| Flower Duet (Dui Hua) (Full Score) - Facile Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 2.5 (+)
String Orchestra string
orchestra with opt. 3rd
Violin/Viola TC 3 - Grade
2.5 SKU: KN.09104S
(Dui Hua).
Composed by Traditional.
Arranged by Albert Wang.
Solo or Ensemble. Voyager
String Orchestra. Kendor
Music Inc #09104S.
Published by Kendor Music
Inc (KN.09104S). UPC:
822795091045. This
popular folk song from
the Hebei Province, a
unique geographical area
surrounding the capital
city of Beijing, is a
great favorite there
because of its memorable
melody. In his score
notes Mr. Wang explains
that Chinese duets
resemble a
question-and-answer
conversation between
voices, which aptly
describes the form and
character of this setting
for student strings.
Duration 3:10. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Gift Of Love Voix duo Hope Publishing Company
Arranged by Hal H. Hopson. For Vocal Duet (Two Medium Voices - Key of G). Choral...(+)
Arranged by Hal H.
Hopson. For Vocal Duet
(Two Medium Voices - Key
of G). Choral Music for
Children / Ring and Sing.
Children, Love, Hymntune,
Wedding. Published by
Hope Publishing Company
$7.95 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Compatible Duets for Strings Vol. II Carl Fischer
Chamber Music viola SKU: CF.BF119 29 Duets That Can Be Played by Any C...(+)
Chamber Music viola
SKU: CF.BF119
29 Duets That Can Be
Played by Any Combination
of String
Instruments. Composed
by Adolphe-Charles Adam,
Chauncey Olcott, Claude
Rouget de Lisle, George
Frideric Handel, Giuseppe
Concone, Giuseppe
Gariboldi, Henri Kling,
Hughie Cannon, Larry
Clark, Richard Shuebruk,
Scottish Folk Song,
Traditional, Wilhelm
Wurm, Wolfgang Amadeus
Mozart, and etc. Arranged
by Doris Gazda Larry
Clark. SWS. Collection.
With Standard notation.
48 pages. Carl Fischer
Music #BF119. Published
by Carl Fischer Music
(CF.BF119). ISBN
9781491149829. UPC:
680160907328. 9 x 12
inches. Continuing
on the success of the
popular Compatible
series,Compatible Duets
for Strings, Volume II
contains 29 duets in
avariety of styles
(classical, folk music,
new original pieces)
thatcan be played with
any combination of two
string
instruments.Students can
develop their chamber
ensemble skills
whileplaying with their
friends, no matter what
string instrumentthey
play. Ranging from grade
levels 2–3,
Compatible Duetsfor
Strings, Volume II is
perfect for orchestra
directors to buyfor use
in the classroom, and its
flexibility makes it a
musthavefor any string
player. Having
students play in small
chamber music groups is a
very beneficial exercise
to improvethe
student’s overall
musicianship. The
simplest form of chamber
music is the duet. It is
anopportunity for the
student to play with a
teacher or to play with
another student of
similarabilities. Aspects
of playing such as tone
quality, intonation,
technique and ensemble
skillscan be developed
during the process of
studying duets.These
duets are different in
that they have many
different performance
options since all ofthe
books in this series are
compatible. As former
long time music educators
we alwayshad student that
wanted to come to the
music room during lunch
or after school and
theyjust wanted to play
with their friends. That
was not possible since
there is very little
duetmaterial available
that is compatible with
all of the string
instruments. This book
and thefirst volume in
the series takes care of
that. A student can now
grab their friend no
matterwhat instrument
they play and have hours
of fun playing duets
together. Most
importantthey will learn
something in the
process.The duets have
been generally placed in
the book in order of
difficulty and cover a
rangeof keys that are
appropriate for this
ability level. Special
care was given to making
surethat both of the duet
parts were on a similar
ability level and that
each line was givenan
opportunity to play a
lead role at some point
during the arrangement.
Also, most ofthe musical
markings are attached to
both systems and the
point size of the music
wasconsidered for ease of
reading.It is our hope
that this collection will
help to stimulate and
enhance the musicianship
of theperformers. It was
a pleasure for me to have
the opportunity to put
together this
collection.We hope it is
a useful tool for you for
years to come. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Compatible String Ensembles: Easy Concert Duets (Viola) Carl Fischer
Chamber Music solo viola SKU: CF.BF155 30 Easy Level Arrangements for ...(+)
Chamber Music solo viola
SKU: CF.BF155
30 Easy Level
Arrangements for Any
Combination of String
Instruments. Composed
by Antonin Dvorak, Clara
Wieck-Schumann, Czech
Folk Song, Edvard Grieg,
French Folk Song, George
Frideric Handel, Isabella
Leonarda, Korean
Folksong, Lowell Mason,
Scottish Folk Song,
Spanish Folk, Thomas
Bayly, Traditional,
Wolfgang Amadeus Mozart,
and etc. Arranged by
Kathryn Griesinger.
Collection - Part. 28
pages. Carl Fischer Music
#BF155. Published by Carl
Fischer Music (CF.BF155).
ISBN 9781491162071.
UPC:
680160920815. Learn
ing to play chamber music
is an important milestone
in the music
student’s journey.
Playing with a teacher or
friend helps develop
rhythmic independence,
intonation, listening
skills, and sense of
pulse that are vital to
playing in an ensemble.
