| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin SKU:
CF.MXE219 Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219). ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches. Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
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| The Tempest Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin B...(+)
By Robert W. Smith. By
Robert W. Smith. For
Concert Band. Concert
Band. Belwin Beginning
Band. Level: Very Easy
(grade I). Conductor
Score and Parts. 126
pages. Duration 2:16.
Published by Alfred
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| The Tempest Orchestre d'harmonie [Conducteur] - Débutant Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin B...(+)
By Robert W. Smith. By
Robert W. Smith. For
Concert Band. Concert
Band. Belwin Beginning
Band. Conductor Score. 24
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(32)$10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Tempest Suite No. 2 Op. 109 No. 3 Orchestre [Conducteur] Wilhelm Hansen
Orchestra (Score) SKU: HL.14030080 Composed by Jean Sibelius. Music Sales...(+)
Orchestra (Score) SKU:
HL.14030080 Composed
by Jean Sibelius. Music
Sales America. Classical.
Score. Composed 2002. 50
pages. Edition Wilhelm
Hansen #WH19601.
Published by Edition
Wilhelm Hansen
(HL.14030080). ISBN
9788759857281.
12.0x16.5x0.485
inches.
Stormen / The Tempest
Suite No.2 Op.109 No.3
for
Orchestra. From
the music to William
Shakespeare's 'The
Tempest'. Partitur
/ Score Parts are
available on hire:
hire@ewh.dk $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Jean Sibelius: The Tempest (Full Score) [Conducteur] Music Sales
Orchestra, SATB, Soprano, Tenor, Mezzo-Soprano, Baritone Voice SKU: HL.140300...(+)
Orchestra, SATB, Soprano,
Tenor, Mezzo-Soprano,
Baritone Voice SKU:
HL.14030002 Full
Score. Composed by
Jean Sibelius. Music
Sales America. Classical.
Score. 268 pages. Music
Sales #KP01494. Published
by Music Sales
(HL.14030002). ISBN
9788759868126.
12.0x16.5x0.947 inches.
English-Danish. Jea
n Sibelius' The Tempest
Op.109 (1925-26) -
Incidental Music to
William Shakespeare's
'The Tempest'. For
soloists (S,M,T, 2Bar),
Chorus and Orchestra.
Parts are for hire:
hire@ewh.dk. $221.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Tempest (Limited Edition) Orchestre [Conducteur] Faber Music Limited
Opera in Three Acts. Composed by Meredith Oakes. Full Orchestra (Full Score); ...(+)
Opera in Three Acts.
Composed
by Meredith Oakes. Full
Orchestra (Full Score);
Larger Works;
Masterworks;
Performance Music
Ensemble.
Faber Edition.
Masterwork.
Score. Faber Music #12-
057153872X. Published by
Faber Music
$340.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Tempest Orchestre [Conducteur] Faber Music Limited
An Opera in Three Acts (Full Score). Composed by Thomas Ades (1971-). Full Orc...(+)
An Opera in Three Acts
(Full
Score). Composed by
Thomas
Ades (1971-). Full
Orchestra
(Full Score); Larger
Works;
Performance Music
Ensemble.
Faber Edition. Score.
Faber
Music #12-057153838X.
Published by Faber Music
$175.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Triangle of the Tempest - Facile Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello,
Contrabass, Piano, Viola,
Violin 1, Violin 2,
Violin 3 - Grade 3.5
SKU: CF.CAS107
Composed by Alan Lee
Silva. SWS FS. Carl
Fischer Concert String
Orchestra Series. Set of
Score and Parts. With
Standard notation.
24+24+6+15+15+15+6+20
pages. Duration 4
minutes, 17 seconds. Carl
Fischer Music #CAS107.
Published by Carl Fischer
Music (CF.CAS107).
ISBN 9781491146675.
UPC: 680160904174. 9 x 12
inches. Key: E
minor. Triangle of
the Tempest is a
fast-moving composition
with interesting rhythmic
challenges and dynamic
color shifts. Starting
with syncopated figures
over a repeated
eight-measure
progression, the piece
builds in intensity as
more sections and layers
are added. The second
part changes tone and is
led by a heroic violin
melody with a soaring
cello obligato. The
themes intertwine and the
material develops into a
dramatic conclusion with
a final explosive
ensemble hit.
