissance through the Romantic Era) Voix duo [Partition + CD] Alfred Publishing
Edited by Patrick M. Liebergen. For Voice. Vocal Collection. For Two Series. Mas...(+)
Edited by Patrick M.
Liebergen. For Voice.
Vocal Collection. For Two
Series. Masterwork;
Sacred; Secular. Book and
CD. 96 pages. Published
by Alfred Publishing.
$27.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Don 1 Piano, 4 mains [Conducteur] Peters
By Milton Babbitt. For piano, 4 hands. This edition: Photoprint Edition. Photopr...(+)
By Milton Babbitt. For
piano, 4 hands. This
edition: Photoprint
Edition. Photoprint
editions are made to
order. Printed on high
quality paper and cover
stock, they are made on a
Canon digital printer
from clean digital
masters. Most of the
photoprint editions are
saddle stitched, but
larger books have wire
spiral binding. Duration
ca.5'. Published by C.F.
Peters.
$56.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Manifold Music Orgue Peters
By Milton Babbitt. For Organ. This edition: Photoprint Edition. Photoprint editi...(+)
By Milton Babbitt. For
Organ. This edition:
Photoprint Edition.
Photoprint editions are
made to order. Printed on
high quality paper and
cover stock, they are
made on a Canon digital
printer from clean
digital masters. Most of
the photoprint editions
are saddle stitched, but
larger books have wire
spiral binding. Duration
ca.8'. Published by C.F.
Peters.
$22.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| If Ye Love Me Chorale SATB SATB A Cappella - Intermédiaire MorningStar Music Publishers
SATB choir a cappella - Intermediate SKU: MN.50-1235 Composed by Ryan J. ...(+)
SATB choir a cappella -
Intermediate SKU:
MN.50-1235 Composed
by Ryan J. Tibbetts.
Instrumental part.
MorningStar Music
Publishers #50-1235.
Published by MorningStar
Music Publishers
(MN.50-1235). UPC:
688670512353. English.
John 14:15-17. An
a cappella
setting of John 14:15-17.
The piece begins with a
canonic statement of the
text from each voice
part. The piece features
a combination of strophic
chords interspersed with
the reappearance of the
canonic motif. $2.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Shine Perishing Republic Voix Soprano, Piano [Conducteur] Edition HH
Soprano voice & piano SKU: HH.HH583-FSC Composed by Timothy Raymond. Full...(+)
Soprano voice & piano
SKU: HH.HH583-FSC
Composed by Timothy
Raymond. Full score.
Edition HH Music
Publishers #HH583-FSC.
Published by Edition HH
Music Publishers
(HH.HH583-FSC). ISBN
9790708185987. â
˜Shine Perishing
Republic’ is
perhaps the most
anthologized of all the
works by American poet
Robinson Jeffers
(1887–1962). Its
Whitmanesque tone and
rhetoric are here
reflected in a
sonata-like first
movement form. Influenced
by the paintings of
Jackson Pollock, the
composer wished to
saturate his musical
canvas with explosive,
emotive events.
‘Evening
Ebb’ is a nature
scene. Musical metaphors
– symmetrical
chords, inversion
structures and canons
– are used to to
suggest the qualities of
sea and reflected sky
described so beautifully
in the poem.
Paradoxically, in spite
of these musical
conceits, the music
floats
impressionistically, for
the most part in stasis,
only developing in a
clear direction towards
the end. $23.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Advanced Level Duos / Duos für Fortgeschrittene [Conducteur et Parties séparées] EMB (Editio Musica Budapest)
Mixed Chamber Duo SKU: BT.EMBZ14862 Kammermusikserie mit variabler Bes...(+)
Mixed Chamber Duo SKU:
BT.EMBZ14862
Kammermusikserie mit
variabler Besetzung.
By László
Zempléni. EMB Ad
Libitum. Educational
Tool. Set (Score &
Parts). Composed 2014. 76
pages. Editio Musica
Budapest #EMBZ14862.
Published by Editio
Musica Budapest
(BT.EMBZ14862).
The volume of
duos for advanced players
contains pieces or parts
of compositions which are
longer and more difficult
than in the previous
volume. They are often to
be played in high
positions and sometimes
involve several
movements. They include
such special compositions
as The Swallow by
Louis-Claude Daquin,
Romance & Rondo by
Jacques Féréol
Mazas and two canons by
Max Reger. This
publication is printed on
high quality, durable
paper made from renewable
raw materials in an
environmentally friendly
way.