These progressive duets
offer beginning and
developing players the
opportunity to play along
with others, or with the
helpful support of the
teacher in a lesson. Each
duet adds new techniques
and challenges that align
with the natural
advancement of lessons,
moving from easy rhythms
and keys to staccato bow
strokes, slurs,
accidentals (low or
extended finger
patterns), and more
complex or independent
rhythms. While the melody
remains in the top line,
musicians can alternate
playing the melody as all
efforts have been made to
keep both parts at a
similar difficulty level.
This book features
familiar melodies from
traditional, folk, and
Classical repertoire
including tunes that many
string teachers will
recognize from Suzuki
books. Appropriate for
recitals or even small
group concerts, there are
30 selections of
different tempi, styles,
and keys for variety,
while remaining in
string-friendly ranges.
Each duet is one page or
less in length, ensuring
an immediate sense of
success for young
players. The perfect
supplement to method book
exercises and solo
repertoire. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Happy Tune Violon Theodore Presser Co.
Chamber Music violin, viola SKU: PR.114419730 For violin and Viola...(+)
Chamber Music violin,
viola SKU:
PR.114419730 For
violin and Viola.
Composed by Chen Yi. Sws.
Set of Score and Parts.
8+2+2 pages. Duration
2:30. Theodore Presser
Company #114-41973.
Published by Theodore
Presser Company
(PR.114419730). ISBN
9781491132333. UPC:
680160681686. 9 x 12
inches. Chen Yi
describes the cheery
interplay of HAPPY TUNE
as: “When one
instrument plays a
livelymelody, the other
plays a vivid rhythmic
pattern in the
accompaniment. The pair
of string
instrumentsimitates the
sound of primitive
Chinese folk song
singing, as well as the
Chinese traditional
windinstrument sheng, a
mouth pipe organ.â€
Published as a shared
score and extracted
parts, and writtenas a
celebration piece
honoring the 25th
anniversary of the Great
Lakes Chamber Music
Festival. Composed to
celebrate the 25th
Anniversary of the Great
Lakes Chamber Music
Festival, my violin and
viola duet HAPPY TUNE was
written for Kim
Kashkashian and Tien-Hsin
Cindy Wu, and premiered
at the festival on June
16, 2018.I fondly
remember being invited by
the GLCMF (directed by
Prof. James Tocco) to be
the dual Stone
Composers-in-Residence
with my husband Zhou
Long, along with the
Stone Composer Fellow
Nicholas Omiccioli in
2011. We had a dozen of
our chamber works
performed excellently by
the outstanding chamber
ensembles and musicians
during the week, meeting
enthusiastic audiences
and supporters of new
music in various venues
at the festival. The
experience was truly
inspiring, and I created
HAPPY TUNE to honor the
GLCMF, with hopes to
carry on the high spirit
in our new music
society.In this duet,
when one instrument plays
a lively melody, the
other plays a vivid
rhythmic pattern in the
accompaniment. The pair
of string instruments
imitates the sound of
primitive Chinese folk
song singing, as well as
the Chinese traditional
wind instrument sheng, a
mouth pipe organ. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Happy Tune Theodore Presser Co.
Chamber Music Cello, Flute SKU: PR.114422590 Composed by Chen Yi. Set of ...(+)
Chamber Music Cello,
Flute SKU:
PR.114422590 Composed
by Chen Yi. Set of Score
and Parts. 8+2+2 pages.
Duration 2:30. Theodore
Presser Company
#114-42259. Published by
Theodore Presser Company
(PR.114422590). ISBN
9781491134771. UPC:
680160685493. Chen
Yi describes the cheery
interplay of HAPPY TUNE
as one instrument playing
a lively melody, while
the other plays a vivid
rhythmic pattern as
accompaniment. The pair
of instruments imitates
primitive Chinese folk
song singing, as well as
the traditional wind
instrument sheng, a mouth
pipe organ. One of the
composer’s
favorite themes to
develop for different
textures, HAPPY TUNE is a
variant from Chen
Yi’s Three
Bagatelles from China
West, both versions
appearing in several
scorings. Composed to
celebrate the 25th
Anniversary of the Great
Lakes Chamber Music
Festival, HAPPY TUNE was
originally written as a
violin/viola duet for Kim
Kashkashian and Tien-Hsin
Cindy Wu, and premiered
at the festival on June
16, 2018. The flute/cello
adaptation was created in
2021.I fondly remember
being invited by the
GLCMF (directed by Prof.
James Tocco) to be the
dual Stone
Composers-in-Residence
with my husband Zhou
Long, along with the
Stone Composer Fellow
Nicholas Omiccioli in
2011. We had a dozen of
our chamber works
performed excellently by
the outstanding chamber
ensembles and musicians
during the week, meeting
enthusiastic audiences
and supporters of new
music in various venues
at the festival. The
experience was truly
inspiring, and I created
HAPPY TUNE to honor the
GLCMF, with hopes to
carry on the high spirit
in our new music
society.In this duet,
when one instrument plays
a lively melody, the
other plays a vivid
rhythmic pattern in the
accompaniment. The pair
of string instruments
imitates the sound of
primitive Chinese folk
song singing, as well as
the Chinese traditional
wind instrument sheng, a
mouth pipe organ. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fiddling Classics for Solo and Ensemble, Viola/Violin 3 and Ensemble Score-Piano Accompaniment Included - Intermédiaire Mel Bay
Viola/violin 3 - Intermediate SKU: MB.30561 Piano Accompaniment Includ...(+)
Viola/violin 3 -
Intermediate SKU:
MB.30561 Piano
Accompaniment
Included. Composed by
Craig Duncan.
