| Star Wars - Instrumental Play-Along Series Alto seul [Partition + Accès audio] Hal Leonard
Music from All Nine Films. Composed by John Williams. Instrumental Play-Along....(+)
Music from All Nine
Films.
Composed by John
Williams.
Instrumental Play-Along.
Disney, Movies. Softcover
Audio Online. 24 pages.
Published by Hal Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piccola Banda Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Débutant Editions Marc Reift (Swiss import)
String Quartet - Grade 1 SKU: MA.EMR-56445 Composed by Jean-Francois Mich...(+)
String Quartet - Grade 1
SKU: MA.EMR-56445
Composed by Jean-Francois
Michel. Score and parts.
Duration 27'34. Editions
Marc Reift #EMR 56445.
Published by Editions
Marc Reift
(MA.EMR-56445).
Hello / Kumbaya
/ O When The Saints /
Lullaby / Heroes Entry /
Music Box / Europatheme /
Game / Voyage / Good
Bye. $20.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Our Heroes Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Highland/Etling
Composed by Susan H. Day. Part(s); Score; String Orchestra. Highland/Etling Stri...(+)
Composed by Susan H. Day.
Part(s); Score; String
Orchestra.
Highland/Etling String
Orchestra. 62 pages.
Published by
Highland/Etling
(AP.44833).
$46.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Squish! Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] University Of York Music Press
String Quartet SKU: BT.MUSM570367399 King Kong's Love Song. Compos...(+)
String Quartet SKU:
BT.MUSM570367399
King Kong's Love
Song. Composed by
Sadie Harrison. Score
Only. 15 pages.
University of York Music
Press #MUSM570367399.
Published by University
of York Music Press
(BT.MUSM570367399).
English. Sadie
Harrison 's Squish! (King
Kong's Love Song) for
String Quartet. Composed
and published 2016.
Dedicated to Cuatro
Puntos and The American
School for the Deaf.
Squish! is a love story,
King Kong’s love
story. But not the
conventional one
immortalised in the 1933
Hollywood film - the
terrifying giant ape
astride the Empire State
Building who clasps the
fainting heroine, while
swiping hopelessly at the
planes which eventually
send him crashing dead to
the ground. This is the
American Sign Language
(ASL) version which has
something of a twist at
the end. Squish! was
written as
Composer-in-Residence
with Cuatro Puntos and
was commissioned with
funds from the
Connecticut Officeof the
Arts. The premiere took
place at the American
School for the Deaf (the
oldest permanent school
for the deaf in the
United States founded in
1817) in West Hartford,
Connecticut, on 7th
December 2016. $14.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Into the Unknown (from Frozen II) Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire Hal Leonard
Score and Parts String Quartet (Score & Parts) - Grade 3-4 SKU: HL.4492583(+)
Score and Parts String
Quartet (Score & Parts) -
Grade 3-4 SKU:
HL.4492583 Composed
by Kristen Anderson-Lopez
and Robert Lopez.
Arranged by Larry Moore.
Pops For String Quartet.
Disney, Movies.
Softcover. Published by
Hal Leonard (HL.4492583).
UPC: 840126924077.
9.0x12.0x0.048
inches. This is the
pivotal song from 2019's
Frozen II, when the
heroine Elsa realizes
that she will have to
leave her comfortable
surroundings to seek her
higher purpose. Requiring
third position for the
first violin, this string
quartet arrangement by
Larry Moore will propel
your students into the
next stage of their
success! $14.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Musique Heroique Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] - Facile Editions Marc Reift (Swiss import)
String Quartet - Grade 3 SKU: MA.EMR-55474 Composed by Georg Philipp Tele...(+)
String Quartet - Grade 3
SKU: MA.EMR-55474
Composed by Georg Philipp
Telemann. Arranged by
Scott Richards. Score and
parts. Duration 2'21.
Editions Marc Reift #EMR
55474. Published by
Editions Marc Reift
(MA.EMR-55474).