The volumes
in this new series
contain duos, trios and
quartets, their degree of
difficulty ranging from
easy through intermediate
to advanced. Every piece
is a transcription or an
arrangement, since in
editing the volumes our
primary concern was
toprovide a collection of
valuable and interesting
compositions, as freely
variable as possible as
regards instrumentation,
for music school students
and also for adults who
make music for their own
pleasure. The range and
pitch of the parts enable
theworks to be performed
on any required or
possible combination of
the given instruments.The
volume of duos for
advanced players contains
pieces or parts of
compositions which are
longer and more difficult
than in the previous
volume. They are often to
be played in high
positions and sometimes
involve several
movements. They include
suchspecial compositions
as The Swallow by
Louis-Claude Daquin,
Romance & Rondo by
Jacques Féréol
Mazas and two canons by
Max Reger.
Die
Bände der neuen Serie
beinhalten leichte,
mittelschwere oder
fortgeschrittene Duos,
Trios und Quartette.
Bei der
Zusammenstellung lag das
Hauptaugenmerk auf der
höchstmöglichen
Freiheit in der
Kombinierbarkeit der
Instrumente sowie darauf,
dass die Kompositionen
für Musikschuler und
Hobbymusiker musikalisch
interessant und wertvoll
sind. Aus diesemGrund
handelt es sich bei allen
Stücken um
Transkriptionen. Lage und
Tonumfang der Stimmen
sind so gesetzt, dass
sich die Werke allen
denkbaren Umständen
und Anspruchen anpassen
und entsprechend in jeder
Kombination der
angegebenen
Musikinstrumentevorgetrag
en werden
können. Instrumente:
1a: Violine /
Querflöte / Oboe /
Vibraphon /
Klarinette 1b: Viola
/ Altsaxophon 2a:
Violine / Vibraphon /
Marimba / Viola /
Klarinette 2b:
Violoncello /
Fagott
I volumi
della serie Ad
Libitum propongono
trascrizioni o
arangiamenti di opere per
trio e quartetto di
livello facile,
intermedio e avanzato.
L´estensione e il
registro delle parti
permettono a questi brani
di adattarsi a tutte le
esigenze edi essere
eseguiti da ogni
combinazione di
strumenti. Strumentazio
ne: Duos : I:
Violino/Viola/Flauto/Oboe
/Clar. Si/Sax
contralto/Sax
tenore/Vibra • II:
Violino/Viola/Clar. Si
/Vibr/Marimba/Violoncello
/fagotto. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Complete Organ Works II: Original Compositions 2 Orgue [Partition] Barenreiter
By Wilhelm Middelschulte. Edited by Hans-Dieter Meyer, Jurgen Sonnentheil. For O...(+)
By Wilhelm Middelschulte.
Edited by Hans-Dieter
Meyer, Jurgen
Sonnentheil. For Organ.
This edition: Urtext
Edition; Paperbound.
Collection. 105 pages.
Published by Baerenreiter
Verlag (German import).
$58.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| There is no rose Oxford University Press
Solo baritone voice & ATBB choir unaccompanied SKU: OU.9780193866645 Comp...(+)
Solo baritone voice &
ATBB choir unaccompanied
SKU:
OU.9780193866645
Composed by Rebecca
Clarke. Vocal score. 12
pages. Duration 3'.
Oxford University Press
#9780193866645. Published
by Oxford University
Press (OU.9780193866645).
ISBN 9780193866645. 10
x 7 inches. A
medieval English carol
for solo baritone and
unaccompanied ATBarB The
setting is full of gentle
hemiola and canonic
effects, and makes much
use of parallel sixths
and thirds. $3.65 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Alone Together / Just Me Piano seul Advance Music
Piano SKU: AP.1-ADV9003 Solo Jazz Improvisations (for Piano). Comp...(+)
Piano SKU:
AP.1-ADV9003 Solo
Jazz Improvisations (for
Piano). Composed by
Clare Fischer. Piano
Collection; Piano
Supplemental; Solo; Solo
Small Ensembles. Advance
Music. Form:
Transcription. Jazz.
Book. Advance Music
#01-ADV9003. Published by
Advance Music
(AP.1-ADV9003). UPC:
805095090031. English.
Transcribed by Bill
Dobbins. Transcript
ions of eight of the
tunes Clare improvised on
the solo piano
recordings, Alone
Together and Just Me.
