| Without Form and Void Chorale SATB SATB, Piano Theodore Presser Co.
Choral SATB choir, piano SKU: PR.362034230 A Prologue to THE CREATION ...(+)
Choral SATB choir, piano
SKU: PR.362034230
A Prologue to THE
CREATION by Franz Joseph
Haydn. Composed by
Dan Welcher. Sws.
Premiered at the
Northwest Hills United
Methodist Church, Austin,
TX. Choral. Performance
Score. With Standard
notation. Composed July 5
2014. 16 pages. Duration
5:15. Theodore Presser
Company #362-03423.
Published by Theodore
Presser Company
(PR.362034230). ISBN
9781598069556. UPC:
680160624225. Letter
inches.
English. When the
Texas Choral Consort
asked Welcher to write a
short prologue to Haydn's
The Creation, his first
reaction was that Haydn
already presents Chaos in
his introductory
movement. As he thought
about it, Welcher began
envisioning a truer void
to precede Haydn's
depiction of Chaos within
the scope of 18th-century
classical style - quoting
some of Haydn's themes
and showing human voices
and inhuman sounds in a
kind of pre-creation
melange of color, mood,
and atmosphere. Welcher
accepted this challenge
with the proviso that his
prologue would lead
directly into Haydn's
masterpiece without
stopping, and certainly
without applause in
between. Scored for mixed
chorus and Haydn's
instrumentation, Without
Form and Void is a
dramatically fresh yet
pragmatic enhancement to
deepen any performance of
Haydn's The Creation.
Orchestral score and
parts are available on
rental. When Brent
Baldwin asked me to
consider writing a short
prologue to THE CREATION,
my first response was
“Why?â€Â
THE CREATION already
contains a prologue;
it’s called
“Representation of
Chaosâ€, and
it’s
Haydn’s way of
showing the formless
universe. How could a
new piece do anything but
get in the way? But
the more I thought about
it, the more it made
sense. The Age of
Enlightenment’s
idea of
“Chaos†was
just extended
chromaticism, no more
than Bach used (in fact,
Bach went
further).Perhaps there
might be a way to use the
full resources of the
modern orchestra (or at
least, a Haydn-sized
orchestra) and the modern
chorus to really present
a cosmic soup of unborn
musical atoms, just
waiting for
Haydn’s sure touch
to animate them.Â
Perhaps it could even
quote some of
Haydn’s themes
before he knew them
himself, and also show
human voices and inhuman
sounds in a kind of
pre-creation mélange
of color, mood, and
atmosphere. So I
accepted the challenge,
with the proviso that my
new piece not be treated
as some kind of
“overtureâ€,
but would instead be
allowed to lead directly
into Haydn’s
masterpiece without
stopping, and certainly
without applause. I
crafted this five minute
piece to begin with a
kind of “music of
the spheresâ€
universe-hum, created by
tuned wine glasses and
violin harmonics. The
chorus enters very soon
after, with the opening
words of Genesis
whispered simultaneously
in as many languages as
can be found in a
chorus. The first two
minutes of my work are
all about unborn human
voices and unfocused
planetary sounds,
gradually becoming more
and more
“coherentâ€
until we finally hear
actual pitches, melodies,
and words. Three of
Haydn’s melodies
will be heard, to be
specific, but not in the
way he will present them
an hour from now.Â
It’s almost as if
we are listening inside
the womb of the universe,
looking for a faint
heartbeat of worlds,
animals, and people to
come. At the end of
the piece, the chorus
finally finds its voice
with a single word:
“God!â€,Â
and the orchestra finally
finds its own pulse as
well. The unstoppable
desire for birth must now
be answered, and it
is----by Haydn’s
marvelous oratorio. I
am not a religious man in
any traditional
sense. Neither was
Haydn, nor Mozart, nor
Beethoven. But all of
them, as well as I, share
in what is now called a
humanistic view of how
things came to be, how
life in its many forms
developed on this planet,
and how Man became the
recorder of history.Â
The gospel according to
John begins with a parody
of Genesis: “In
the beginning was the
Word, and the Word was
with God, and the Word
was God.â€Â  I
love that phrase, and
it’s in that
spirit that I offer my
humble
“opener†to
the finest work of one of
the greatest composers
Western music has ever
known. My piece is
not supposed to sound
like Haydn.Â
It’s supposed to
sound like a giant
palette, on which a
composer in 1798 might
find more outrageous
colors than his era would
permit…but which, I
hope, he would have been
delighted to hear. $3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| monstrueuse vecut dans le cadre Carus Verlag
Orchestra Viola solo, large ensemble in 6 groups: 1) Contrabass clarinet/Bass Cl...(+)
Orchestra Viola solo,
large ensemble in 6
groups: 1) Contrabass
clarinet/Bass Clarinet;
2) 2 Horns; 3) English
Horn, Bassoon,
Bassoon/Contrabassoon; 4)
Oboe/English Horn,
Violin, Cello,
Contrabass; 5) 2
Trumpets, 2 Trombones,
Tuba; 6) Clarinet/Bass
Clarinet, Harp, SKU:
CA.1632607 La
memoire, fur viola solo
and und big ensemble.
Composed by Walter
Feldmann. (r)MONSTRUEUSE
VECUT DANS LE CADRE-.
Study score. Composed
2002-2004. 74 pages.
Duration 23 minutes.