Action-packed and full of
rhythmic drive, this
piece is a good choice
for contest or festival
performance. An
up-tempo 3â„4 piece
in E minor, Triangle of
the Tempest features
inviting rhythmic
challenges, provocative
melodic variations and
dynamic color shifts .The
A-section is based on a
repeating eight-measure
harmonic progression with
punctuated open voicings
and syncopated figures .
Each section builds in
intensity as new elements
are added in subsequent
eight-measure increments
. Rhythmically, the
pattern in the A-section
(mm . 1–36)
follows a two-measure
form: the first of the
two measures has a dotted
quarter-eighth syncopated
figure, and the rhythms
in the second measure
fall primarily on the
beats . After the main
eight-measure pattern is
established, the A-melody
and its variations are
introduced on top of it
.A two-measure build (mm
. 35–36),
highlighted by fast
moving ensemble triplet
figures, propels the
piece as it crescendos
into the jubilant
B-section (mm .
37–52), changing
tone and moving to the
relative G major . The
violins carry the soaring
melody atop sonorous
major chords in the mid
and low strings .
Rhythmically, the
alternating syncopated
measure/non-syncopated
measure form continues
through this section
.Returning to the
dramatic E minor
A-section phrases in mm .
53–86, the piece
shifts to the original
eight-measure harmonic
progression with melodic
variations in the violins
over the top . After
reprising the B-section
(mm . 87–102),
intertwining motifs at m
. 103 offer a variation
on the A-theme where the
melodic entrances happen
at one-measure intervals
.The tempo slows slightly
and the tone changes
again in the flowing and
magical C-section at m .
123 as the piece moves
again to the relative G
major . Repeating lyrical
legato violin lines
create the musical
background for a majestic
viola melody, featured in
mm . 126–146 . A
brief fanfare statement
with motifs spread
throughout the orchestra
at m . 153, prepares the
return to E minor and the
A-theme in mm .
160–193 .Measure
194 introduces an E-pedal
point and tension builds,
ramping up emotionally to
the ending . The ensemble
thunders at m . 202 as
the violins and violas
begin a four-measure
syncopated
question/answer section
with the cellos and
basses . The phrases
crescendo and build for
another four measures at
m . 206, setting up the
driving unison, tutti
figures at m . 211 and a
final explosive hit on
the downbeat of m . 212
. About
Carl Fischer Concert
String Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Knot Garden Schott
Vocal SKU: HL.49002642 Vocal Score. Composed by Sir Michael Tippet...(+)
Vocal SKU:
HL.49002642 Vocal
Score. Composed by
Sir Michael Tippett. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Piano
reduction. Composed
1966-1970. 318 pages.
Duration 80'. Schott
Music #ED11075. Published
by Schott Music
(HL.49002642). ISBN
9790220107672. UPC:
073999347685.
8.25x11.75x0.832 inches.
English. A house,
too, can be a
battlefield, and a garden
a wilderness. The house
here belongs to Faber and
Thea: middle-class,
middle-aged, probably
more than middle-income
and in a mid-matrimonial
rut of mutual
laissez-faire. Also in
the house is their young
ward Flora, to whom Faber
has been making sexual
advances. And there are
visitors. Thea's sister
Denise is taking a break
from other distant
battlefields, where she
is engaged in the
struggle against
oppression. A black
writer, Mel, is here as
well with his white lover
Dov, a musician: the
first homosexual couple
to be 'out' on the
operatic stage.These
people's
entanglementswith each
other but also, and more
importantly, within
themselveshave to be
addressed, as in
Tippett's first opera.
But this time the Mozart
model is Cosi fan tutte,
and the lessons of myth
are clothed in the
language of psychiatry,
as practised by Mangus,
the Don Alfonso who may
not be as much in control
as he would hope. In the
last act he stages a
performance of The
Tempest, which comes
adrift. Perhaps more has
been achieved in the
middle act, a swirl of
short scenes ending in an
exchange of songs between
Flora and Dovan exchange,
too, of homages to
Schubert and the blues,
both held in the magic of
this lustrous score.(Paul
Griffiths)
2
(2pic).1.ca.Ebcl.2 (2:
bcl).1.cbn-4.4.2.1-timp.3
perc (s.d., t.d., b.d.,
jazz kit, cym., sus.cym.,
w.bl., t.bl., tamb.,
casts., wh., metal bar or
heavy triangle, tam-tam,
xyl., vib., glock.,
claves, small
rattle)-hp.cel.pno.egtr/e
hpd-str
Reduced
version: 1 (pic).1
(ca).1 (Ebcl, bcl).1
(cbn)-3.2.2.0-2perc
(timp., t.d., jazz kit,
cym., t.bl., tamb.,
casts., metal bar or
heavy tri., tam-tam,
vib., glock., tub.bells,
cl., rattle)-hp.pno
(cel).egtr-str: 3 vns (3:
va).va.vc.db. $101.00 - Voir plus => Acheter | | |
| Swayne: The Murder Of Gonzago Score Music Sales
Modern Liverpudlian composer Giles Swayne's 'Murder Of Gonzago' score gains insp...(+)
Modern Liverpudlian
composer Giles Swayne's
'Murder Of Gonzago' score
gains inspiration from
Shakespeare's scene in
'The Tempest.'
