| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Noel Fanfare [Conducteur] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000847-120 Arranged by Peter Martin. S...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000847-120
Arranged by Peter Martin.
Score Only. 24 pages.
Gobelin Music
Publications #GOB
000847-120. Published by
Gobelin Music
Publications
(BT.GOB-000847-120).
Noel is based
on the famous English
Carol The First Noel.
The age of this song
is not clear.Some
scientists argue that
this song is from early
thirteenth century,
others say that it's from
the sixteenth
century. The first
publication was in
'Christmas Carols,
Ancient and Modern',
compiled by William B.
Sandys. (London,
1833). The exact
origin is unknown. By
Norman influences on the
text, with the result
that the spelling of the
song is not certified
(Noel, Nowell), an
individual will claim
that France is the home
of this song, but in
general is assumed that
the First Noel 'has been
sung somewhere in England
for the first
time.
'Noel' is
gebaseerd op de zeer
bekende Engelse Carol
'the First Noel'.
Over de 'leeftijd' van
dit lied is men het niet
eens. Zo zijn er
geleerden die beweren dat
het al vanaf begin
dertiende eeuw gezongen
werd, anderen zeggendat
het lied vanaf de
zestiende eeuw
bestaat. De eerste
publicatie plaats was in
een verzamelbundel:
'Christmas Carols,
Ancient and Modern',
bijeengebracht door
William B. Sandys.
(Londen, 1833). Over
de exacte herkomstis men
het wel eens, deze is
onbekend. Door
Normandische invloeden op
de tekst, wat tot gevolg
had dat de spelling van
het lied niet eensluidend
is (Noel, Nowell), wil
een enkeling nog wel eens
beweren dat Frankrijk de
bakermatvan dit lied is,
maar over het algemeen
wordt aangenomen dat 'the
First Noel' voor het
eerst ergens in Engeland
gezongen is. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Noel Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 3 SKU: BT.GOB-000847-020 Arranged by Peter Martin. S...(+)
Fanfare Band - Grade 3
SKU:
BT.GOB-000847-020
Arranged by Peter Martin.
Set (Score & Parts). 71
pages. Gobelin Music
Publications #GOB
000847-020. Published by
Gobelin Music
Publications
(BT.GOB-000847-020).
Noel is based
on the famous English
Carol The First Noel.
The age of this song
is not clear.Some
scientists argue that
this song is from early
thirteenth century,
others say that it's from
the sixteenth
century. The first
publication was in
'Christmas Carols,
Ancient and Modern',
compiled by William B.
Sandys. (London,
1833). The exact
origin is unknown. By
Norman influences on the
text, with the result
that the spelling of the
song is not certified
(Noel, Nowell), an
individual will claim
that France is the home
of this song, but in
general is assumed that
the First Noel 'has been
sung somewhere in England
for the first
time.
'Noel' is
gebaseerd op de zeer
bekende Engelse Carol
'the First Noel'.
Over de 'leeftijd' van
dit lied is men het niet
eens. Zo zijn er
geleerden die beweren dat
het al vanaf begin
dertiende eeuw gezongen
werd, anderen zeggendat
het lied vanaf de
zestiende eeuw
bestaat. De eerste
publicatie plaats was in
een verzamelbundel:
'Christmas Carols,
Ancient and Modern',
bijeengebracht door
William B. Sandys.
(Londen, 1833). Over
de exacte herkomstis men
het wel eens, deze is
onbekend. Door
Normandische invloeden op
de tekst, wat tot gevolg
had dat de spelling van
het lied niet eensluidend
is (Noel, Nowell), wil
een enkeling nog wel eens
beweren dat Frankrijk de
bakermatvan dit lied is,
maar over het algemeen
wordt aangenomen dat 'the
First Noel' voor het
eerst ergens in Engeland
gezongen is. $135.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Venezuelan Treasures for the Piano, Vol. 3 Piano seul Clifton Edition
Piano - Grade 7-8 SKU: ST.C463 Composed by Federico Ruiz. Edited by Clara...(+)
Piano - Grade 7-8 SKU:
ST.C463 Composed by
Federico Ruiz. Edited by
Clara Rodriguez. Piano
and keyboard music.