Possible
instrumentations: String Quartet and Organ
(Piano (Organ), Timpani
(Optional) String
Quartet and Piano (Piano
(Organ), Timpani
(Optional) String
Quartet (Piano (Organ),
Timpani (Optional). $20.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Squish! Quatuor à cordes: 2 violons, alto, violoncelle University Of York Music Press
String Quartet SKU: BT.MUSM570367405 Composed by Sadie Harrison. Set of P...(+)
String Quartet SKU:
BT.MUSM570367405
Composed by Sadie
Harrison. Set of Parts.
University of York Music
Press #MUSM570367405.
Published by University
of York Music Press
(BT.MUSM570367405).
Sadie
Harrison's Squish! (King
Kong's Love Song) for
String Quartet. Composed
and published 2016.
Dedicated to Cuatro
Puntos and The American
School for the Deaf.
Squish! is a love
story, King Kong’s
lovestory. But not the
conventional one
immortalised in the 1933
Hollywood film - the
terrifying giant ape
astride the Empire State
Building who clasps the
fainting heroine, while
swiping hopelessly at the
planes which eventually
sendhim crashing dead to
the ground. This is the
American Sign Language
(ASL) version which has
something of a twist at
the end. Squish!
was written as
Composer-in-Residence
with Cuatro Puntos and
was commissioned
withfundsfrom the
Connecticut Office of the
Arts. The premiere took
place at the American
School for the Deaf (the
oldest permanent school
for the deaf in the
United States founded in
1817) in West Hartford,
Connecticut, on
7thDecember 2016. $18.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Huevos Rancheros (Full Score) Orchestre à Cordes - Débutant Kendor Music Inc.
String Orchestra - Grade 1.5 SKU: KN.08301S Composed by George T. Frueh. ...(+)
String Orchestra - Grade
1.5 SKU: KN.08301S
Composed by George T.
Frueh. Solo or Ensemble.
Accent String Orchestra.
Kendor Music Inc #08301S.
Published by Kendor Music
Inc (KN.08301S). UPC:
822795083019. Inspi
red by a popular Mexican
breakfast, this spicy
Latin composition will
help your students start
their day off right. Easy
syncopated rhythms and a
catchy melody will have
the audience wanting a
second helping! Grade 1+.
Each set includes three
copies of the 3rd
Violin/Viola T.C. and
piano parts. Duration
1:50. Available in
SmartMusic. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Huevos Rancheros Orchestre à Cordes - Débutant Kendor Music Inc.
String Orchestra - Grade 1.5 SKU: KN.8301 Composed by George T. Frueh. Ac...(+)
String Orchestra - Grade
1.5 SKU: KN.8301
Composed by George T.
Frueh. Accent String
Orchestra. Kendor Music
Inc #8301. Published by
Kendor Music Inc
(KN.8301). UPC:
822795083019. Inspi
red by a popular Mexican
breakfast, this spicy
Latin composition will
help your students start
their day off right. Easy
syncopated rhythms and a
catchy melody will have
the audience wanting a
second helping! Grade 1+.
Each set includes three
copies of the 3rd
Violin/Viola T.C. and
piano parts. Duration
1:50. Available in
SmartMusic. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Northwestern Skies [Conducteur] - 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 2
SKU: CF.YAS184F
Composed by Alan Lee
Silva. Young String
Orchestra (YAS). Full
score. With Standard
notation. 8 pages. Carl
Fischer Music #YAS184F.
Published by Carl Fischer
Music (CF.YAS184F).
ISBN 9781491151860.
UPC: 680160909360. 9 x 12
inches. Alan Lee
Silva's Northwestern
Skies?is lyrical and
fresh,? with his
signature open and
expressive style. Young
string orchestras will
sound rich and full with
this sweeping
composition. From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33. The
lower strings carry the C
theme in m. 49, supported
by tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda
section at m. 65 begins
with a variation of the B
melody in the violas and
then the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. Â From
the opening fanfare to
the final ensemble
gesture, Northwestern
Skies is an engaging
musical journey with
expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody.