Saddle-stitched,
Bluegrass, Duets and
Ensembles, Country,
Alternative Styles,
Solos. Style. Book. 80
pages. Mel Bay
Publications, Inc #30561.
Published by Mel Bay
Publications, Inc
(MB.30561). ISBN
9780786697816. 8.75 x
11.75
inches. Fiddling
Classics contains 14
arrangements of classic
fiddle tunes from Texas,
cowboy and Western Swing
music traditions, written
in an exciting
twin/triple fiddle style.
The series includes three
books for different
instrumentation. This
book is: MB30562 Fiddling
Classics for Solo and
Ensemble:
Cello/Bass(Includes
cello/bass melody and
harmony parts). The
others are: MB30560
Fiddling Classics for
Solo and Ensemble:
Violins 1 and 2(Includes
2 violin parts). MB30561
Fiddling Classics for
Solo and Ensemble: Viola,
Violin 3 and
Score(Includes parts for
viola melody, harmony,
third violin and a full
score). Each book
includes piano
accompaniment with guitar
chords. All three work
together, providing
readers with material for
all possible combination
of instruments; solo
instrument with piano or
guitar, duets, trios,
string quartets and much
more. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.144407270 Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270). UPC:
680160681891. 9 x 12
inches. My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H. $70.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet SKU:
PR.14440727S Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S). UPC:
680160681907. 9 x 12
inches. My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Chorale SATB [Conducteur et Parties séparées] Carus Verlag
Solo SATB, SATB Choir, 2 Violin, Viola, Cello/Contrabass, Harp ad lib, Basso con...(+)
Solo SATB, SATB Choir, 2
Violin, Viola,
Cello/Contrabass, Harp ad
lib, Basso continuo
SKU: CA.1036919
Christmas cantata.
Composed by Christian
August Jacobi. Edited by
Tobias Nicolaus. Also Hat
Gott Die Welt Geliebet.
Sacred vocal music,
Cantatas, Christmas. Set
of Orchestra Parts.
Composed 1708. Duration
19 minutes. Carus Verlag
#CV 10.369/19. Published
by Carus Verlag
(CA.1036919). ISBN
9790007190569. Key: F
major. Language:
German/English. The
Bach contemporary
Christian August Jacobi
is among those composers
who made a lasting
impression among 18th
century Middle German
composers, since the
influence of the
Thomaskantor himself was
limited primarily to
Leipzig. Jacobi's
cantatas are richly
varied and they not too
difficult to perform.
Five of the six movements
of the Christmas cantata
Also hat Gott die Welt
geliebet for soli, choir,
strings and basso
continuo are based on
Luther's Christmas
chorale Vom Himmel hoch,
da komm ich her, which
give the work a
traditional character
(the text of the first
movement is based on the
Gospel of St. John). The
richly varied
instrumentation and
alternation between
choral movements and
duets by the soloists
bring to the sound of the
cantata a variety which
will also be enhanced by
the use of the harp (ad
libitum). Score and parts
available separately -
see item CA.1036900. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| So greatly God esteemed the world (Also hat Gott die Welt geliebt) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SATB vocal soli, SATB choir, 2 violins, cello/contrabass, harp ad lib, basso con...(+)
SATB vocal soli, SATB
choir, 2 violins,
cello/contrabass, harp ad
lib, basso continuo
SKU: CA.1036913
Christmas cantata.
Composed by Christian
August Jacobi. Edited by
Tobias Nicolaus. Also Hat
Gott Die Welt Geliebet.
Sacred vocal music,
Cantatas, Christmas.
Single Part, Viola.
Composed 1708. 2 pages.
Duration 19 minutes.
Carus Verlag #CV
10.369/13. Published by
Carus Verlag
(CA.1036913). ISBN
9790007190545. Key: F
major. Language:
German/English. The
Bach contemporary
Christian August Jacobi
is among those composers
who made a lasting
impression among 18th
century Middle German
composers, since the
influence of the
Thomaskantor himself was
limited primarily to
Leipzig. Jacobi's
cantatas are richly
varied and they not too
difficult to perform.
Five of the six movements
of the Christmas cantata
Also hat Gott die Welt
geliebet for soli, choir,
strings and basso
continuo are based on
Luther's Christmas
chorale Vom Himmel hoch,
da komm ich her, which
give the work a
traditional character
(the text of the first
movement is based on the
Gospel of St. John). The
richly varied
instrumentation and
alternation between
choral movements and
duets by the soloists
bring to the sound of the
cantata a variety which
will also be enhanced by
the use of the harp (ad
libitum). Score and part
available separately -
see item CA.1036900. $2.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fiddling Classics for Solo and Ensemble - Violins 1 and 2 Violon - Intermédiaire Mel Bay
Piano Accompaniment Included. Composed by Craig Duncan. Book and insert. ...(+)
Piano Accompaniment
Included. Composed by
Craig Duncan. Book and
insert. 64 pages.
Published by Mel Bay
Publications, Inc
(MB.30560).
$17.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Hymns of Advent 2 Violons, Piano [Conducteur] - Facile Latham Music Enterprises
Violin Duet and Piano with optional Viola and Cello - Grade 2.5 SKU: AP.36-52...(+)
Violin Duet and Piano
with optional Viola and
Cello - Grade 2.5 SKU:
AP.36-52711504
Composed by Catherine
McMichael. Duet or Duo;
Performance Music
Ensemble; Violin Duet.