$30.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Isle is Full of Noises Chorale SATB SATB A Cappella Oxford University Press
By Bob Chilcott. For SATB choir, a cappella. Mixed Voices. Secular, Choral Leafl...(+)
By Bob Chilcott. For SATB
choir, a cappella. Mixed
Voices. Secular, Choral
Leaflet. Vocal score. 12
pages. Duration 2'.
Published by Oxford
University Press
$3.65 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Harp/Keyboard/Other CD Sheet Music
SKU: SU.00220127 Composed by Various. Harp, Harp with other Instruments, ...(+)
SKU: SU.00220127
Composed by Various.
Harp, Harp with other
Instruments, Keyboard,
Piano/Harpsichord,
Keyboard, Organ. CD (PDF
Scores). CD Sheet Music
#00220127. Published by
CD Sheet Music
(SU.00220127).
The complete
Harp, Keyboard (Piano,
Organ, etc.) and
auxiliary parts
[CD-ROM] for the 42
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 4:
Tchaikovsky and more. If
these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
GLINKA Ruslan and
Ludmilla, A Life for the
Czar Overtures;
TCHAIKOVSKY 6 Symphonies,
Manfred Symphony, 3 Piano
Concertos, Violin
Concerto, Rococo
Variations, 3 Complete
Ballets (Nutcracker,
Sleeping Beauty, Swan
Lake), 7 Suites
(Mozartiana, Nutcracker,
Swan Lake). 1812
Overture, Capriccio
Italienne, Francesca da
Rimini, Hamlet, March
Slav, Mazeppa Overture,
Romeo and Juliet,
Serenade for Strings, The
Tempest, Voyevoda, more
(37 works); MUSSORGSKY
Pictures at an
Exhibition, Night on Bald
Mountain, Khovantchina
Overture Visit for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Oboe CD Sheet Music
SKU: SU.00220116 Composed by Various. Woodwinds, Oboe/English Horn. The O...(+)
SKU: SU.00220116
Composed by Various.
Woodwinds, Oboe/English
Horn. The Orchestra
Musician's CD-ROM
Libraryâ„¢. CD (PDF
Scores). CD Sheet Music
#00220116. Published by
CD Sheet Music
(SU.00220116).
The complete
Oboe and English Horn
parts [CD-ROM] for the 42
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 4:
Tchaikovsky and more. If
these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
GLINKA Ruslan and
Ludmilla, A Life for the
Czar Overtures;
TCHAIKOVSKY 6 Symphonies,
Manfred Symphony, 3 Piano
Concertos, Violin
Concerto, Rococo
Variations, 3 Complete
Ballets (Nutcracker,
Sleeping Beauty, Swan
Lake), 7 Suites
(Mozartiana, Nutcracker,
Swan Lake). 1812
Overture, Capriccio
Italienne, Francesca da
Rimini, Hamlet, March
Slav, Mazeppa Overture,
Romeo and Juliet,
Serenade for Strings, The
Tempest, Voyevoda, more
(37 works); MUSSORGSKY
Pictures at an
Exhibition, Night on Bald
Mountain, Khovantchina
Overture Visit for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Flute CD Sheet Music
SKU: SU.00220115 Composed by Various. Woodwinds, Flute/Piccolo. The Orche...(+)
SKU: SU.00220115
Composed by Various.
Woodwinds, Flute/Piccolo.
The Orchestra Musician's
CD-ROM Libraryâ„¢. CD
(PDF Scores). CD Sheet
Music #00220115.
Published by CD Sheet
Music (SU.00220115).