Carus Verlag #CV
16.326/07. Published by
Carus Verlag
(CA.1632607). ISBN
9790007108120. Language:
all
languages. Commissi
oned by the Ensemble
Intercontemporain In 1989
I first discovered the
writings of Anne-Marie
Albiach. H II lineaires
especially impressed me,
on the one hand through
the sensual presence of
the words, and on the
other hand, above all,
through the spatial
disposition of the
typography. This is a
form of writing which has
nothing to do with all
that has existed before
it. This impression was
the starting point for a
creative work which has
since become a kind of a
project to which I will
dedicate myself
throughout my life. Since
that time of my first
discovery (in which
hundreds of pages of
sketches and a published
excerpt of a score of a
syntagma have been
composed, namely <<
monstrueuse vecut dans le
cadre >> la memoire) I
have attempted to develop
a new musical system that
encompasses all the
parameters of
composition. All of these
works which I have
composed are independent
from this enormous
project, but at the same
time they form the
experimental laboratory
for the all-encompassing
musical system towards
which I am working and
developing: a new system
of determining pitches,
metre, dynamics, musical
diction, manner of
performance, etc. With <<
monstrueuse vecut dans le
cadre >> la memoire it
appears that the research
for this project has been
concluded. After the two
large cycles << Les
Georgiques >> on texts
from Claude Simon and <<
Tristram Shandy >> from
Laurence Sterne, both
employing techniques from
my work with Albiach's
texts, I could finally
compose this work, which
was originally conceived
for voice and 6
instrumental groups - the
system was mastered, so
to speak. Anne-Marie
Albiach's establishes the
genetic code for the
piece, without the words
having to be spoken.. Her
text is, in the true
sense of the word,
measured from one
syntagma (syntactical
element), from one void
(space) to another, and
this results in temporal
structures of ensemble
texture. This is opposed
to another texture, which
is the temporal
measurement of a
recitation of the text by
the author: her voice,
using the range of her
voice, is the viola solo
- a recitation, in its
unique individuality, on
which the cold,
typographical structure
of the ensemble
superimposed. Every time
I read a text of
Anne-Marie Albiach, it
seems to me that she is
saying that which I do.
An extremely rare
coincidence, like that
with the violist Odile
Auboin, the soloist, who
I think works in the same
manner and has the same
approach to things. Score
available separately -
see item CA.1632600. $71.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Peter Maxwell Davies: Caroline Mathilde Act 2 (Concert Suite) (Score) [Conducteur] Chester
High Voice and Orchestra SKU: HL.14020965 Composed by Sir Peter Maxwell D...(+)
High Voice and Orchestra
SKU: HL.14020965
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Score. Composed
1999. 92 pages. Chester
Music #CH60950. Published
by Chester Music
(HL.14020965). ISBN
9780711936959. The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. This
suite begins with the
act's opening number: a
boisterous, stamping
dance to which the people
rudely mock Queen
Caroline Mathilde and her
lover Struensee. After
this comes a dark Adagio,
The Conspiracy, in which
the theme passes like
persuasion from mouth to
mouth, its variations
suggesting the different
attitudes of the
conspirators, firmly
controlled by the
brass-driven gestures of
the Queen Dowager. The
conspiracy then works
itself out at a court
masked ball, from which
the suite includes two
dances: a gavotte, and a
slow, lubricious
passacaglia that is a pas
de deux for Caroline
Mathilde and Struensee.
The Arrest comes with a
gathering rush of music
that envelops the King,
the Queen and Struensee,
leading to a vociferous
climax in which they are
held apart. In The
Execution, slow white
music for wordless female
voices, harp and low
strings is interrupted by
pathetic, alienated
outbursts from the King.
The suite ends, as does
the ballet, with a quiet
adagio lament for
clarinets and alto flute
as the Queen goes into
exile. Score. Duration c.
33mins. $37.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 1-2-3 Jazz DVD Guitare [DVD] EMedia
1-2-3 Jazz, Frank Vignola presents an intuitive approach for learning how to pla...(+)
1-2-3 Jazz, Frank Vignola
presents an intuitive
approach for learning how
to play jazz guitar
without a trace of
theory, no tedious
exercises and no long
drawn out hyperbole about
modes, altered chords and
similar rocket science.
DVD. Published by eMedia
Music (EI.TF06141).
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Glee Songbook: Easy Piano Piano seul Amsco Wise Publications
Piano SKU: BT.MUSAM1000868 By Jenni Wheeler. By Glee Cast. TV-Film-Musica...(+)
Piano SKU:
BT.MUSAM1000868 By
Jenni Wheeler. By Glee
Cast.
TV-Film-Musical-Show.
Book Only. Wise
Publications
#MUSAM1000868. Published
by Wise Publications
(BT.MUSAM1000868).
ISBN
9781849385893. This
great songbook features a
selection of the best
music from Season 1 of
the hit show
Glee.
Re-live all the great
moments as a group of
ragtag performers is
transformed into a Show
Choir
Nationalscompetingteam. Features
time-proven classics as
well as modern hits,
including the Bill
Withers soul classic,
Lean On Me,
My Life Would Suck
Without You by Kelly
Clarkson, Cyndi Lauper's
hit,
TrueColoursand
the hit single, Don't
Stop Believin',
originally by
Journey. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Variations on "America" Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.110418370 Composed by Charles Ives. Arranged ...(+)
Chamber Music Piano
SKU: PR.110418370
Composed by Charles Ives.
Arranged by Danny Holt.
Performance Score. 20
pages. Duration 8
minutes. Theodore Presser
Company #110-41837.