Latham Music. Christmas;
Sacred; Winter. Score.
Latham Music Enterprises
#36-52711504. Published
by Latham Music
Enterprises
(AP.36-52711504). ISBN
9781628763898. UPC:
746241244680.
English. A
practical collection of
some of the favorite
traditional hymns of the
Advent season. In these
arrangements the first
violin player plays a
relatively
straight-forward part for
each tune while the
second part contains a
slightly more ornamented
part. Titles include:
Savior of the Nations,
Come; Lo, How a Rose E'er
Blooming; Let All Mortal
Flesh Keep Silence; The
Angel Gabriel; Come,
Redeemer of the Earth; Of
the Father's Love
Begotten; and Lift Up
your Heads, Ye Mighty
Gates.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months. $21.95 - Voir plus => Acheter | | |
| Fiddling Classics for Solo and Ensemble, Cello/Bass-Piano Accompaniment Included Violoncelle, Piano - Intermédiaire Mel Bay
Cello/bass - Intermediate SKU: MB.30562 Piano Accompaniment Included.<...(+)
Cello/bass - Intermediate
SKU: MB.30562
Piano Accompaniment
Included.. Composed
by Craig Duncan.
Saddle-stitched,
Alternative Style,
Bluegrass, Duet/Ensemble,
Country. Style. Book. 80
pages. Mel Bay
Publications, Inc #30562.
Published by Mel Bay
Publications, Inc
(MB.30562). ISBN
9780786697823. 8.75 x
11.75
inches. Fiddling
Classics contains 14
arrangements of classic
fiddle tunes from Texas,
cowboy and Western Swing
music traditions, written
in an exciting
twin/triple fiddle style.
The series includes three
books for different
instrumentation:MB30560
Fiddling Classics for
Solo and Ensemble:
Violins 1 and 2 Includes
2 violin parts .MB30561
Fiddling Classics for
Solo and Ensemble: Viola,
Violin 3 and Score
Includes parts for viola
melody, harmony, third
violin and a full score
.MB30562 Fiddling
Classics for Solo and
Ensemble: Cello/Bass
Includes cello/bass
melody and harmony parts
.Each book includes piano
accompaniment with guitar
chords. All three work
together, providing
readers with material for
all possible combination
of instruments; solo
instrument with piano or
guitar, duets, trios,
string quartets and much
more. $19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Romances - Intermédiaire Wilhelm Hansen
Piano Accompaniment; Viola - Grade 4 SKU: HL.14042354 Viola and Piano<...(+)
Piano Accompaniment;
Viola - Grade 4 SKU:
HL.14042354 Viola
and Piano. Composed
by Poul Ruders. Music
Sales America. Classical,
Contemporary. Softcover.
Composed 2012. Edition
Wilhelm Hansen #WH31331.
Published by Edition
Wilhelm Hansen
(HL.14042354). ISBN
9788759822630.
9.5x14.25x0.17 inches.
International (more than
one
language). Programn
ote According to
tradition, a mid- or
late-19th century
instrumental Romance - or
Romanza - is a shortish
composition of
predominantly melodic
nature, with a slight
leaning toward the
sentimental.In several
European languages, such
as German, French, and
Danish, the word for
navel, i.e., an unfolding
drama in writing, is
Roman, and although
there's nothing literary
about my Six Romances for
viola and piano, each
piece tells its own story
open to individual inner
interpretation. Portal
forms the opening
chapter, so to speak,
paving the way for the
second movement, named
Even Song. Maybe it's
just a simple tune heard
at sunset, perhaps the
melody is carried from
faraway, over the hills
from inside the village
church...Titles such as,
Ballad, and Dirge (song
of mourning) immediately
reveal the nature and
mood of the music to
come, where-as the
concluding piece Duet is
slightly more
'mysterious.'In a classic
duet the two instruments
in question, or more
likely voices complement
each other benevolently.
In the present case,
however, the viola and
the piano both stand
firm, protection their
own turf - and - 'the
twain shall never
meet!'The piece is very
short indeed, it just
stops, leaving the
listener to finish the
'story' in his or her own
imagination. A true open
ending. Poul Ruders. $50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For us a child is born (Uns ist ein Kind geboren) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso ...(+)
SSATB vocal soli, SATB
choir, 2 flutes (horn), 2
oboes, 2 violins, viola,
basso continuo SKU:
CA.3911513 Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
Viola. Sacred vocal
music, Cantatas,
Christmas. Single Part,
Viola. TVWV 1:1452. 8
pages. Duration 22
minutes. Carus Verlag #CV
39.115/13. Published by
Carus Verlag
(CA.3911513). ISBN
9790007215620. Language:
German. Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and part
available separately -
see item CA.3911500. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Early String Ensemble Playing - Débutant Barenreiter
First violin,second violin (viola),cello (1. Violin, 2. Violin (Viola), Violonce...(+)
First violin,second
violin (viola),cello (1.
Violin, 2. Violin
(Viola), Violoncello) -
Level 1 SKU:
BA.BA10688 Edited by
Egon Saßmannshaus and
Kurt Sassmannshaus.
Stapled. Barenreiter's
Sassmannshaus.
Performance score, Part,
anthology. 19/2 pages.