Collection. Clifton
Edition #C463. Published
by Clifton Edition
(ST.C463). ISBN
9790570814633. This
volume contains
contrasting works by
Federico Ruiz spanning
quite a large and rich
period of his
compositional output that
goes from his early
Micro-Suite (1971), to
lilting, sweet and
rhythmic Venezuelan
waltzes passing by the
mysterious, intimate, and
intense Nocturno (1994)
plus pieces originally
composed for film, and
theatre. Real eclecticism
in styles, moods and
atmospheres that show
Ruizâ??s talents and
scope.
The
Nocturno is a deep,
intriguing, substantial
piece presenting a
satisfying length which
moves from different
paths of the mind and the
heart written in an
abstract, chromatic
idiom, that does not
dissociate itself from
the Venezuelan waltz and
the joropo. One could
perhaps say that there is
a deconstruction of the
latter. For the
interpretation, the
composer has suggested to
me that it is allowed to
have some flexibility in
the tempo. Ruiz kindly
dedicated it to me, and I
have had the pleasure of
performing it in many
concerts.
Although
all highly expressive,
the Three Venezuelan
Waltzes present in this
collection as well as the
piece titled Aliseo, are
works that are close to
the colourful Venezuelan
folk tradition. Federico
Ruiz had given me two of
them when we first met:
â??Tu Presenciaâ??
(1981) and
â??EloÃsaâ?? (1989)
and then I attended a
performance of the play
â??Office Number Oneâ??
by Miguel Otero Silva
with a fantastic actor,
Elba Escobar in the role
of Carmen Rosa and, I
just fell in love and was
very moved by the
incidental music that I
later discovered, by
reading the programme,
had been written by
Federico Ruiz. Later that
evening, I called him and
asked to please make a
piano score of the
composition, so I could
have the desired piece in
my hands. That is how
â??Carmen Rosaâ?
waltz (1987) came to
exist in a piano
version.
â??Elois
aâ?? is another
Venezuelan waltz with
more jazzy harmonies
where precision in the
rhythm and elegant
playing is also
essential, as it is in
most of his
pieces.
â??Tu
Presenciaâ?? was
dedicated to his mother,
Margarita. It is written
with the structure of the
Venezuelan waltz, which
consists of a nostalgic
subject that leads to a
faster, happier middle
section where the typical
graceful rhythm is given
by the left-hand
accompaniment figure of a
dotted crotchet followed
by a quaver and a
crotchet.
The
craft and magic found in
the five movements of the
Micro-Suite is based on a
dodecaphonic row by Ernst
Krenek. They remind us of
the idiom of the Second
Viennese School. These
real miniatures seem to
tell short stories. The
â??Preludioâ?? is full
of humour. I imagine
dancing figures given by
the jumps all over the
keyboard and extreme
dynamics; the phrases
give the impression of a
conversation with many
questions and answers.
The â??Invenciónâ??
is a kaleidoscopic piece
where the hands mirror
each other. The
â??Passacagliaâ?? is
the longest movement, at
just over a minute where
the prime motif is
repeated three times on
the bass line. For its
construction Federico
Ruiz uses as well the
retrograde and the
retrograde inversion of
the twelve-tone series.
It must be played
expressively with dynamic
contrasts between
pianissimo and louder
events. The
â??Scherzoâ?? has
repetitive motifs of a
minor third in both hands
and the â??Finalâ??
displays virtuosic
passages for the
pianist.
Aliseo
was originally written
for the film â??Aire
libreâ? (1995), by
Luis Armando Roche. It
contains elements of
diverse types of
Venezuelan joropo. In the
film, the character of
Aliseo Carvallo is played
by the composer himself
who performs this piece
on a harpsichord to
welcome scientists
Alexander von Humboldt
and Aimé Bonpland one
day at the turn of the
1800â??s, as a sample of
the new music from the
South American land. It
presents the refinement
of the late European
classical era in fusion
with Venezuelan folk
music. $15.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Music of the Spheres Ensemble de cuivres [Conducteur] - Intermédiaire/avancé Anglo Music
Brass Band - Grade 6 SKU: BT.AMP-028-130 Composed by Philip Sparke. Elite...(+)
Brass Band - Grade 6
SKU:
BT.AMP-028-130
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2003.