The complete
Flute and Piccolo
parts [CD-ROM] for the 42
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 4:
Tchaikovsky and more. If
these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
GLINKA Ruslan and
Ludmilla, A Life for the
Czar Overtures;
TCHAIKOVSKY 6 Symphonies,
Manfred Symphony, 3 Piano
Concertos, Violin
Concerto, Rococo
Variations, 3 Complete
Ballets (Nutcracker,
Sleeping Beauty, Swan
Lake), 7 Suites
(Mozartiana, Nutcracker,
Swan Lake). 1812
Overture, Capriccio
Italienne, Francesca da
Rimini, Hamlet, March
Slav, Mazeppa Overture,
Romeo and Juliet,
Serenade for Strings, The
Tempest, Voyevoda, more
(37 works); MUSSORGSKY
Pictures at an
Exhibition, Night on Bald
Mountain, Khovantchina
Overture Visit for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Clarinet CD Sheet Music
SKU: SU.00220117 Composed by Various. Woodwinds, Clarinet. The Orchestra ...(+)
SKU: SU.00220117
Composed by Various.
Woodwinds, Clarinet. The
Orchestra Musician's
CD-ROM Libraryâ„¢. CD
(PDF Scores). CD Sheet
Music #00220117.
Published by CD Sheet
Music (SU.00220117).
The complete
Clarinet (including Eb
and Bass Clarinet)
parts [CD-ROM] for the 42
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 4:
Tchaikovsky and more. If
these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
GLINKA Ruslan and
Ludmilla, A Life for the
Czar Overtures;
TCHAIKOVSKY 6 Symphonies,
Manfred Symphony, 3 Piano
Concertos, Violin
Concerto, Rococo
Variations, 3 Complete
Ballets (Nutcracker,
Sleeping Beauty, Swan
Lake), 7 Suites
(Mozartiana, Nutcracker,
Swan Lake). 1812
Overture, Capriccio
Italienne, Francesca da
Rimini, Hamlet, March
Slav, Mazeppa Overture,
Romeo and Juliet,
Serenade for Strings, The
Tempest, Voyevoda, more
(37 works); MUSSORGSKY
Pictures at an
Exhibition, Night on Bald
Mountain, Khovantchina
Overture Visit for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Violin CD Sheet Music
SKU: SU.00220123 Composed by Various. Strings, Violin. CD (PDF Scores). C...(+)
SKU: SU.00220123
Composed by Various.
Strings, Violin. CD (PDF
Scores). CD Sheet Music
#00220123. Published by
CD Sheet Music
(SU.00220123).
The complete
Violin I & II parts
[CD-ROM] for the 42
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 4:
Tchaikovsky and more. If
these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
GLINKA Ruslan and
Ludmilla, A Life for the
Czar Overtures;
TCHAIKOVSKY 6 Symphonies,
Manfred Symphony, 3 Piano
Concertos, Violin
Concerto, Rococo
Variations, 3 Complete
Ballets (Nutcracker,
Sleeping Beauty, Swan
Lake), 7 Suites
(Mozartiana, Nutcracker,
Swan Lake). 1812
Overture, Capriccio
Italienne, Francesca da
Rimini, Hamlet, March
Slav, Mazeppa Overture,
Romeo and Juliet,
Serenade for Strings, The
Tempest, Voyevoda, more
(37 works); MUSSORGSKY
Pictures at an
Exhibition, Night on Bald
Mountain, Khovantchina
Overture Visit for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Double Bass CD Sheet Music
SKU: SU.00220126 Composed by Various. Strings, Contrabass. CD (PDF Scores...(+)
SKU: SU.00220126
Composed by Various.
Strings, Contrabass. CD
(PDF Scores). CD Sheet
Music #00220126.
Published by CD Sheet
Music (SU.00220126).