Baerenreiter Verlag
#BA10688_00. Published by
Baerenreiter Verlag
(BA.BA10688). ISBN
9790006566051. 30 x 23 cm
inches. Preface:
Sassmannshaus, Egon /
Sassmannshaus,
Kurt. The
Sassmannshaus
“Early Startâ€
string methods cultivate
playing together as early
as possible, initially in
duets. However playing in
larger mixed ensembles is
also encouraged and this
tried-and-trusted edition
for strings provides the
perfect start for this.
The first songs can all
be performed in canon;
each piece is notated in
violin, viola and bass
clef so that all three
string instruments can
play together in any
number and combination.
The collection then
continues with
through-composed pieces
by such composers as
Johann Valentin Rathgeber
and Johann Joseph Fux.
Here the middle part may
optionally be performed
by a viola or second
violin.
About
Baerenreiter's
Sassmannshaus Children playfully
learn reliable technique
at the earliest age. For
more than three decades
the Sassmannshaus
Tradition has been the
household name for
excellence in beginner
methods in
German-speaking
countries. More than half
a million students have
successfully learned to
play using this
publication.
Thi
s tried and tested German
method is now available
in English! The
best-selling method that
gave generations of
European musicians their
foundation is now
available in English,
with content and songs
newly adapted for today's
English speaking
children.
What makes this method
so
special?-
The child-friendly and
age-appropriate text
underlying the music
enables children to
perceive melodies as a
whole and to understand
their singable
qualities.
- Songs
and scales in different
positions are easily
explained and mastered
within the first year.
This is an important
advantage over methods
that confine children to
the first position for
many years.
- Note
reading is emphasized
from the first lesson -
children are brought up
to become proficient
sight-readers and play in
chamber music ensembles
as early as
possible.
- In
contrast to other
beginner methods, The
Sassmannshaus Tradition
progresses swiftly by
introducing advanced
techniques in rudimentary
form, such as shifting
and varied bow
strokes.
- Ensemble
playing is encouraged
from the very
beginning.
- The
method is suitable for
single instruction as
well as for group and
class
lessons.
- The
large print notes and
text as well as many
colorful illustrations
are particularly
child-friendly and very
attractive to pre-school
children and school
children
alike.
- The
substantial volumes
contain comprehensive
material and carefully
calibrated learning
curves. They keep
children curious and
interested for many
months and
years.
$18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Prayers from the Ark Chorale SSAA - Intermédiaire/avancé Moseler Verlag
Female choir (SSAA) and instruments (oboe, violin I, violin II, viola, cello, do...(+)
Female choir (SSAA) and
instruments (oboe, violin
I, violin II, viola,
cello, double bass) -
level 4 SKU:
M2.MOS-69449-60
Composed by Alfred
Koerppen. Set of parts.
Möseler Verlag #MOS
69449-60. Published by
Möseler Verlag
(M2.MOS-69449-60).
ISBN
9790203755692. 1955
erschien aus der Hand der
franzosischen Nonne
Carmen Bernos de Gaszold
ein Gedichtband unter dem
Titel Prieres dans
l'Arche - Gebete aus der
Arche. Diese Gebete
werden den Tieren in den
Mund gelegt, die mit
Noah, in der drangvollen
Enge der Arche vereint,
das Ende der Sintflut
erwarten. Die Dichterin
folgt einer Tradition -
man denkt an Asop, La
Fontaine und Goethe -
wenn sie im Wesen der
Kreaturen Spiegelungen
menschlicher Schwachen,
Fehler und Tugenden
erkennt. Denn die in der
Wasserwuste gefangenen
Tiere reden so fromm,
furchtsam, selbstgerecht
und banal, wie es
menschlich ware. Und auch
das Allzumenschliche -
Hoffart, Leichtsinn, Neid
- kommt zu Wort. Nur dass
die Ichbefangenheit der
betenden Tiere ihrer
Unschuld keinen Abbruch
tut. Ihre bedingte und
bedrangte Natur findet
Gedanken, die uns ein
sympathisierendes Lacheln
abgewinnt. Der Zyklus
schien mir zur Vertonung
geeignet, weil er ein
religioses Thema
unpratentios und
originell vortragt und
ein Stuck ermoglicht, das
die ubliche Trennung
zwischen weltlich und
geistlich uberschreitet
und Konzertsaal und
Kirche in Anspruch nehmen
kann. Zur Besetzung: Der
Frauenchor muss aus den
vier ublichen Stimmlagen
1. und 2. Sopran, 1. und
2. Alt bestehen, wobei
auch noch Stimmteilungen
vorkommen. In Nr. 9 Gebet
der Taube wird noch ein
(aus dem Chor zu
bildendes) Soloquartett
gebraucht. Der
Instrumentalpart besteht
aus einer Oboe und einem
Streicherquintett (1. und
2. Violine, Viola,
Violoncello und
Kontrabass). Die
Besetzung soll solistisch
sein, kann aber bei den
Streichern (und wenn die
Klangbalance zum Chor
dies wunschenswert macht)
zu einem kleinen
Kammerorchester erweitert
werden. Der Charakter der
Instrumente, ihre
Techniken und Farben,
erlauben mir realistische
Klangmetaphern und
physiognomische
Parallelen - so, wenn das
Cello im Duett mit dem
Alt die hochmutige
Giraffe in
grossintervalligen
Sprungen deutet, die
rasende Geschaftigkeit
der Ameise sich in
schnellen
Violinbariolagen
ausdruckt oder die Oboe
ein naturalistisches
Rabengekrachz horen
lasst. Der Zyklus beginnt
mit dem Gebet des Noah.