Published by Theodore
Presser Company
(PR.110418370). ISBN
9781491135075. UPC:
680160686247. Compo
sed as an organ solo by
the 17-year-old Ives for
his own performance
purposes, the beloved
Variations on America is
a treat for any occasion,
whether a holiday
concert, a serious
recital, or other special
event. Danny
Holt’s
transcription for Piano,
Four Hands adds a
dazzling new option to
play at home or on stage,
taking best advantage of
Ives’ tremendous
contrasts in color,
dynamics, and
texture. Composed when
Charles Ives was a
teenager, Variations on
“America†is
both a convenient
introduction to
Ives’ body of
work, and an early
example of his
iconoclastic musical
voice and creative
genius. Just a few years
after composing this
piece, Ives would leave
home to study music at
Yale. But until then he
had been taught by his
father, George (who had
been a bandmaster in the
Civil War). George
subjected the young Ives
to experiments such as
singing a song in one key
while being accompanied
in another, or arranging
for two marching bands to
converge on a town
center, with the
resulting cacophony that
ensued.The Variations
exemplifies an early
period of experimentation
in Ives’ work,
spurred on by the unusual
pedagogy of his father.
The piece is particularly
notable for its use of
bitonality in the two
interludes, subtly
foreshadowing more
well-known examples by
Stravinsky, Bartók,
and others by
approximately two
decades.The bitonal
interludes were so ahead
of their time, in fact,
they were omitted from
the first copy that was
submitted to a publisher
in 1892. (Alas, the piece
was rejected even despite
these
“shockingâ€
elements having been left
out, and it wasn’t
published until more than
five decades later.)
There is some ambiguity
about when exactly Ives
added the interludes into
his manuscript copy,
though ample evidence
suggests he had performed
the piece with the
interludes around the
time he notated the piece
in 1891-92. In any case,
in light of this piece
and his other polytonal
explorations from the
last decade of the 19th
century, it seems fair to
give Ives credit for
being a pioneer in this
area!This arrangement for
Piano, Four Hands,
closely follows
Ives’ original
version for organ,
setting aside William
Schuman’s popular
adaptation for symphony
orchestra and William
Rhoads’ band
transcription of the
Schuman orchestration.
Pianists will find that
the piece translates well
to the instrument.
Ideally, the choreography
and logistics of
elbow-to-elbow four-hands
playing approximates the
wild joy one gets from
watching an organist play
the piece (e.g., the
elaborate pedal part in
the final variation).In
preparing this
publication, attention
was paid to details in
the dual Critical
Editions (Presser
443-41003) of both
Ives’ manuscript
edition and the 1949
publication edited by
organist E. Power Biggs
(who is credited with
discovering what had been
a long-lost, forgotten
work.) But as with much
of Ives’ output,
attempting to create a
true
‘urtext’
score is a futile
endeavor, and especially
with a piece such as this
one – in which
Ives incorporated
improvisation in live
performance –
seems unnecessary anyhow.
True die-hards are of
course encouraged to
consult the critical
editions and even find
inspiration in the
orchestrated version.
Generally, performers are
advised to be wild, have
fun, and not to be too
rigid in their
interpretive
choices.Dynamics in this
arrangement mostly follow
the organ score closely.
Pianists will use good
judgment about pedaling
throughout, which should
be straightforward and
intuitive. Courtesy
accidentals have been
provided frequently
– without
parentheses –
balancing the need for
extra clarity in the
context of Ives’
murky musical language,
and a desire to avoid
unnecessary clutter.A few
notes that might inform
interpretive
decisions:mm. 15-16:
There are inconsistencies
here between Ives’
original manuscript and
the 1949 Biggs edition,
regarding the top voice
in m. 15, beat 3 (C# vs.
Cn) and m. 16 (D Major
vs. D Minor).mm. 76-84 &
143-146: In both
Interludes, Ives
emphatically notates
extreme dynamic contrast,
in order to highlight the
bitonality. Although it
may seem counterintuitive
(or even a misprint, as
has apparently been
misconstrued by some),
performers are urged to
follow the
composer’s
marking!m. 109: Two-note
slurs have been added
here for clarity and
consistency with other
similar passages, though
they do not appear in
either the original
manuscript or Biggs.m.
112: The last two eighth
notes of Primo appear as
16ths in the original
manuscript.mm. 183-186:
The original manuscript
has a slightly different
bass line.mm. 184 & 186:
Primo gestures have been
re-written to be slightly
more idiomatic for Piano,
Four Hands.m. 186: The
breath mark at the end of
this bar does not appear
in either the manuscript
or Biggs, but is an
editorial suggestion
– aside from being
appropriately dramatic,
it will indeed be
necessary in a
reverberant hall!I would
like to thank Steven
Vanhauwaert, the other
half of my piano duo,
4handsLA, for his input
on early drafts of this
arrangement.—
Danny Holt, April
2022. $24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peter Maxwell Davies: Caroline Mathilde Act I (Concert Suite) (Miniature Score) Orchestre Chester
Orchestra (Score) SKU: HL.14008392 Caroline Mathilde Act I (Concert Su...(+)
Orchestra (Score) SKU:
HL.14008392
Caroline Mathilde Act
I (Concert Suite).
Composed by Sir Peter
Maxwell Davies. Music
Sales America. 20th
Century. Book
[Softcover]. Composed
1999. 74 pages. Chester
Music #CH60949. Published
by Chester Music
(HL.14008392). ISBN
9780711936942. The
story centres on the
English princess Caroline
Mathilde (1751-1775),
sister of George III, who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children. In
keeping with the period,
and perhaps also with the
traditions of Romantic
ballet, the music is
relatively simple in
harmony and form, and
most of the action is
conveyed in set-piece
dances. The suite, which
consists essentially of
the second half of Act I,
begins with one of these,
a bristling interplay of
wind and string ensembles
in D major, portraying in
the ballet a curious
nuptial game with the
king and princess on
movable pedestals. The
slow music that follows
has to do with the king's
healing by Dr. Struensee
and the new queen's
unquiet reverie (oboe and
cor anglais solos). Then
the suite, like the act,
is capped by a pair of
pas-de-deux, the first
savage and bizarre for
the royal couple, the
second rich and
passionate for the queen
and the miracle-working
doctor. Score
(miniature). Duration c.