Anglo Music Press #AMP
028-130. Published by
Anglo Music Press
(BT.AMP-028-130).
The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Mit
diesem großartigen
Werk, das dem
Auftraggeber der
Yorkshire Building
Society Band am
Europäischen Brass
Band Wettbewerb 2004 in
Glasgow als
Selbstwahlstück zu
einem weiteren Titel
verhalf, beweist Philip
Sparke einmal mehr seine
außergewöhnlichen
kompositorischen
Fähigkeiten. Dieses
Werk über die
Ursprünge des
Universums führt uns
vom Urknall, vorbei an
einsamen Planeten,
Asteroiden und
Sternschnuppen
schließlich ins
Unbekannte - die
ungewisse Zukunft. Ein
Glanzstück und eine
echte Herausforderung
für jeden
Spitzen-Brass
Band!
La fresque
Music of the
Spheres (“La
musique des
sphèresâ€)
souligne la fascination
qu’éprouve le
compositeur pour les
origines de
l’univers.
L’orchestration
est proche de la musique
de film. Le climat
musical est ample, sonore
et contrasté.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione? $55.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Music of the Spheres Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Anglo Music
Concert Band/Harmonie - Grade 6 SKU: BT.AMP-028-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 6 SKU:
BT.AMP-028-140
Composed by Philip
Sparke. Elite Series.
Concert Piece. Score
Only. Composed 2005. 68
pages. Anglo Music Press
#AMP 028-140. Published
by Anglo Music Press
(BT.AMP-028-140).
English-German-French-
Dutch. The piece
reflects the composer's
fascination with the
origins of the universe
and deep space in
general. The title comes
from a theory, formulated
by Pythagoras, that the
cosmos was ruled by the
same laws he had
discovered that govern
the ratios of note
frequencies of the
musical scale.
(‘Harmonia’
in Ancient Greek, which
means scale or tuning
rather than harmony -
Greek music was
monophonic). He also
believed that these
ratios corresponded to
the distances of the six
known planets from the
sun and that the planets
each produced a musical
note which combined to
weave a continuous
heavenly melody (which,
unfortunately, we humans
cannot hear). In this
work, these six notesform
the basis of the sections
MUSIC OF THE SPHERES and
HARMONIA. The pieces
opens with a horn solo
called t = 0, a name
given by some scientists
to the moment of the Big
Bang when time and space
were created, and this is
followed by a depiction
of the BIG BANG itself,
as the entire universe
bursts out from a single
point. A slower section
follows called THE LONELY
PLANET which is a
meditation on the
incredible and unlikely
set of circumstances
which led to the creation
of the Earth as a planet
that can support life,
and the constant search
for other civilisations
elsewhere in the
universe. ASTEROIDS AND
SHOOTING STARS depicts
both the benign and
dangerous objects that
are flying through space
and which constantly
threaten our planet, and
the piece ends with THE
UNKNOWN, leaving in
question whether our
continually expanding
exploration of the
universe will eventually
lead to enlightenment or
destruction.
Dit
werk weerspiegelt de
fascinatie van de
componist voor het
heelal. Het begint met
een hoornsolo met de naam
t = 0, waarmee
sommige wetenschappers de
oerknal aanduiden. Dan
volgt een weergave van de
oerknal zelf. Het
volgendegedeelte, The
Lonely Planet, is een
meditatie over het
ongelooflijke samenspel
van omstandigheden dat
leidde tot het ontstaan
van de Aarde.
Asteroids and Shooting
Stars beschrijft
objecten in de ruimte.
Het werkeindigt met
The Unknown,
waarmee we in het
ongewisse blijven over de
gevolgen van onze verdere
verkenning van het
universum. In 2005 won
Philip Sparke met
Music of the
Spheres de National
Band Association/William
D.Revelli Memorial Band
Composition
Contest.
Dieses
Werk handelt vom Weltall
und unserem Platz im
Universum, auf dem
Weltbild von Pythagoras
basierend. Am einfachsten
lässt sich diese
außergewöhnliche
Komposition wohl als
Filmmusik ähnliches
Stück beschreiben ?