More instrtuments
are added to the
melody in m. 25, building
to the return of the A
theme in m. 33.The lower
strings carry the C
theme in m. 49, supported
by tutti figures in
the upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The
moving legatolines at
m. 59 and the aggressive
figures at m. 61 propel
the piece to its final
build.The Coda section at
m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $8.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Northwestern Skies - 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 2
SKU: CF.YAS184
Composed by Alan Lee
Silva. Young String
Orchestra (YAS). Set of
Score and Parts. With
Standard notation.
8+8+2+5+5+5+3+8 pages.
Carl Fischer Music
#YAS184. Published by
Carl Fischer Music
(CF.YAS184). ISBN
9781491151495. UPC:
680160908998. 9 x 12
inches. Key: G
major. Alan Lee
Silva's Northwestern
Skies?is lyrical and
fresh,? with his
signature open and
expressive style. Young
string orchestras will
sound rich and full with
this sweeping
composition. From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. MoreA
instrtuments areA added
to the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
stringsA carry the C
theme in m. 49, supported
byA tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The movingA
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in theA violas and then
the violinsA over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the
opening fanfare to the
final ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33.
The lower
strings carry the C theme
in m. 49, supported by
tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda section
at m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. .  
; From the opening
fanfare to the final
ensemble gesture,
Northwestern Skies is an
engaging musical journey
with expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody. More
instrtuments are added to
the melody in m. 25,
building to the return of
the A theme in m. 33. The
lower strings carry the C
theme in m. 49, supported
by tutti figures in the
upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The moving
legatolines at m. 59 and
the aggressive figures at
m. 61 propel the piece to
its final build. The Coda
section at m. 65 begins
with a variation of the B
melody in the violas and
then the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement. Â From
the opening fanfare to
the final ensemble
gesture, Northwestern
Skies is an engaging
musical journey with
expressive ensemble
phrases and challenging
section features. The A
theme at m. 9, a
recurring heroic
statement, provides an
opportunity to develop
solid tone production and
intonation in sustained
forte passages. The B
theme at m. 17, enters
quietly and features
singing, legato lines and
delicate accompaniment.
The connected
countermelodies in both
the A and B sections
should be balanced under
the main melody.
More instrtuments
are added to the
melody in m. 25, building
to the return of the A
theme in m. 33.The lower
strings carry the C
theme in m. 49, supported
by tutti figures in
the upper strings. All
sections come together in
m. 56 to a ritardando
into the Maestoso
section, setting up a
grand ensemble statement
in m. 57-58. The
moving legatolines at
m. 59 and the aggressive
figures at m. 61 propel
the piece to its final
build.The Coda section at
m. 65 begins with a
variation of the B melody
in the violas and then
the violins over a
dominant pedal point in
the lower strings.
Commanding tutti
statements of the A theme
at m. 69 end the piece
with power and
excitement.
About Carl
Fischer Young String
Orchestra
Series Thi
s series of Grade 2/Grade
2.5 pieces is designed
for second and third year
ensembles. The pieces in
this series are
characterized
by: --Occasionally
extending to third
position --Keys
carefully considered for
appropriate
difficulty --Addition
of separate 2nd violin
and viola
parts --Viola T.C.
part
included --Increase
in independence of parts
over beginning levels $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Void of Day Trio de Flûtes: 3 flûtes Potenza Music
Flute trio SKU: P2.10022 Composed by Cornelius Boots. Chamber music, 20th...(+)
Flute trio SKU:
P2.10022 Composed by
Cornelius Boots. Chamber
music, 20th century.
Published by Potenza
Music (P2.10022).
The third part
of the Chthonic Flute
Suite commissioned by
Areon Flutes in 2012.