25mins. $43.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Duo Flûte traversière et Piano Theodore Presser Co.
Chamber Music flute, piano SKU: PR.114422710 Composed by Charles Gibb. Se...(+)
Chamber Music flute,
piano SKU:
PR.114422710 Composed
by Charles Gibb. Set of
Score and Parts. 44+8
pages. Duration 24
minutes. Theodore Presser
Company #114-42271.
Published by Theodore
Presser Company
(PR.114422710). ISBN
9781491136072. UPC:
680160688227. DUOâ
€™s succinct movement
titles (I. Here, II.
Open, III. Stark, IV.
Ardent) tease at
revealing the grand and
heartfelt inspiration for
exuberant romanticism in
this sonata-like work of
symphonic proportions and
depth. Charles Gibb is
both an accomplished
pianist and an
award-winning flutist,
who has written of this
compelling major addition
to the literature:
“This work is a
journey. What journey and
whose journey does not
matter. It is my journey,
it is your journey. It is
the journey of those who
came before us, and of
those who will come after
us. I wrote this hoping
that we can find each
other along the road, so
we can realize that we
don’t need to go
on the journey
alone.â€
Gibb’s DUO is sure
to become a favorite
major work for flute
recitalists. This work
is a journey. What
journey and whose journey
does not matter. It is my
journey, it is your
journey. It is the
journey of those who came
before us, and of those
who will come after us. I
wrote this hoping that we
can find each other along
the road, so we can
realize that we
don’t need to go
on the journey
alone.“Hereâ€
begins with three notes
that shape the rhythmic
and harmonic content of
the entire work. Melodies
and harmonies including
the tonic, dominant, and
leading tone can be found
in each of the four
movements. The first
moments of this movement
introduce the melody,
offering itself
unencumbered and
uninhibited. It shows
itself as it is. The
melodies soar, the
harmonies become voiced
more intricately, and the
opening theme repeats in
full grandeur. The
momentum slows down, and
the movement ends with a
sense of completion, yet
remains unbalanced.A
striking piano gesture
launches
“Open,†the
idea of instability
reflected with the
flowing flute trills and
unclear meter patterns in
the piano. The sensation
of an unsteady grace in
5/8 time arrives with a
piano ostinato. The
melody is expressive, yet
insecure and unbalanced
due to changing meters.
After a grand pause, the
movement transitions to
4/4 time with the flute
switching between duplet
and triplet flourishes.
After a rapid descent in
the flute, the opening
gesture returns, changed
and abruptly
interrupted.The third
movement,
“Stark,†is
very static, beginning
plainly but markedly. The
falling fifth calls out
continually throughout
the movement, searching,
lost. Melodies appear in
pieces, some smooth and
flowing, others rather
disjunct. The piece
climaxes with a line of
mournfulness, yet
revealing a deeper
strength through intense
projection of tone in the
high register. However,
the static harmonies
return, this time
unsteady all the way to
its foundation. This
destabilization repeats,
and then quietly
recedes.“Ardentâ
is the longest of the
movements and spans a
wide range of musical
emotion. Part of the
movement is fast paced,
energetic, and balances
order and disarray.
However, once the chaos
dies down, a gentle,
expressive theme comes
in. The theme itself is
very resolute; it is
order appearing from the
pandemonium. Conflict
returns, and order and
chaos become less
distinguishable from one
another, and soon fuse
together. However, order
returns with new meaning,
synthesized with previous
musical content, creating
a truer, deeper sense of
awareness or
understanding. A moment
of ambiguity arises, but
the flute persists,
supported by the
sensitive but firm
figuration in the piano,
and resoundingly comes to
a close, unburdened and
at ease. $29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Chandos Anthem No. 9 O Praise the Lord With One Consent, HWV 254 [Vocal Score] Serenissima
By George Frideric Handel (1685-1759). Edited by George Frideric Handel. Arrange...(+)
By George Frideric Handel
(1685-1759). Edited by
George Frideric Handel.
Arranged by Karl Pasler.
For Solo voices, Choir /
Keyboard (Chorus and
piano). Baroque;
Sacred/Hymns. Vocal
Score. Text Language:
German, English. Composed
1718. 72 pages. Duration
32 minutes
$9.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Litra Beam Premium Streaming Key Light with Truesoft Hal Leonard
SKU: HL.1141413 Blue Microphones. Lighting. Duration 210 seconds. Hal Leo...(+)
SKU: HL.1141413
Blue Microphones.
Lighting. Duration 210
seconds. Hal Leonard
#946-000006. Published by
Hal Leonard (HL.1141413).
UPC: 097855175052.
7.0x18.0x2.75
inches. Built for
streaming, the Logitech
Litra Beam desktop key
light with TrueSoft
technology makes it easy
to achieve professional
lighting effects. Direct
light where you want it
for a cinematic look.
Easily swap between
lighting techniques to
express different moods.
Whether you're shooting a
YouTube video, streaming
on Twitch or just working
from home, Litra Beam
ensures you always look
your best. Natural Skin
Tones, Radiant Look
Logitech's TrueSoft
technology delivers
balanced full-spectrum
LED light with cinematic
color accuracy for a
natural, radiant look
across all skin tones.
The Ultimate Desktop Fit
Litra Beam is packed with
features that make it
easier than ever t
oachieve professional
lighting effects in any
space. Its slim, elegant
design can snuggle up to
your monitor and fit into
your desktop in ways
other lights can't.
Built-in cable management
in the base keeps your
setup looking sleek. And
three 1/4-20 thread
fittings allow you to
attach Litra Beam to its
desktop stand in multiple
ways to achieve your
desired lighting setup.