Man stelle sich das
Gedrange und Geschrei
vor, dass die Arche
erfullt, die hochgehenden
Wogen, den prasselnden
Regen, und mitten darin
den Urvater Noah, dem
sich der Ausruf entringt:
Herr, was fur ein Zirkus!
Seine Ausbruche
korrespondieren mit dem
auf- und niederwogenden
Streichersatz, bis der
Sturm sich legt, die
Wogen sich glatten und
Noah in der mehrmals
gedehnten Phrase Es
dauert lange seine
Ergebung und Hoffnung
ausdruckt. Nach dem
pharisaischen Gebet der
Giraffe ergreift die
Schildkrote das Wort. Ihr
Instrument ist die
Bratsche. Ihre
schnaufende Kurzatmigkeit
hindert sie, ihr Gebet
zusammenhangend zu
sprechen. Der fleissigen
Ameise - sie erbost sich
sehr uber die Grille,
deren Wirtshausmusik sie
unterbricht - folgt der
Hahn mit hellen und
scharfen Tonen. Er ist
es, der die Sonne
aufgehen lasst; man kann
es in dem sich
auffaltenden Klang der
Coda horen. Der
vergessliche
Schmetterling taumelt in
immer neu variierten
Oboenfiguren durch die
glasernen Sommerklange
von Streicherflageoletts,
bis es ihm einfallt, was
er sagen wollte: Amen.
Das Schwein bekennt sich
zu seiner schnuffelnden
und grunzenden Natur,
die, von den Streichern
mit rauhem Bogendruck
gezeichnet, in der Coda
durch eine stille
F-Dur-Kantilene eine
sonderbare Verklarung
erfahrt. Vor uns die
Sintflut ruft der Rabe,
und sein durchdringender
Oboenschrei ubertont das
Wogen und Schwanken der
Streicher, die hier
Motive aus dem Gebet des
Noah wieder aufnehmen. In
der darauf eintretenden
Stille bieten die
Instrumente verschiedene
Themen an, die folgenlos
verschwinden - um nach
dem Altsolo Die Arche
wartet sich in einem
ruhig-feierlichen
a-cappella-Satz mit
alternierendem
Soloquartett wieder
zusammenzufinden und das
Werk in reinem Es-Dur
beschliessen. Alfred
Koerppen. $39.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prayers from the Ark Chorale SSAA - Intermédiaire/avancé Moseler Verlag
Female choir (SSAA) and instruments - level 4 SKU: M2.MOS-69449-01 Compos...(+)
Female choir (SSAA) and
instruments - level 4
SKU:
M2.MOS-69449-01
Composed by Alfred
Koerppen. Choral score.
Möseler Verlag #MOS
69449-01. Published by
Möseler Verlag
(M2.MOS-69449-01).
ISBN
9790203755685. 1955
erschien aus der Hand der
franzosischen Nonne
Carmen Bernos de Gaszold
ein Gedichtband unter dem
Titel Prieres dans
l'Arche - Gebete aus der
Arche. Diese Gebete
werden den Tieren in den
Mund gelegt, die mit
Noah, in der drangvollen
Enge der Arche vereint,
das Ende der Sintflut
erwarten. Die Dichterin
folgt einer Tradition -
man denkt an Asop, La
Fontaine und Goethe -
wenn sie im Wesen der
Kreaturen Spiegelungen
menschlicher Schwachen,
Fehler und Tugenden
erkennt. Denn die in der
Wasserwuste gefangenen
Tiere reden so fromm,
furchtsam, selbstgerecht
und banal, wie es
menschlich ware. Und auch
das Allzumenschliche -
Hoffart, Leichtsinn, Neid
- kommt zu Wort. Nur dass
die Ichbefangenheit der
betenden Tiere ihrer
Unschuld keinen Abbruch
tut. Ihre bedingte und
bedrangte Natur findet
Gedanken, die uns ein
sympathisierendes Lacheln
abgewinnt. Der Zyklus
schien mir zur Vertonung
geeignet, weil er ein
religioses Thema
unpratentios und
originell vortragt und
ein Stuck ermoglicht, das
die ubliche Trennung
zwischen weltlich und
geistlich uberschreitet
und Konzertsaal und
Kirche in Anspruch nehmen
kann. Zur Besetzung: Der
Frauenchor muss aus den
vier ublichen Stimmlagen
1. und 2. Sopran, 1. und
2. Alt bestehen, wobei
auch noch Stimmteilungen
vorkommen. In Nr. 9 Gebet
der Taube wird noch ein
(aus dem Chor zu
bildendes) Soloquartett
gebraucht. Der
Instrumentalpart besteht
aus einer Oboe und einem
Streicherquintett (1. und
2. Violine, Viola,
Violoncello und
Kontrabass). Die
Besetzung soll solistisch
sein, kann aber bei den
Streichern (und wenn die
Klangbalance zum Chor
dies wunschenswert macht)
zu einem kleinen
Kammerorchester erweitert
werden. Der Charakter der
Instrumente, ihre
Techniken und Farben,
erlauben mir realistische
Klangmetaphern und
physiognomische
Parallelen - so, wenn das
Cello im Duett mit dem
Alt die hochmutige
Giraffe in
grossintervalligen
Sprungen deutet, die
rasende Geschaftigkeit
der Ameise sich in
schnellen
Violinbariolagen
ausdruckt oder die Oboe
ein naturalistisches
Rabengekrachz horen
lasst. Der Zyklus beginnt
mit dem Gebet des Noah.