This suite has two main
inspirations:
ideologically it draws
guidance from the book
The Dream and the
Underworld (1979)by James
Hillman (1926-2011) and
musically it explores the
textural possibilities of
a flute ensemble within
the context of the heavy
chamber music style I
have developed with
Edmund Welles: the bass
clarinet quartet since
1996. This style draws
virtuosic precision from
the classical realm;
innovation and texture
from jazz; and power,
rhythm and overall
perspective from rock and
metal. The term chthonic
[thon-ik] generally means
underworld. However,
Hillman thoroughly
elaborates that its true
meaning extends below the
earth and beyond it into
invisible, non-physical
and far distant psychic
realms: the deeper
mysteries of the
invisible. The trio is
divided into three
sections: The Way We
Descend--Reflection of
Narcissus--Below Nature.
Taking a break from Greek
myth-nerd terms, this
movement introduces
chthonic-flavored phrases
that elaborate on our
descent into the
underworld, specifically
through dreams. The realm
of the underworld can be
such a shock to our
dayworld, limited, egoic
consciousness that it can
seem like a violation as
Hillman points out,
referencing the Greeks:
This style of the
underworld experience is
overwhelming, it comes as
violation, dragging one
out of life and into the
Kingdom that the Orphic
Hymn to Pluto describes
as 'void of day.' So it
often says on Greek
epitaphs that entering
Hades is 'leaving the
sweet sunlight.' (p.49)
He elaborates on the
differences between
dayworld and underworld
perspectives: The dream
is not compensation but
initiation. It does not
complete
ego-consciousness, but
voids it. So it matters
very much the way we
descend. (p.112) He goes
on to describe the
various modes in which
mythical figures have
descended: Ulysses and
Aenas to learn; Hercules
to take and to test, for
example. To act like
Hercules, like the hero,
in the underworld is to
miss the point and cause
more problems, the
villain in the underworld
is the heroic ego, not
Hades. (p.113). $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto [Conducteur] Merion Music
Orchestra Cello, Double Bass, Horn, Viola, Violin 1, Violin 2 SKU: PR.1164053...(+)
Orchestra Cello, Double
Bass, Horn, Viola, Violin
1, Violin 2 SKU:
PR.11640538S Composed
by Ellen Taaffe Zwilich.
Sws. Score. 40 pages.
Duration 14 minutes.
Merion Music #116-40538S.
Published by Merion Music
(PR.11640538S). UPC:
680160692873. 9 x 12
inches. My Concerto
for Horn and String
Orchestra (1993) was
commissioned by the
Bravo! Colorado Music
Festival at Vail*Beaver
Creek, the Rochester
Philharmonic Orchestra,
the Orpheus Chamber
Orchestra and French
Hornist, David Jolley;
made possible by a grant
from the Meet The
Composer/Reader’s
Digest Commissioning
Program, in partnership
with the National
endowment for the Arts
and the Lila Wallace
Reader’s Digest Fund.
The work is approximately
14 minutes in duration.
Its premiere took place
in Vail at the Bravo!
Colorado Music Festival
with the Rochester
Philharmonic Orchestra
under Lawrence Leighton
Smith conducting, and
David Jolley, solo
horn.The Concerto is in
one movement with five
section, including a solo
cadenza. Although the
work is concerto-like in
the exploration of a wide
range of technical and
dramatic possibilities of
the horn—culminating in
a highly virtuosic
cadenza—the piece can
also be heard as a
“tone poem” with the
horn cast as the
“hero.”Yet, while I
think of the solo horn as
an heroic figure, I have
very much enjoyed the
interplay and dialogue
between horn and strings
and I allowed the
character and nature of
the horn to influence the
strings and vice-versa.