Safe for All-Day
Streaming Litra Beam has
cleared even the
strictest testing
guidelines to ensure safe
all-day streaming. So,
whether you're creating a
new video for YouTube of
kicking off a marathon
streaming session, Litra
Beam helps you stay
comfortable and confident
on-camera – all
day long. Fine-Tune Your
Look On Camera Litra Beam
features 5 brightness and
5 color temperature
settings (2700K-6500K) to
dial in the look you
want. Or, you can hold
down the buttons for
continuous, stepless
adjustment. Quick Access
to Your Favorite Settings
Download Logitech's free
G HUB desktop app and
connect via USB or
Bluetooth® to control
brightness and color
temperature, save
presets, turn light
on/off, and more right
from your desktop. And,
if you have a Logitech G
keyboard or mouse, you
can use G-Keys to easily
turn your light on/off,
change brightness and
color temperature, and
more. Logitech TrueSoft
Technology TrueSoft was
designed to solve common
challenges for today's
content creator including
quality of light, harsh
shadows, and eye fatigue
from long hours of
streaming. Litra Beam was
purpose-built for
streaming and uses
TrueSoft technology to
wrap the subject in soft
and diffused, accurate
LED light that is gentle
on the eyes for all-day
professional content
creation. $99.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bugatti-Step Piano seul Praha
| | |
| Three Rhapsodies Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.110418490 Composed by Carter Pann. 16 pages. ...(+)
Chamber Music Piano
SKU: PR.110418490
Composed by Carter Pann.
16 pages. Duration 16
minutes. Theodore Presser
Company #110-41849.
Published by Theodore
Presser Company
(PR.110418490). ISBN
9781491137260. UPC:
680160690022. Carte
r Pann writes, the piece
might have been titled
Three Improvisations, but
there is an expressive
inertia baked in to these
works which makes them
truer as rhapsodies. This
description tells us much
about the work, whose
movements are an
enterprising tango, a
bombastic central
movement with virtuosic
thrust, and a and a hymn
heard from afar without
any sense of marked
time. Three Rhapsodies
was commissioned by the
American Composers Forum
with complete support
from the Thelma E. Hunter
Fund. The premiere
performance took place in
Kilbourn Hall at the
Eastman School of Music
in Rochester, New York by
pianist Marina Lomazov.As
with all of my piano
works, this was very much
an at-the-piano
compositional experience.
As a pianist I cannot
imagine writing a solo
work away from the
instrument (though at
times that would be quite
convenient).The whole
work explores a palette
of impassioned emotions
– sometimes
veiled, sometimes
emboldened, or even
outrageous at times.
There are technical
freedoms in each
movement, allowing the
pianist to stretch their
interpretive inclinations
to great lengths. In this
way the piece might have
been titled Three
Improvisations, but there
is an expressive inertia
baked in to these works
which make them truer as
rhapsodies.The first
movement is a tango with
real wanderlust. The
second reminds me of
Rachmaninoff’s
Polka de W.R. in its
bombast, but also
Chopin’s sixteenth
prelude with its sheer
virtuosic thrust. The
third is a hymn heard
from afar with no
rhythmic drive, only
sheened sonority. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Master, we know now, you are a trueful man (Meister, wir wissen, dass du wahrhaftig bist) Carus Verlag
SSATB Favorit-Chor (Antiphonal/Chamber Choir), 2 Violins, Bassoon, Contrabass, O...(+)
SSATB Favorit-Chor
(Antiphonal/Chamber
Choir), 2 Violins,
Bassoon, Contrabass,
Organ, [Capell-Chor:
SATB, 4 Instruments]
SKU: CA.2041405
Aus: Symphoniae Sacrae
III. Composed by
Heinrich Schutz. Edited
by Gunter Graulich.
Arranged by Paul Horn.
This edition: urtext.
Cycles: Schutz:
Symphoniae sacrae III SWV
398-418. Stuttgart Urtext
Edition: Schutz. German
title: Meister, wir
wissen, dass du
wahrhaftig b. Sacred
vocal music, Peace and
justice. Choral Score.
Composed 1650. SWV 414. 8
pages. Duration 5
minutes. Carus Verlag #CV
20.414/05. Published by
Carus Verlag
(CA.2041405). ISBN
9790007035693. Key: G
dorian. Language:
German/English. Sco
re available separately -
see item CA.2041400. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Master, we know now, you are a trueful man (Meister, wir wissen, dass du wahrhaftig bist) Carus Verlag
SSATB Favorit-Chor (Antiphonal/Chamber Choir), 2 Violins, Bassoon, Contrabass, O...(+)
SSATB Favorit-Chor
(Antiphonal/Chamber
Choir), 2 Violins,
Bassoon, Contrabass,
Organ, [Capell-Chor:
SATB, 4 Instruments]
SKU: CA.2041409
Aus: Symphoniae Sacrae
III. Composed by
Heinrich Schutz. Edited
by Gunter Graulich.
Arranged by Paul Horn.
This edition: urtext.
Cycles: Schutz:
Symphoniae sacrae III SWV
398-418. Stuttgart Urtext
Edition: Schutz. German
title: Meister, wir
wissen 8. Sacred vocal
music, Peace and justice.
Set of Orchestra Parts.
Composed 1650. SWV 414.