The complete
Double Bass parts
[CD-ROM] for the 42
orchestral works included
in The Orchestra
Musician's CD-ROM
Libraryâ„¢, Volume 4:
Tchaikovsky and more. If
these parts were
purchased separately,
this collection could
cost several hundred
dollars. Parts are easily
viewable and printable on
either PC or Mac using
embedded Adobe® Reader
technology. Contents:
GLINKA Ruslan and
Ludmilla, A Life for the
Czar Overtures;
TCHAIKOVSKY 6 Symphonies,
Manfred Symphony, 3 Piano
Concertos, Violin
Concerto, Rococo
Variations, 3 Complete
Ballets (Nutcracker,
Sleeping Beauty, Swan
Lake), 7 Suites
(Mozartiana, Nutcracker,
Swan Lake). 1812
Overture, Capriccio
Italienne, Francesca da
Rimini, Hamlet, March
Slav, Mazeppa Overture,
Romeo and Juliet,
Serenade for Strings, The
Tempest, Voyevoda, more
(37 works); MUSSORGSKY
Pictures at an
Exhibition, Night on Bald
Mountain, Khovantchina
Overture Visit for more
information Ple
ase note, customers using
Macintosh computers
running macOS Catalina
(version 10.5) have
reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $20.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Locke's Theatre Schott
Study Score Orchestra (pic.2.2.3.2.cbsn-4.3.3.1 -timp.4perc(glsp, vib(bow), xly,...(+)
Study Score Orchestra
(pic.2.2.3.2.cbsn-4.3.3.1
-timp.4perc(glsp,
vib(bow), xly, bells,
tri, clash cym, 2 sus
cym, Chinese cym(bow),
Sizz cym, Antique cym,
tam-t, clave, 4s.d.,
b.d., tamb, 4templeblck,
2 anvils,
whip)-2hp.cel-str(12.10.8
.6.6 min)) SKU:
HL.49045520 For
Orchestra (2013) Music of
Our Time Series.
Composed by Ryan
Wigglesworth. Arranged by
Ryan Wigglesworth. This
edition: Saddle
stitching. Sheet music.
Study Score. Classical.
Softcover. Composed 2013.
60 pages. Duration 1020
seconds. Schott Music
#ED13930. Published by
Schott Music
(HL.49045520). ISBN
9790220137198. UPC:
841886028876.
8.25x11.75x0.2
inches. Locke's
Theatre, an orchestral
work in three short
movements, takes as its
departure point
incidental music written
for Shakespeare's The
Tempest by the
seventeenth-century
English composer Matthew
Locke. Aspects of Locke's
idiosyncratic and
daringly advanced
harmonic and rhythmic
language were to be
adopted (some might say
perfected) by his younger
friend and protege Henry
Purcell. But it is the
very rawness and
directness of Locke's
theatre music that I
wished to acknowledge and
emulate. In each of my
work's three movements -
entitled respectively
'The First Music',
'Rustic Music', and
'Curtain Music (with
Storm)' - the baroque
originals, though very
often submerged, remain a
constant, shadowy
presence. Locke's Theatre
was commissioned by the
Aldeburgh Festival to
mark the centenary of
Benjamin Britten's birth.
-Ryan Wigglesworth. $33.00 - Voir plus => Acheter | | |
| Prelude to the Tempest Op. 109 No. 1 Orchestre [Conducteur] - Intermédiaire Wilhelm Hansen
Orchestra (Score) - Grade 4 SKU: HL.14030004 Composed by Jean Sibelius. M...(+)
Orchestra (Score) - Grade
4 SKU: HL.14030004
Composed by Jean
Sibelius. Music Sales
America. Classical.
Score. Composed 2002. 38
pages. Edition Wilhelm
Hansen #WH30963.
Published by Edition
Wilhelm Hansen
(HL.14030004). ISBN
9788759818053.
11.75x16.5x0.35
inches. Prelude to
the Tempest Op.109 No.1
comes from an hour-long
score of incidental music
for orchestra by Danish
composer, Jean Sibelius.
In 1925 Sibelius was
commissioned by the
Danish Royal Theatre to
create incidental music
for Shakespeare's The
Tempest. The resulting 34
miniatures represent
Sibelius at his most
modernistic and it is
both rousing and powerful
yet elsewhere light,
gentle and airy, fully
reflecting the breadth
and depth of
Shakespeare's
characters. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Tempest -- Suite (Divertimento) [Conducteur] Peters
Orchestra 2(piccolo), 2-4, 1-timpani-3 percussion-harp-piano/Cel -strings-Tape <...(+)
Orchestra 2(piccolo),
2-4, 1-timpani-3
percussion-harp-piano/Cel
-strings-Tape SKU:
PE.EP66826A Composed
by Paul Chihara. Score.
Edition Peters. Score.
144 pages. Duration
00:50:00. Edition Peters
#98-EP66826A. Published
by Edition Peters
(PE.EP66826A). ISBN
9790300730448. The
Tempest: Suite
(Divertimento) -
Suite for Orchestra
from the Ballet For the
complete Tempest Ballet,
please see
EP66826R Performance
Material for the Tempest
Ballet Suite
(Divertimento) is
availablge, ona rental
basis ... please see
EP66826AR For more on
PaulChihara, please click
on his name, above ...