For instance, in the
cadenza the solo horn
line sometimes breaks
into two or three parts,
projecting two or three
voices (a type of solo
writing usually
associated with strings,
not winds); and on
several occasions I have
used the violas, divided
in three, together with
the solo horn, to suggest
the sound of a quartet of
horns. For me, the
combination of solo horn
and string orchestra is
rich and evocative, as is
the unique nature of the
horn; its warmth and
color; its dramatic
legato as well as its
pungent staccato; the
sheer breadth of its
sound.The Concerto is
dedicated to hornist
David Jolley, for whom it
was written. $31.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto Merion Music
Orchestra Cello, Double Bass, Horn, Viola, Violin 1, Violin 2 SKU: PR.1164053...(+)
Orchestra Cello, Double
Bass, Horn, Viola, Violin
1, Violin 2 SKU:
PR.11640538L Composed
by Ellen Taaffe Zwilich.
Spiral. Large Score. 40
pages. Duration 14
minutes. Merion Music
#116-40538L. Published by
Merion Music
(PR.11640538L). UPC:
680160692880. 9 x 12
inches. My Concerto
for Horn and String
Orchestra (1993) was
commissioned by the
Bravo! Colorado Music
Festival at Vail*Beaver
Creek, the Rochester
Philharmonic Orchestra,
the Orpheus Chamber
Orchestra and French
Hornist, David Jolley;
made possible by a grant
from the Meet The
Composer/Reader’s
Digest Commissioning
Program, in partnership
with the National
endowment for the Arts
and the Lila Wallace
Reader’s Digest Fund.
The work is approximately
14 minutes in duration.
Its premiere took place
in Vail at the Bravo!
Colorado Music Festival
with the Rochester
Philharmonic Orchestra
under Lawrence Leighton
Smith conducting, and
David Jolley, solo
horn.The Concerto is in
one movement with five
section, including a solo
cadenza. Although the
work is concerto-like in
the exploration of a wide
range of technical and
dramatic possibilities of
the horn—culminating in
a highly virtuosic
cadenza—the piece can
also be heard as a
“tone poem” with the
horn cast as the
“hero.”Yet, while I
think of the solo horn as
an heroic figure, I have
very much enjoyed the
interplay and dialogue
between horn and strings
and I allowed the
character and nature of
the horn to influence the
strings and vice-versa.
For instance, in the
cadenza the solo horn
line sometimes breaks
into two or three parts,
projecting two or three
voices (a type of solo
writing usually
associated with strings,
not winds); and on
several occasions I have
used the violas, divided
in three, together with
the solo horn, to suggest
the sound of a quartet of
horns. For me, the
combination of solo horn
and string orchestra is
rich and evocative, as is
the unique nature of the
horn; its warmth and
color; its dramatic
legato as well as its
pungent staccato; the
sheer breadth of its
sound.The Concerto is
dedicated to hornist
David Jolley, for whom it
was written. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Retrospect [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5 SKU: CF.CA...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3.5
SKU: CF.CAS146F
Composed by Kevin Ray.
Carl Fischer Concert
String Orchestra Series.
Full score. 12 pages.
Carl Fischer Music
#CAS146F. Published by
Carl Fischer Music
(CF.CAS146F). ISBN
9781491160855. UPC:
680160919451. Retro
spect looks to the past
through two themes in an
ABA form. The first
lyrical theme is
performed over an
unrelenting and often
dissonant pizzicato
accompaniment that
persists through the
entirety of the first A
section. The B section
slows down for a more
somber reflection and is
more pensive and
ruminative in character.
After a short development
where both themes are
explored, the final A
section returns
triumphantly, first led
by the violas. After a
violin solo, the A
section is restated in a
more heroic and
prevailing tone with
arpeggiated viola and
cello accompaniment. With
contrasting styles and
syncopated
accompaniments, this
piece is excellent for
developing student
shifting skills, tone,
independent playing, and
intonation. Retrospect
 looks to the past
through two themes in an
ABA form. The first
lyrical theme is
performed over an
unrelenting and often
dissonant pizzicato
accompaniment that
persists through the
entirety of the first A
section. The B section
slows down for a more
somber reflection and is
more pensive and
ruminative in character.
After a short development
where both themes are
explored, the final A
section returns
triumphantly, first led
by the violas. After a
violin solo, the A
section is restated in a
more heroic and
prevailing tone with
arpeggiated viola and
cello accompaniment. With
contrasting styles and
syncopated
accompaniments, this
piece is excellent for
developing student
shifting skills, tone,
independent playing, and
intonation.