16 pages. Duration 5
minutes. Carus Verlag #CV
20.414/09. Published by
Carus Verlag
(CA.2041409). ISBN
9790007035709. Key: G
dorian. Language:
German/English. Sco
re available separately -
see item CA.2041400. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Master, we know now, you are a trueful man (Meister, wir wissen, dass du wahrhaftig bist) [Conducteur] Carus Verlag
SSATB Favorit-Chor (Antiphonal/Chamber Choir), 2 Violins, Bassoon, Contrabass, O...(+)
SSATB Favorit-Chor
(Antiphonal/Chamber
Choir), 2 Violins,
Bassoon, Contrabass,
Organ, [Capell-Chor:
SATB, 4 Instruments]
SKU: CA.2041400
Aus: Symphoniae Sacrae
III. Composed by
Heinrich Schutz. Edited
by Gunter Graulich.
Arranged by Paul Horn.
This edition: urtext.
Cycles: Schutz:
Symphoniae sacrae III SWV
398-418. Stuttgart Urtext
Edition: Schutz. German
title: Meister, wir
wissen, dass du
wahrhaftig. Sacred vocal
music, Peace and justice.
Full score. Composed
1650. SWV 414. 20 pages.
Duration 5 minutes. Carus
Verlag #CV 20.414/00.
Published by Carus Verlag
(CA.2041400). ISBN
9790007035686. Key: G
dorian. Language:
German/English. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| At Her Ladyship's Request [Conducteur] Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass, Contrabass
Clarinet, Contrabassoon,
Crash Cymbals, Euphonium,
Flute 1, Flute 2, Flute
3, Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1 and more. SKU:
PR.11540233F A
Period Piece for Bands of
Winds. Composed by
Carter Pann. Sws. Full
score. 60 pages. Duration
12:30. Theodore Presser
Company #115-40233F.
Published by Theodore
Presser Company
(PR.11540233F). ISBN
9781491114452. UPC:
680160667734. 9 x 12
inches. At Her
Ladyships Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyships
request as we com. At
Her Ladyshipas Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger a most notably
his Lincolnshire Posey.
The names and places here
are all fictitious. Four
countrymen have come
forward at Her Ladyshipas
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his fatheras fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
squarea|but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Connivinga| insidious. I
donat believe there has
been a greater rivalry
among men for
generations. The Dukeas
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship's Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger -
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyship's
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father's fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
square...but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Conniving... insidious. I
don't believe there has
been a greater rivalry
among men for
generations. The Duke's
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship’s Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger – most
notably his Lincolnshire
Posey.The names and
places here are all
fictitious. Four
countrymen have come
forward at Her
Ladyship’s request
as we commoners (and for
as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship.I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father’s
fortune. Cecil Abel may
be the richest man in the
land save for His
Lordship. Tom, his only
son, will run his face
straight into that pile
the moment his old man
kicks.II. It is rare to
spy Father Daniel
Bennett, High Priest from
the Abbey at Lockwood
Cross, loitering in our
very own town
square…but not as
of late.III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway?IV. Pettybone!
Conniving…
insidious. I don’t
believe there has been a
greater rivalry among men
for generations. The
Duke’s ego alone
could run our nation. The
grudges he grows are
notorious. His mount is
legendary. The day has
come to collect his
toll. $30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| To The Extinguished Stars Chorale SATB Hal Leonard
Choral (SATB) SKU: HL.1498858 Composed by Anton Stepanovich Arensky. Edit...(+)
Choral (SATB) SKU:
HL.1498858 Composed
by Anton Stepanovich
Arensky. Edited by
Stephen A. Futrell.
National/Emerson Fred
Bock. Octavo. 8 pages.
Hal Leonard #NM1095.
Published by Hal Leonard
(HL.1498858). UPC:
196288219118.
6.75x10.5x0.019
inches. The pieces
contained in Arensky's
Three Quartets, Opus 57
are quaint and
accessible. These
editions contain
transliterations of the
Russian (along with
pronunciation guide), and
an English translation
which intentionally is
more to the essence of
the original poetry and a
truer translation, rather
than forcing a rhyme
scheme at the expense of
the integrity of the
original text. The
expressive imagery, with
colorful depictions of
nature and the stars, is
heightened by the lyric
solo cello. From soaring
lines reflecting the
mountains in
“Serenada,” to the
use of the cello's upper
register in “To the
Extinguished Stars,” to
the running sixteenth
notes mimicking “The
Boiling Hot Spring,”
the does not play a mere
accompaniment role. The
pieces can be performed
together or individually,
a cappella in the absence
of a cellist. However,
employing the solo cello
gives the performer and
listener the full visual
and aural range of the
expressive quality of
these choral gems. $2.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| God and God Alone Chorale SATB SATB, Piano [Octavo] Crystal Sea Music Publishing
By Phill McHugh. Arranged by Thomas Fettke. For SATB choir, piano. Sacred Anthem...(+)
By Phill McHugh. Arranged
by Thomas Fettke. For
SATB choir, piano. Sacred
Anthem. Octavo. Published
by Crystal Sea Music
Publishing
$3.20 $3.04 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| At Her Ladyship's Request Theodore Presser Co.
Band Bass Clarinet, Bass Drum, Bassoon, Bongos, Chimes, Clarinet 1, Clarinet 2, ...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bongos,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Contrabass, Contrabass
Clarinet, Contrabassoon,
Crash Cymbals, Euphonium,
Flute 1, Flute 2, Flute
3, Glockenspiel, Horn 1,
Horn 2, Horn 3, Horn 4,
Oboe 1 and more. SKU:
PR.11540233L A
Period Piece for Bands of
Winds. Composed by
Carter Pann. Spiral.
Large Score. 58 pages.
Duration 12:30. Theodore
Presser Company
#115-40233L. Published by
Theodore Presser Company
(PR.11540233L). ISBN
9781491129418. UPC:
680160674367. 11 x 14
inches. At Her
Ladyship's Request (2016)
was an idea born out of
admiration for the wind
works of Percy Grainger -
most notably his
Lincolnshire Posey. The
names and places here are
all fictitious. Four
countrymen have come
forward at Her Ladyship's
request as we commoners
(and for as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship. I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father's fortune.