- $170.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Triangle of the Tempest Orchestre d'harmonie [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3.5 SKU:
CF.CPS135F Composed
by Alan Lee Silva. SWS.
Carl Fischer Concert
Performance Series. Full
score. With Standard
notation. 36 pages.
Duration 4 minutes, 18
seconds. Carl Fischer
Music #CPS135F. Published
by Carl Fischer Music
(CF.CPS135F). ISBN
9780825888496. UPC:
798408088491. 9x12
inches. Triangle of
the Tempest is a
fast-moving composition
with interesting rhythmic
challenges and dynamic
color shifts. Starting
with syncopated figures
over a repeated
eight-measure
progression, the piece
builds in intensity as
more sections and layers
are added. The second
part changes tone and is
led by a heroic trumpet
melody with a soaring
woodwind obligato. The
themes intertwine and the
material develops into a
dramatic conclusion with
a final explosive
ensemble hit.
Action-packed and full of
rhythmic drive, this
piece is a good choice
for contest or festival
performance. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Triangle of the Tempest Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Clarinet
1, Clarinet 2, Clarinet
3, Crash Cymbals,
Euphonium, Euphonium
T.C., Flute 1, Flute 2,
Glockenspiel, Horn 1,
Horn 2, Mallet Percussion
1, Mallet Percussion 2,
Mallet Percussion 3,
Marimba, Oboe and more. -
Grade 3.5 SKU:
CF.CPS135 Composed by
Alan Lee Silva. SWS FS.
Carl Fischer Concert
Performance Series. Set
of Score and Parts. With
Standard notation.
12+12+6+12+12+12+6+6+4+4+
6+6+12+12+12+6+6+9+9+6+9+
12+4+2+6+2+6+2+15+36
pages. Duration 4
minutes, 18 seconds. Carl
Fischer Music #CPS135.
Published by Carl Fischer
Music (CF.CPS135).
ISBN 9780825888489.
UPC: 798408088484. 9x12
inches. Triangle of
the Tempest is a
fast-moving composition
with interesting rhythmic
challenges and dynamic
color shifts. Starting
with syncopated figures
over a repeated
eight-measure
progression, the piece
builds in intensity as
more sections and layers
are added. The second
part changes tone and is
led by a heroic trumpet
melody with a soaring
woodwind obligato. The
themes intertwine and the
material develops into a
dramatic conclusion with
a final explosive
ensemble hit.
Action-packed and full of
rhythmic drive, this
piece is a good choice
for contest or festival
performance. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Tempest [Conducteur] Wilhelm Hansen
Choral; Piano Accompaniment; Vocal Solo (Vocal Score) SKU: HL.283083 O...(+)
Choral; Piano
Accompaniment; Vocal Solo
(Vocal Score) SKU:
HL.283083 Op. 109
Vocal Score. Composed
by Jean Sibelius. Music
Sales America. Classical.
Softcover. 32 pages.
Duration 4200 seconds.
Edition Wilhelm Hansen
#WH33001. Published by
Edition Wilhelm Hansen
(HL.283083). ISBN
9788759839874. Finn
ish/English Vocal score
for Jean Sibelius' The
Tempest Op.109 (1925-26)
- Incidental Music to
William Shakespeare's
'The Tempest'. For
soloists (S,M,T, 2Bar),
Choir SATB and Orchestra.
Full Score: KP01494 Parts
are avilable on hire:
hire@ewh.dk. $14.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Mark the Music! Carl Fischer
Choral Piano, Side Drum, SATB chorus SKU: CF.CM9469 Composed by David Ash...(+)
Choral Piano, Side Drum,
SATB chorus SKU:
CF.CM9469 Composed by
David Ashley White. SWS.
Performance Score. With
Standard notation. 20
pages. Duration 4
minutes, 54 seconds. Carl
Fischer Music #CM9469.
Published by Carl Fischer
Music (CF.CM9469).
ISBN 9781491142776.
UPC: 680160900275. 6.875
x 10.5 inches. Text:
William Shakespeare.
William
Shakespeare. The
writing of David Ashley
White demonstrates a
varied approach to
texture, mood, and
voicing. His choral
cycle, Mark the Music!,
takes its title from
Lorenzo's Admonition in
The Merchant of Venice.