Man stelle sich das
Gedrange und Geschrei
vor, dass die Arche
erfullt, die hochgehenden
Wogen, den prasselnden
Regen, und mitten darin
den Urvater Noah, dem
sich der Ausruf entringt:
Herr, was fur ein Zirkus!
Seine Ausbruche
korrespondieren mit dem
auf- und niederwogenden
Streichersatz, bis der
Sturm sich legt, die
Wogen sich glatten und
Noah in der mehrmals
gedehnten Phrase Es
dauert lange seine
Ergebung und Hoffnung
ausdruckt. Nach dem
pharisaischen Gebet der
Giraffe ergreift die
Schildkrote das Wort. Ihr
Instrument ist die
Bratsche. Ihre
schnaufende Kurzatmigkeit
hindert sie, ihr Gebet
zusammenhangend zu
sprechen. Der fleissigen
Ameise - sie erbost sich
sehr uber die Grille,
deren Wirtshausmusik sie
unterbricht - folgt der
Hahn mit hellen und
scharfen Tonen. Er ist
es, der die Sonne
aufgehen lasst; man kann
es in dem sich
auffaltenden Klang der
Coda horen. Der
vergessliche
Schmetterling taumelt in
immer neu variierten
Oboenfiguren durch die
glasernen Sommerklange
von Streicherflageoletts,
bis es ihm einfallt, was
er sagen wollte: Amen.
Das Schwein bekennt sich
zu seiner schnuffelnden
und grunzenden Natur,
die, von den Streichern
mit rauhem Bogendruck
gezeichnet, in der Coda
durch eine stille
F-Dur-Kantilene eine
sonderbare Verklarung
erfahrt. Vor uns die
Sintflut ruft der Rabe,
und sein durchdringender
Oboenschrei ubertont das
Wogen und Schwanken der
Streicher, die hier
Motive aus dem Gebet des
Noah wieder aufnehmen. In
der darauf eintretenden
Stille bieten die
Instrumente verschiedene
Themen an, die folgenlos
verschwinden - um nach
dem Altsolo Die Arche
wartet sich in einem
ruhig-feierlichen
a-cappella-Satz mit
alternierendem
Soloquartett wieder
zusammenzufinden und das
Werk in reinem Es-Dur
beschliessen. Alfred
Koerppen. $11.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Prayers from the Ark Chorale SSAA [Conducteur] - Intermédiaire/avancé Moseler Verlag
Female choir (SSAA) and instruments - level 4 SKU: M2.MOS-69449 Composed ...(+)
Female choir (SSAA) and
instruments - level 4
SKU: M2.MOS-69449
Composed by Alfred
Koerppen. Score. 56
pages. Möseler Verlag
#MOS 69449. Published by
Möseler Verlag
(M2.MOS-69449). ISBN
9790203755678. 1955
erschien aus der Hand der
franzosischen Nonne
Carmen Bernos de Gaszold
ein Gedichtband unter dem
Titel Prieres dans
l'Arche - Gebete aus der
Arche. Diese Gebete
werden den Tieren in den
Mund gelegt, die mit
Noah, in der drangvollen
Enge der Arche vereint,
das Ende der Sintflut
erwarten. Die Dichterin
folgt einer Tradition -
man denkt an Asop, La
Fontaine und Goethe -
wenn sie im Wesen der
Kreaturen Spiegelungen
menschlicher Schwachen,
Fehler und Tugenden
erkennt. Denn die in der
Wasserwuste gefangenen
Tiere reden so fromm,
furchtsam, selbstgerecht
und banal, wie es
menschlich ware. Und auch
das Allzumenschliche -
Hoffart, Leichtsinn, Neid
- kommt zu Wort. Nur dass
die Ichbefangenheit der
betenden Tiere ihrer
Unschuld keinen Abbruch
tut. Ihre bedingte und
bedrangte Natur findet
Gedanken, die uns ein
sympathisierendes Lacheln
abgewinnt. Der Zyklus
schien mir zur Vertonung
geeignet, weil er ein
religioses Thema
unpratentios und
originell vortragt und
ein Stuck ermoglicht, das
die ubliche Trennung
zwischen weltlich und
geistlich uberschreitet
und Konzertsaal und
Kirche in Anspruch nehmen
kann. Zur Besetzung: Der
Frauenchor muss aus den
vier ublichen Stimmlagen
1. und 2. Sopran, 1. und
2. Alt bestehen, wobei
auch noch Stimmteilungen
vorkommen. In Nr. 9 Gebet
der Taube wird noch ein
(aus dem Chor zu
bildendes) Soloquartett
gebraucht. Der
Instrumentalpart besteht
aus einer Oboe und einem
Streicherquintett (1. und
2. Violine, Viola,
Violoncello und
Kontrabass). Die
Besetzung soll solistisch
sein, kann aber bei den
Streichern (und wenn die
Klangbalance zum Chor
dies wunschenswert macht)
zu einem kleinen
Kammerorchester erweitert
werden. Der Charakter der
Instrumente, ihre
Techniken und Farben,
erlauben mir realistische
Klangmetaphern und
physiognomische
Parallelen - so, wenn das
Cello im Duett mit dem
Alt die hochmutige
Giraffe in
grossintervalligen
Sprungen deutet, die
rasende Geschaftigkeit
der Ameise sich in
schnellen
Violinbariolagen
ausdruckt oder die Oboe
ein naturalistisches
Rabengekrachz horen
lasst. Der Zyklus beginnt
mit dem Gebet des Noah.