Cecil Abel may be the
richest man in the land
save for His Lordship.
Tom, his only son, will
run his face straight
into that pile the moment
his old man kicks. II. It
is rare to spy Father
Daniel Bennett, High
Priest from the Abbey at
Lockwood Cross, loitering
in our very own town
square...but not as of
late. III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway? IV. Pettybone!
Conniving... insidious. I
don't believe there has
been a greater rivalry
among men for
generations. The Duke's
ego alone could run our
nation. The grudges he
grows are notorious. His
mount is legendary. The
day has come to collect
his toll. At Her
Ladyship’s Request
(2016) was an idea born
out of admiration for the
wind works of Percy
Grainger – most
notably his Lincolnshire
Posey.The names and
places here are all
fictitious. Four
countrymen have come
forward at Her
Ladyship’s request
as we commoners (and for
as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship.I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father’s
fortune. Cecil Abel may
be the richest man in the
land save for His
Lordship. Tom, his only
son, will run his face
straight into that pile
the moment his old man
kicks.II. It is rare to
spy Father Daniel
Bennett, High Priest from
the Abbey at Lockwood
Cross, loitering in our
very own town
square…but not as
of late.III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway?IV. Pettybone!
Conniving…
insidious. I don’t
believe there has been a
greater rivalry among men
for generations. The
Duke’s ego alone
could run our nation. The
grudges he grows are
notorious. His mount is
legendary. The day has
come to collect his
toll. $60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trumpets Eleven Play-Along Book and CD for Trumpet Trompette [Partition + CD] - Avancé Hip-Bone Music
By Randy Brecker, Phil Smith. Composed by Michael Davis. For trumpet. Nothing b...(+)
By Randy Brecker, Phil
Smith. Composed by
Michael Davis. For
trumpet. Nothing beats
the intensity and
excitement of a jazz
quintet firing on all
cylinders. Book and CD.
Bb trumpet edition. 43
pages. Published by
Hip-Bone Music. (76)
Level: advanced.
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Trumpets Eleven Play-Along Book and CD for Trombone Trompette [Partition + CD] Hip-Bone Music
By Michael Davis. By Michael Davis. For trombone. Nothing beats the intensity an...(+)
By Michael Davis. By
Michael Davis. For
trombone. Nothing beats
the intensity and
excitement of a jazz
quintet firing on all
cylinders. Advanced. Book
and CD. C bass clef
edition. 43 pages.
Published by Hip-Bone
Music
$24.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| At Her Ladyship's Request Theodore Presser Co.
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Co...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Clarinet 3, Contrabass
Clarinet, Contrabassoon,
Flute 1, Flute 2, Flute
3, Horn 1, Horn 2, Horn
3, Horn 4, Oboe 1, Oboe
2, Piccolo, Trombone 1,
Trombone 2, Trumpet 1,
Trumpet 2 and more.
SKU: PR.115402330
A Period Piece for
Bands of Winds.
Composed by Carter Pann.
Folio. Set of Score and
Parts.
16+16+16+8+16+16+24+24+24
+16+8+8+8+8+16+16+16+16+1
6+16+16+8+8+8+8+16+16+16+
16+32+20+8+8+8+4+4+60
pages. Duration 12:30.
Theodore Presser Company
#115-40233. Published by
Theodore Presser Company
(PR.115402330). ISBN
9781491129555. UPC:
680160667727. 9 x 12
inches. Armed with
a prodigious gift for
forging musical
identities, “Lord
Carter Nicholas
Pann†presents an
offering inspired by the
Elizabethan Era and an
appreciation for the
works of Percy Grainger.
Pann’s suite tells
a story of palace
intrigue, outlined by the
movement titles:1.
Overture - Young Tom
Abel, Heir to Cecil
Abel’s Fortune2.
Sarabande - Father Daniel
Bennett from the Abbey at
Lockwood Cross3.
Pastorale - Joseph
Dimplesweet, His
Lordship’s Oldest
Farmhand4. Gallop - Lord
William H. Pettybone,
Duke of Bremingham. At
Her Ladyship’s
Request (2016) was an
idea born out of
admiration for the wind
works of Percy Grainger
– most notably his
Lincolnshire Posey.The
names and places here are
all fictitious. Four
countrymen have come
forward at Her
Ladyship’s request
as we commoners (and for
as long as I can
remember) have been led
to believe Her Highness
has grown complacent in
her aged betrothal to His
Lordship.I. It has long
been established in this
hill country that young,
svelte Tom Abel has
caught her fancy eye. He
knocks about with the
swagger of a visiting
dignitary, confident and
cocksure. And then there
is his father’s
fortune. Cecil Abel may
be the richest man in the
land save for His
Lordship. Tom, his only
son, will run his face
straight into that pile
the moment his old man
kicks.II. It is rare to
spy Father Daniel
Bennett, High Priest from
the Abbey at Lockwood
Cross, loitering in our
very own town
square…but not as
of late.III. Is Her
Ladyship so desperate as
to call upon Old Man
Dimplesweet? Were you to
confirm this, I would
have straightened my back
and spit the ground
before you. Then I saw
what could not possibly
be misconstrued. And
where is His Lordship
anyway?IV. Pettybone!
Conniving…
insidious. I don’t
believe there has been a
greater rivalry among men
for generations. The
Duke’s ego alone
could run our nation. The
grudges he grows are
notorious. His mount is
legendary. The day has
come to collect his
toll. $225.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hymn Harmonizations by Hayes, Vol. 2
Piano seul - Débutant Lorenz Publishing Company
(Creative accompaniments for the church pianist). By Mark Hayes. For piano and C...(+)
(Creative accompaniments
for the church pianist).