With texts found in
Shakespeare's plays The
Merchant of Venice, As
You Like It, The Tempest
and Twelfth Night, his
three movements are
scored for mixed chorus.
Directors are free to
program one, two or three
of the movements as
dictated by the needs of
the ensemble. There are
also movements for
soprano and alto (CM9425
III. Full Fathom Five),
and for tenor and bass
(CM9439 IV. O Mistress
Mine), both with piano
accompaniment. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Jesus sleeps, is hope now fading Soli, choeur mixte et accompagnement [Vocal Score] Carus Verlag
(Cantata for the 4th Sunday after Epiphany). Composed by Johann Sebastian Bach (...(+)
(Cantata for the 4th
Sunday after Epiphany).
Composed by Johann
Sebastian Bach
(1685-1750). Edited by
Reinhold Kubik. Arranged
by Paul Horn. For ATB
vocal soli, SATB choir, 2
recorders f1, 2 oboe
d'amore, 2 violins,
viola, basso continuo.
This edition: Paperbound.
E-Moll (E minor). German
title: Jesus schlaft, was
soll ich hoffen.
Cantatas, Epiphany. Level
3. Vocal score. Language:
German/English. Composed
1724. BWV 81. 32 pages.
Duration 19 minutes.
Published by Carus Verlag
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Judith Weir: Storm (Full Score) [Conducteur] Chester
Chamber Group, Treble, Soprano, Alto, Flute, Cello, Percussion SKU: HL.140356...(+)
Chamber Group, Treble,
Soprano, Alto, Flute,
Cello, Percussion SKU:
HL.14035695 Composed
by Judith Weir. Music
Sales America. 20th
Century. Score. Composed
2002. 92 pages. Chester
Music #CH61487. Published
by Chester Music
(HL.14035695). ISBN
9780711991316.
8.5x11.75x0.333
inches. Scored for
Children's Chorus,
Women's Chorus and
ensemble. (3 Flutes, 3
Cellos, 3 Percussion
players). A five movement
piece based on the
composer's 35 word
version of William
Shakespeare's 'The
Tempest'. First performed
on 18th November 1997,
Birmingham. Duration 20
minutes. Instrumental and
chorus parts are
available on hire. $49.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Master the Tempest Is Raging (Orchestration) Chorale SATB [Conducteur et Parties séparées] Lillenas Publishing Co.
SATB choir with tenor solo SKU: LP.OR-2503 Arranged by Thomas Fettke. Thi...(+)
SATB choir with tenor
solo SKU:
LP.OR-2503 Arranged
by Thomas Fettke. This
edition: Loose-Leaf.
Anthems. Southern Gospel
and Sacred. Score and
parts. Published by
Lillenas Publishing
Company (LP.OR-2503).
UPC:
765762115408. Compl
ete parts for
accompaniment by live
orchestra. Includes full,
transposed conductor's
score and parts for
instruments which you may
photocopy (for your
church's use only). $74.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Kaija Saariaho: Ferdinand's Comfort (Score) Chester
Soprano, Baritone Voice, Flute SKU: HL.14017457 Composed by Kaija Saariah...(+)
Soprano, Baritone Voice,
Flute SKU:
HL.14017457 Composed
by Kaija Saariaho. Music
Sales America. Post-1900.
Sheet Music, Vocal Work.
With Text language:
English. Chester Music
#CH69817. Published by
Chester Music
(HL.14017457). UPC:
884088814007.
8.25x11.75x0.052
inches. Composed in
2004, this concise and
compelling work is part
of Saariaho's Tempest
Songs and is written for
Soprano and Baritone
soloists with chamber
ensemble. Also included
in the Tempest Songs
cycle are: Ariel's Hall
(Soprano) Caliban's Dream
(Baritone) Miranda's
Lament (Soprano)
Prospero's Vision
(Baritone)Works may be
performed in any order
and a full song
cycle. $12.00 - Voir plus => Acheter | | |
| Jean Sibelius: The Tempest Suite No.1 Op.109 No.2 (Full Score) Orchestre Wilhelm Hansen
For Orchestra. Music Sales America. 20th Century. 80 pages. Edition Wilhelm Hans...(+)
For Orchestra. Music
Sales America. 20th
Century. 80 pages.
Edition Wilhelm Hansen
#WH20264. Published by
Edition Wilhelm Hansen .
20th Century.
$63.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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