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
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Retrospect - Facile Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3.5 SKU: CF.CA...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3.5
SKU: CF.CAS146
Composed by Kevin Ray.
Carl Fischer Concert
String Orchestra Series.
Set of Score and Parts.
10+10+16+16+10+12 pages.
Carl Fischer Music
#CAS146. Published by
Carl Fischer Music
(CF.CAS146). ISBN
9781491160633. UPC:
680160919222. Retro
spect looks to the past
through two themes in an
ABA form. The first
lyrical theme is
performed over an
unrelenting and often
dissonant pizzicato
accompaniment that
persists through the
entirety of the first A
section. The B section
slows down for a more
somber reflection and is
more pensive and
ruminative in character.
After a short development
where both themes are
explored, the final A
section returns
triumphantly, first led
by the violas. After a
violin solo, the A
section is restated in a
more heroic and
prevailing tone with
arpeggiated viola and
cello accompaniment. With
contrasting styles and
syncopated
accompaniments, this
piece is excellent for
developing student
shifting skills, tone,
independent playing, and
intonation. Retrospect
 looks to the past
through two themes in an
ABA form. The first
lyrical theme is
performed over an
unrelenting and often
dissonant pizzicato
accompaniment that
persists through the
entirety of the first A
section. The B section
slows down for a more
somber reflection and is
more pensive and
ruminative in character.
After a short development
where both themes are
explored, the final A
section returns
triumphantly, first led
by the violas. After a
violin solo, the A
section is restated in a
more heroic and
prevailing tone with
arpeggiated viola and
cello accompaniment. With
contrasting styles and
syncopated
accompaniments, this
piece is excellent for
developing student
shifting skills, tone,
independent playing, and
intonation.
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: 1 to 2 weeks | | |
| Cliffhanger Orchestre à Cordes [Conducteur et Parties séparées] - Facile Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34 Full Sco...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS34 Full
Score and Parts.
Composed by Sean
O'Loughlin. Carl Fischer
Concert String Orchestra
Series. Score and Parts.
With Standard notation.
12+16+16+4+10+10+10+4
pages. Carl Fischer Music
#CAS34. Published by Carl
Fischer Music (CF.CAS34).
ISBN 9780825861055.
UPC: 798408061050. 8.5 X
11 inches. Key: E
minor. Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday-afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walk Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
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: 1 to 2 weeks | | |
| Cliffhanger Orchestre à Cordes [Conducteur] - Facile Carl Fischer
Orchestra String Orchestra - Medium Easy/Medium SKU: CF.CAS34F Composed b...(+)
Orchestra String
Orchestra - Medium
Easy/Medium SKU:
CF.CAS34F Composed by
Sean O'Loughlin. SWS.
Carl Fischer Concert
String Orchestra Series.
Classical. Full score.
With Standard notation.
12 pages. Carl Fischer
Music #CAS34F. Published
by Carl Fischer Music
(CF.CAS34F). ISBN
9780825861062. UPC:
798408061067. 8.5 X 11
inches. Key: E
minor. Cliffhanger
is a programmatic work
for string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching. Nicely
done!. Cliffhanger is
a programmatic work for
string orchestra that
harkens back to the days
of silent film. One of
the lasting images of
that time period is the
Saturday- afternoon
matinee, where each
episode ended on a
cliffhanger until it
could be continued next
week. This piece tells
the familiar story of the
damsel in distress who is
tied up to the train
tracks as a train is
approaching.The opening
of the piece sets the
scene with danger and
desperation. By m. 6, our
hero is making his way on
horseback to rescue the
fair maiden. This main
melody is developed and
passed around the
ensemble until m. 36, at
which point despair sets
in. The music is rich
with romantic harmonies
and inner lines. Be sure
to bring out these inner
lines to add to the
passion and drama of the
moment. It continues to
build until a thunderous
arrival at m. 49. From
there we return to our
hero, who is now getting
close to the train tracks
to save the fair maiden.