Musik zu einem
Science-Fiction-Film
eines Ripley Scott oder
Steven Spielberg oder
auch Musik, wie sie ein
John Williams oder Danny
Elfman schreiben
würde: absolut
stimmungsvoll, brillant
instrumentiert mit
Klangfarben, Strukturen,
Effekten und Timbres,
gemischt mit
fließenden
musikalischen Linien, die
die Substanz des Themas
auf den Punkt treffen.
Dieses atemberaubende
neue Stück hebt Ihr
Blasorchester auf ein
höheres Niveau, sowohl
im technischen als
auchmusikalischen Sinn.
La fresque
Music of the
Spheres (“La
musique des
sphèresâ€)
souligne la fascination
qu’éprouve le
compositeur pour les
origines de
l’univers.
L’orchestration
est proche de la musique
de film. Le climat
musical est ample, sonore
et contrasté.
Music of the
Spheres evidenza il
fascino che le origini
dell’universo
esercitano su Philip
Sparke. Il titolo
proviene da una teoria
del matematico greco
Pitagora, secondo la
quale il cosmo è retto
dalle stesse leggi che
governano i rapporti di
frequenza tra le note
della scala musicale.
Questa composizione
inizia con un assolo di
corno chiamato t = 0,
nozione che definisce il
momento del big-bang.
The Lonely Planet
(Il pianeta solitario)
è una meditazione
sulle circostanze che
hanno portato alla
creazione della terra.
Asteroids and Shooting
Stars (Asteroidi e
Stelle cadenti) descrive
i molteplici oggetti che
si muovono nello spazio e
che rappresentano
unrischio per il nostro
pianeta. Le battute
finali portano verso
l’ignoto (The
Unknown) sollevando
una domanda la cui
risposta resta in
sospeso: la nostra
continua avanzata
nell’esplorazione
dell’Universo
porter un giorno alla
scoperta o alla
distruzione? $45.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Words on My Heart Carl Fischer
Choral TTB choir, piano SKU: CF.CM9780 Composed by Mark Patterson. Durati...(+)
Choral TTB choir, piano
SKU: CF.CM9780
Composed by Mark
Patterson. Duration 3
minutes, 19 seconds. Carl
Fischer Music #CM9780.
Published by Carl Fischer
Music (CF.CM9780).
ISBN 9781491164518.
UPC: 680160923427. Key: D
major. English. Mark
Patterson.
Original. A choir
is one of the most
wonderful gatherings of
humanity that we can be a
part of. Within every
ensemble is a collection
of budding or
accomplished thinkers,
dreamers, artists,
athletes, entrepreneurs,
philosophers,
politicians, public
servants, scientists, and
more. Chances are good
that there is enough
thought power in your
ensemble to solve most of
the world's problems. But
sometimes we are afraid
to speak up. Â We don't
think our individual
voice matters. Or we just
assume we'll be drowned
out by the louder voices
that tend to get noticed
first.This piece is about
finding your voice:
having the courage to
speak up about the things
on your heart and the
things that can help make
our world a better
place.And so we must
sing. The world needs
your voice!—Mark
Patterson. $2.15 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| We Will Remember Them Orchestre d'harmonie [Conducteur] - Facile Belwin
Concert Band - Grade 2 SKU: AP.49171S Composed by Douglas E. Wagner. Conc...(+)
Concert Band - Grade 2
SKU: AP.49171S
Composed by Douglas E.
Wagner. Concert Band;
Performance Music
Ensemble. Belwin Young
Band. Form: Ballade.
Folk. Score. 16 pages.
Duration 3:20. Belwin
Music #00-49171S.
Published by Belwin Music
(AP.49171S). ISBN
9781470646820. UPC:
038081564999.
English. The
worldwide pandemic of
2020 left in its wake
devastating numbers of
lives lost, resulting in
unspeakable suffering for
families coping with the
grief for their now
absent loved ones. This
is especially true for
the first responders,
frontline personnel,
doctors, nurses,
scientists, medical
support teams, and
healthcare staff members
whose selfless dedication
and devotion to caring
for others tragically
resulted in their own
passing. Guided by their
personal, deep sense of
duty and obligation to
heal and help, they put
themselves in harm's way,
paying the ultimate price
so that others might
live. Celebrate their
lives with Douglas
Wagner's composition, We
Will Remember Them.
May their bright
stars ever spread the
night sky, piercing the
darkness to continue
bringing light, hope, and
inspiration to us all.