By Mark Hayes. For piano
and CD-Rom. Advent,
Christmas, Eastertide,
General, Lent, Pentecost,
Sacred. Level 1. Sacred
piano
$39.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cantate Domino canticum novum (Lobsinget Gott, dem Herrn) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur] - Intermédiaire Carus Verlag
By Heinrich Schutz (1585-1672). Edited by Graulich, Gunter. Arranged by Paul Hor...(+)
By Heinrich Schutz
(1585-1672). Edited by
Graulich, Gunter.
Arranged by Paul Horn.
For SATB/SATB
Favorit-Chor
(Antiphonal/Chamber
Choir), [8 Instruements],
Basso Continuo. This
edition: paperbound. SWV
463. Psalms, German,
Psalms, Latin; Stuttgart
Urtext editions;
Occasions: Praise and
thanks, Psalms; Use
during chuch year: Easter
and Eastertide. Level 3.
Score. Language:
German/Latin. Composed
1650-51. 8 pages.
Duration 3 min
$11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Peter Maxwell Davies: Caroline Mathilde (Full Score) [Conducteur] Chester
High Voice and Orchestra (Score) SKU: HL.14019741 Composed by Sir Peter M...(+)
High Voice and Orchestra
(Score) SKU:
HL.14019741 Composed
by Sir Peter Maxwell
Davies. Music Sales
America. 20th Century.
Score. Composed 1999. 508
pages. Chester Music
#CH60893. Published by
Chester Music
(HL.14019741). ISBN
9780711935921.
7.0x10.0x1.19
inches. A ballet in
two acts which premiered
on the stage of the Royal
Danish Theatre,
Copenhagen, on 14th March
1991. Based on the true
story of the sister of
George III, Caroline
Mathilde (1751-1775), who
at the age of 15 was sent
to Denmark to marry the
17-year-old eccentric and
schizophrenic Danish
King, Christian VII. The
ballet portrays her
unhappy marriage, the
King's growing madness
and her fatal love-affair
with Struensee, the
King's influential
physician, which leads to
their arrest, his
execution and her exile,
at the age of 20,
separated from her two
young children.Written
for full symphony
orchestra and female
chorus. Duration c. 2hrs
25mins. $63.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Come and Feast SATB Chorale SATB SATB, Piano Shawnee Press
By Lee Dengler. For SATB Choir. Choral, Communion and Sacred. Sheet Music. Publi...(+)
By Lee Dengler. For SATB
Choir. Choral, Communion
and Sacred. Sheet Music.
Published by Shawnee
Press.
$2.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Une Geometrie, Nr. 1 - Figurations de memoire [Conducteur] Carus Verlag
Alto flute in G, English horn, Bass Clarinet, Bassoon, Horn SKU: CA.1632800(+)
Alto flute in G, English
horn, Bass Clarinet,
Bassoon, Horn SKU:
CA.1632800
Synchroniestudie Nr. 2
fur tiefes
Blaserquintett.
Composed by Walter
Feldmann. This edition:
Paperbound. German title:
Une Geometrie.
Synchronstudie F Blaser.
Full score. Composed
2005. 54 pages. Duration
14 minutes. Carus Verlag
#CV 16.328/00. Published
by Carus Verlag
(CA.1632800). ISBN
9790007112745. Language:
all languages. E
texts of the French
author Anne-Marie Albiach
have long been the point
of departure for my
works. Following the
viola concerto <<
monstrueuse vecut dans le
cadre >> la memoire,
which is based on her <<
H II>> lineaires, the
three texts entitled <<
une geometrie >> have
generated a new cycle. As
in the other two works of
the cycle, << figurations
de memoire >> is
predicated on two
different readings of the
text: on the one hand a
(private) reading by
Anne-Marie Albiach in
which time is measured
[demarcated] out; while
on the other hand the
graphic text is measured
millimeter by millimeter.
The latter serves as the
basis - the genetic code
- for the temporal,
horizontal structure of
the quintet, whereas the
reading of the author
appears in rhythmic
surfaces which interrupt
the horizontal plane. In
<< figurations de memoire
>> two clearly
recognizable elements are
repeated: the tone b
(which plays a central
roll in most of my works)
and a chord of fifths
built around the tone b -
a piece of memory
(memoire) from viola
concerto. In contrast,
the extended chords of
the reading consist of
five tones which in their
frequencies are
equidistant from each
other (like an overtone
chord). For the
generation of tone
materials the chords of
both levels are
compressed and stretched
within the ranges
(frames) of tones from
which the horizontal
positions of the text
fragments are derived:
lower, borderline tones
on the left margin, and
higher borderline tones
on the right margin. Thus
the disposition on the
page, essential for
Anne-Marie Albiach (and
first introduced in
poetry by Mallarme in Un
coup de des jamais
n'abolire le hasard), is
rendered in sound.
Naturally each element of
the text serves to mold
structure and dynamic, to
include typography:
fragments within
quotation marks, in
italics, etc., yield
different sonorous images
[sonorities] and
movements. Each word from
the typographical reading
is orchestrated
[instrumentated]
differently, which is
important for the whole
cycle (however, the
chords of the spoken
reading are always played
by five instruments; here
only speech and pauses in
speech [[interruptions of
speech]are distinguished
from each other). Thus a
tight network of
instrumental combinations
is created in which, word
for word, the text is
made audible. The most
important element in the
process: the vertical,
synchronized playing
together of the
individual instruments
(Synchorniestudie),
ranging from solo to
quintet. $33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| PocketString 6 Fret Alfred Publishing
| | |
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