The tension becomes the
highest at m. 61, when we
are still not sure if our
hero will make it in
time. But alas, at m. 68
he swoops in to save the
day and rescue the fair
maiden. Of course, they
live happily ever
after.My hope is that
your ensemble will have
some fun with this style
of music. It was adapted
from an arrangement I
wrote for the new pipe
organ at the Walt Disney
Concert Hall in Los
Angeles. They wanted some
scary train music to show
children how the organ
was used back before
movies had sound. Strings
provide a heightened
sense of drama with this
genre of music.
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
$9.50 - 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 | | |
| 200 B.C. Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Oxford University Press
Concert band - Grade 4 SKU: MH.0-931329-53-1 Composed by Gregory B.Rudger...(+)
Concert band - Grade 4
SKU:
MH.0-931329-53-1
Composed by Gregory
B.Rudgers. Suitable for
high school, community,
and college bands.
Conductor score and set
of parts. Duration 7:30.
Published by Manhattan
Beach Music
(MH.0-931329-53-1).
ISBN
9780931329531. Jour
ney back to ancient
Greece and view a place
of long-gone legend.
Follow the trail to the
Kingdom of Ithaca, from
the heroic palace, to a
place of tranquility, to
a reckless dance of
abandon, to the return of
Odysseus. The melodic
material used in 200 B.C.
is from a two thousand
year old Greek hymn to
Apollo. The legendary
adventures of Odysseus as
described by Homer in the
Odyssey (ca. 700 B.C.)
provide the programmatic
material. The music is
freely based upon the
First Delphic Hymn (or
Paen to Apollo), composed
ca. 200 B.C. The source
is a transcription
appearing on pages 363 -
367 of Ancient and
Oriental Music, Edited by
Egon Wellesz (Oxford
University Press: London,
1957). Each movement of
the work depicts a key
event in the epic Homeric
poem, as described below.
Movement I: Intrada - The
first four notes of this
movement, C - Bb - G -
Bb, are the melodic and
harmonic foundation for
the entire work. These
pitches, introduced in a
simple and direct manner,
are subsequently
developed in more complex
fashions throughout the
suite. Following this
stately introduction is a
militaristic fanfare that
introduces the
dotted-eighth and
sixteenth-note figure
later reprised in the
second and fourth
movements. Indeed, all
the musical ideas which
will be central to the
remaining movements first
appear in the Intrada.
This movement depicts the
grandeur of Odysseus and
his kingdom in Ithaca,
and establishes the
heroic mood of the entire
work. Movement II: Ballad
- After a brief
restatement of the
opening
dotted-eighth-and-sixteen
th fanfare, the second
movement extracts the
falling third (Bb to G)
from the C - Bb - G - Bb
motif and extends it and
expands it into a
haunting solo for alto
saxophone. The C - Bb - G
- Bb motif appears again
(see measures 23 - 33 in
trumpets) as counterpoint
to this melody, now
pulsing through the thick
texture of the band. Many
performers have come to
view the Ballad as the
emotional epicenter of
the entire suite; my
conception of the Ballad
is to achieve a union of
pathos and strength.
Programmatically, this
movement depicts
Odysseus's son,
Telemachos, as he both
longs for Odysseus's
return and stoically
defends his father's
kingdom. Movement III:
Dance - It will take
Odysseus twenty years to
return to Ithaca. During
his absence, noblemen
besiege his palace,
violating the sanctity of
the household and seeking
the hand of his wife,
Penelope. This movement
depicts the wanton
revelries that result.
The original four-note
motif is chromatically
altered and the meter is
made irregular. The rapid
tempo, driving
percussion, and angular
meter and melodies
combine in an explosion
of reckless abandon.