Titles:
Yesterdays * Du, Du,
liegst mir im Herzen *
Excerpt from Canonic
Passacaglia * Everything
Happens To Me * 'Round
Midnight * (I Would Do)
Anything for You *
Liebesleid (Love's
Sorrow) * Ill Wind *
Pensativa (Pensive
Woman). $25.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Selected Duets Book 2 [Conducteur et Parties séparées] Forton Music
2Fl. pft - Intermediate-Advanced SKU: FT.FM578 Composed by Various. Arran...(+)
2Fl. pft -
Intermediate-Advanced
SKU: FT.FM578
Composed by Various.
Arranged by Robert
Rainford. Two Flutes and
Piano. Score and parts.
Forton Music #FM578.
Published by Forton Music
(FT.FM578). ISBN
9790570484775. Bois
mortier - Premier Balet
de Village - Joseph
Boismortier (1689-1755)
was unusual for his time
in that he had no patron,
and worked independantly.
Much of his music is for
the flute, with his Six
Sonatas Op. 91 being most
performed now. This is
the first of four
'Balets', published in
1734. In two sections,
the first in simple time
and the second in
compound time. Elegant
and carefree music. Haydn
- Piano Trio in G minor
Hob.XV:19 - 2nd movement
- This tiny movement
crams in much of Haydn's
creative style. Cheeky
chromaticism, canonic
entries, elegantly
balanced phrases and good
humour prevail, with a
virtuosic section for the
first flute in the
middle. Delibes - Les
Trois Oiseaux - A French
composer known mostly for
vocal works, this piece
was originally a song for
two sopranos and piano.
The rippling semiquavers
suggest the fluttering
wings of the birds in the
title. Phillipe Gaubert -
Divertissement Grec -
Originally for two flutes
and harp, this sways
seductively ebbing and
flowing like the waves on
a Mediterranean beach.
Josef Suk –
Bagatela - Joseph Suk was
a Czech composer and
violinist. He studied
under Dvorak, whose
daughter he married. His
only composition in
regular performance now
is his Serenade for
Strings Op. 6, but he
wrote a large amount of
music in all genres. This
is a charmingly relaxed
piece, displaying some of
his Czech influences. $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| God Is Seen Chorale SATB SATB, Piano - Facile GIA Publications
SATB choir, piano reduction - Early intermediate SKU: GI.G-8478 Arranged ...(+)
SATB choir, piano
reduction - Early
intermediate SKU:
GI.G-8478 Arranged by
Peter van den Honert.
Easter 3 A. Choral. Tune
Name: Captain Kidd.
Sacred. Octavo. 8 pages.
GIA Publications #8478.
Published by GIA
Publications (GI.G-8478).
UPC: 785147847809.
English. Text Source:
attr. Daniel
Hibard. The
arrangement of this
American folk
tune—which has had
such disparate pairings
as “What Wondrous
Love Is This†and
texts dealing with
politics—is
beautifully handled here
by van den Honert.
Starting with sopranos
only, the other voices
are gradually mixed in as
the piece progresses.
Once everyone is in, a
mostly canonic verse is
followed by a full-bodied
section that ebbs away
until the piece ends
almost as it began, with
sopranos on the melody
above a simple hum in the
other voices. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pianoforte Junior - Vol. 3 (Nuova edizione) Piano seul Volonte and Co
Piano SKU: BT.VOLMB420 Composed by Franco Concina. Book Only. 44 pages. V...(+)
Piano SKU:
BT.VOLMB420 Composed
by Franco Concina. Book
Only. 44 pages. Volonte e
Co #VOLMB420. Published
by Volonte e Co
(BT.VOLMB420). ISBN
9788863884142.
Italian. Nella
serie Pianoforte Junior,
curata da Franco Concina,
e dedicata ai giovani
pianisti. $17.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Etudes with Technique, Book 2 Piano seul [Partition] FJH
By Helen Marlais with Suzanne Torkelson. For piano. Succeeding with the Masters!...(+)
By Helen Marlais with
Suzanne Torkelson. For
piano. Succeeding with
the Masters! / Festival
Collection.
Instructional. Late
Elementary. Book
$8.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classiques Du Chant Choral N 2 Chorale SATB SATB A Cappella A Coeur Joie
Composed by Henry Purcell (1659-1695). Collection. Secular. Choir part. 80 pages...(+)
Composed by Henry Purcell
(1659-1695). Collection.
Secular. Choir part. 80
pages. Published by
Editions a Coeur Joie
(CJ.A135300802).
$21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| 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 | | |
1 ... 241 271 301 |