Man stelle sich das
Gedrange und Geschrei
vor, dass die Arche
erfullt, die hochgehenden
Wogen, den prasselnden
Regen, und mitten darin
den Urvater Noah, dem
sich der Ausruf entringt:
Herr, was fur ein Zirkus!
Seine Ausbruche
korrespondieren mit dem
auf- und niederwogenden
Streichersatz, bis der
Sturm sich legt, die
Wogen sich glatten und
Noah in der mehrmals
gedehnten Phrase Es
dauert lange seine
Ergebung und Hoffnung
ausdruckt. Nach dem
pharisaischen Gebet der
Giraffe ergreift die
Schildkrote das Wort. Ihr
Instrument ist die
Bratsche. Ihre
schnaufende Kurzatmigkeit
hindert sie, ihr Gebet
zusammenhangend zu
sprechen. Der fleissigen
Ameise - sie erbost sich
sehr uber die Grille,
deren Wirtshausmusik sie
unterbricht - folgt der
Hahn mit hellen und
scharfen Tonen. Er ist
es, der die Sonne
aufgehen lasst; man kann
es in dem sich
auffaltenden Klang der
Coda horen. Der
vergessliche
Schmetterling taumelt in
immer neu variierten
Oboenfiguren durch die
glasernen Sommerklange
von Streicherflageoletts,
bis es ihm einfallt, was
er sagen wollte: Amen.
Das Schwein bekennt sich
zu seiner schnuffelnden
und grunzenden Natur,
die, von den Streichern
mit rauhem Bogendruck
gezeichnet, in der Coda
durch eine stille
F-Dur-Kantilene eine
sonderbare Verklarung
erfahrt. Vor uns die
Sintflut ruft der Rabe,
und sein durchdringender
Oboenschrei ubertont das
Wogen und Schwanken der
Streicher, die hier
Motive aus dem Gebet des
Noah wieder aufnehmen. In
der darauf eintretenden
Stille bieten die
Instrumente verschiedene
Themen an, die folgenlos
verschwinden - um nach
dem Altsolo Die Arche
wartet sich in einem
ruhig-feierlichen
a-cappella-Satz mit
alternierendem
Soloquartett wieder
zusammenzufinden und das
Werk in reinem Es-Dur
beschliessen. Alfred
Koerppen. $56.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| For us a child is born (Uns ist ein Kind geboren) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées] Carus Verlag
SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso ...(+)
SSATB vocal soli, SATB
choir, 2 flutes (horn), 2
oboes, 2 violins, viola,
basso continuo SKU:
CA.3911519 Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
German title: Uns ist ein
Kind geboren. Sacred
vocal music, Cantatas,
Christmas. Set of
Orchestra Parts. TVWV
1:1452. Duration 22
minutes. Carus Verlag #CV
39.115/19. Published by
Carus Verlag
(CA.3911519). ISBN
9790007139346. Language:
German. Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and parts
available separately -
see item CA.3911500. $93.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For us a child is born (Uns ist ein Kind geboren) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso ...(+)
SSATB vocal soli, SATB
choir, 2 flutes (horn), 2
oboes, 2 violins, viola,
basso continuo SKU:
CA.3911514 Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
Violoncello/double bass.
Sacred vocal music,
Cantatas, Christmas.
Single Part, Cello/Double
Bass. TVWV 1:1452. 8
pages. Duration 22
minutes. Carus Verlag #CV
39.115/14. Published by
Carus Verlag
(CA.3911514). ISBN
9790007215637. Language:
German. Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and part
available separately -
see item CA.3911500. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For us a child is born (Uns ist ein Kind geboren) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso ...(+)
SSATB vocal soli, SATB
choir, 2 flutes (horn), 2
oboes, 2 violins, viola,
basso continuo SKU:
CA.3911505 Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
Sacred vocal music,
Cantatas, Christmas.
Choral Score. TVWV
1:1452. 4 pages. Duration
22 minutes. Carus Verlag
#CV 39.115/05. Published
by Carus Verlag
(CA.3911505). ISBN
9790007128784. Language:
German. Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score available
separately - see item
CA.3911500. $5.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| For us a child is born (Uns ist ein Kind geboren) Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
SSATB vocal soli, SATB choir, 2 flutes (horn), 2 oboes, 2 violins, viola, basso ...(+)
SSATB vocal soli, SATB
choir, 2 flutes (horn), 2
oboes, 2 violins, viola,
basso continuo SKU:
CA.3911549 Composed
by Georg Philipp
Telemann. Edited by Klaus
Hofmann. This edition:
urtext. Stuttgart Urtext
Edition: Telemann-Archiv.
Organ. Sacred vocal
music, Cantatas,
Christmas. Single Part,
Organ. Composed 1744.
TVWV 1:1452. Duration 22
minutes. Carus Verlag #CV
39.115/49. Published by
Carus Verlag
(CA.3911549). ISBN
9790007215644. Language:
German. Uns ist ein
Kind geboren is one of
Telemann's most beautiful
Christmas cantatas, which
features an opening duet
for two sopranos based on
Polish-Moravian folklore,
as well as two
substantial choral
movements. The two horns
allotted to the second
choral movement to the
text Ehre sei Gott in der
Hohe can be replaced by
two flutes. This is
supported by a source
from the Telemann
tradition in Frankfurt,
in which these parts are
present. Score and part
available separately -
see item CA.3911500. $11.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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