Movement IV: March
Building from a delicate
woodwind ensemble
accompanied by finger
cymbals to a fully
orchestrated statement
replete with thundering
percussion, this is a
resounding march of
victory. Odysseus has
returned in triumph to
restore dignity to his
household and to reclaim
the throne of the Kingdom
of Ithaca. Ensemble
instrumentation: 1
Piccolo, 8 Flute 1 - 2, 2
Oboe 1 - 2, 4 Bb Clarinet
1, 4 Bb Clarinet 2, 4 Bb
Clarinet 3, 1 Eb Alto
Clarinet, 3 Bb Bass
Clarinet, 2 Bassoon 1 -
2, 3 Eb Alto Saxophone 1,
3 Eb Alto Saxophone 2, 2
Bb Tenor Saxophone, 1 Eb
Baritone Saxophone, 3 Bb
Trumpet 1, 3 Bb Trumpet
2, 3 Bb Trumpet 3, 2 F
Horn 1-2, 2 F Horn 3-4, 2
Trombone 1, 2 Trombone 2,
2 Trombone 3, 3 Euphonium
(B.C.), 2 Euphonium T.C.,
4 Tuba, 1 Timpani, 2
Mallet Percussion: Bells,
Xylophone, 2 Percussion
1: Snare Drum,
Tambourine, 2 Percussion
2: Crash Cymbals,
Suspended Cymbal,
Tom-Tom, Finger Cymbals,
1 Percussion 3: Bass
Drum. $135.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Alexander's Feast Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Carus Verlag
Orchestra SATB vocal soli, SATB choir, 2 recorders, 2 oboes, 3 bassoons, 2 horns...(+)
Orchestra SATB vocal
soli, SATB choir, 2
recorders, 2 oboes, 3
bassoons, 2 horns, 2
trumpets, timpani, 2 (3)
violins, 2 violas, cello,
basso continuo SKU:
CA.5507549 Ode.
Version of the first
performance and version
of 1751. Composed by
George Frideric Handel.
Edited by Felix Loy. This
edition: urtext.
Stuttgart Urtext Edition:
Handel. Organ. Innovative
practice aids, Sacred
vocal music, Oratorios.
Single Part, Organ.
Composed 1736/1751. HWV
75. 60 pages. Duration 85
minutes. Carus Verlag #CV
55.075/49. Published by
Carus Verlag
(CA.5507549). ISBN
9790007171315. Text
language:
German/English. For
the magnificent opening
of the oratorio season at
the beginning of 1736
Handel presented a
composition which, like
hardly any of his other
oratorios, gave him the
opportunity to display
his musical artistry:
John Dryden's ode
Alexander's Feast or the
Power of Music, published
in 1696, demonstrates the
power of music by the
example of the ancient
hero, Alexander the
Great. From the
impressive lament on the
death of Darius, the King
of Persia, to the
boisterous Praise of
Bacchus Handel avails
himself of the entire
breadth of the musical
representation of the
emotions and the
possibilities for
expression. In the text
by Newburg Hamilton added
at the end of work St.
Cecilia elevates the
events of the ancient
heathen story, which
Handel expressed in
plastic, skillful
polyphony. Later, this
homage to the patron
saint of church music,
Handel also present the
opportunity to perform
the work on St. Cecilia's
Day (22 November). For
the first time the
present new edition is
based consistently on
Handel's conducting
score, which he used for
his own performances of
the oratorio, thus not
only eliminating timeworn
errors, but also offering
clarity concerning the
choruses, the arias and
recitatives, actually
performed in Handel's
concerts, as well as
their sequence of
performance. The new
Carus edition offers two
performance versions: the
version of the premiere
in 1736, as well as a
revised version from
1751. Furthermore, the
inclusion of the Concerto
for Harp HWV 294 (CV
55.294) is also possible;
Handel composed this work
especially for
Alexander's Feast (as an
illustration of
Timotheus, the ancient
poet who played the
lyre). For this purpose
the edition contains the
appropriate alternatives
for the sequence of the
movements. Score and part
available separately -
see item CA.5507500. $80.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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