At the going down
of the sun and in the
morning, we will remember
them. (3:20). $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| We Will Remember Them Orchestre d'harmonie - Facile Belwin
Concert Band - Grade 2 SKU: AP.49171 Composed by Douglas E. Wagner. Conce...(+)
Concert Band - Grade 2
SKU: AP.49171
Composed by Douglas E.
Wagner. Concert Band;
Performance Music
Ensemble. Belwin Young
Band. Form: Ballade.
Score and Part(s). 78
pages. Duration 3:20.
Belwin Music #00-49171.
Published by Belwin Music
(AP.49171). ISBN
9781470646813. UPC:
038081564982.
English. The
worldwide pandemic of
2020 left in its wake
devastating numbers of
lives lost, resulting in
unspeakable suffering for
families coping with the
grief for their now
absent loved ones. This
is especially true for
the first responders,
frontline personnel,
doctors, nurses,
scientists, medical
support teams, and
healthcare staff members
whose selfless dedication
and devotion to caring
for others tragically
resulted in their own
passing. Guided by their
personal, deep sense of
duty and obligation to
heal and help, they put
themselves in harm's way,
paying the ultimate price
so that others might
live. Celebrate their
lives with Douglas
Wagner's composition, We
Will Remember Them.
May their bright
stars ever spread the
night sky, piercing the
darkness to continue
bringing light, hope, and
inspiration to us all.
At the going down
of the sun and in the
morning, we will remember
them. (3:20). $58.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Science Fair Spectacular Voix d'Enfants [Partition + Accès audio] Heritage Music Press
A Musical about Great Scientists. Composed by Mark Burrows. Classroom Mus...(+)
A Musical about Great
Scientists. Composed
by Mark Burrows.
Classroom Music. Book,
audio/data CD. Heritage
Music Press #75/1004H.
Published by Heritage
Music Press
(LO.75-1004H).
$32.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pathfinders March Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Anglo Music
Concert Band/Harmonie and Trumpet Trio - Grade 1 SKU: BT.AMP-036-010 Comp...(+)
Concert Band/Harmonie and
Trumpet Trio - Grade 1
SKU:
BT.AMP-036-010
Composed by Philip
Sparke. Debut Series
(Anglo). March. Set
(Score & Parts). Composed
2003. Anglo Music Press
#AMP 036-010. Published
by Anglo Music Press
(BT.AMP-036-010).
Composer Philip
Sparke has long been
fascinated by
history’s
pioneers. In all fields
of human activity, there
has been someone with
enormous vision who has
made the first step into
the unknown. Explorers
have found new lands,
doctors have discovered
new medicines and
scientists are pushing
the bounds of technology
ever further. But there
was always one
‘pathfinder’
, someone who was not
afraid of the unknown,
who dared to go one step
further than anyone
before him. The march is
dedicated those pioneers
who have risked
everything for the sake
of their
vision.
Pathfin
ders March - zu
deutsch Pfadfindermarsch
- wurde zu Ehren der
Pioniere der Geschichte,
wie Entdecker, Forscher
und Mediziner,
komponiert. Sie alle sind
die so genannten
Pfadfinder, die es als
erste wagten,
unerforschte Wege zu
beschreiten. Der
imponierende Marsch, der
das Trompetenregister
herausstreicht, bringt
Glanz in jedes Repertoire
und überzeugt sowohl
Musiker als auch das
Publikum.
Philip
Sparke est un grand
passionné de
l’histoire des
pionniers. Dans tous les
secteurs
d’activité
humaine, il y a eu un
visionnaire qui a franchi
le pas vers
l’inconnu. Les
explorateurs ont
découvert de nouvelles
terres, les médecins
ont développé de
nouveaux remèdes et
les scientifiques
repoussent sans cesse les
limites de la
technologie. Mais il y a
toujours eu un pionnier,
un être sans peur de
l’inconnu, qui a
osé franchir le pas
supplémentaire que nul
n’a osé
franchir auparavant.
Cette marche est
dédiée ces
pionniers qui ont tout
risqué pour
réaliser leur
rêve. $90.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Pathfinders March Orchestre d'harmonie [Conducteur] - Débutant Anglo Music
Concert Band/Harmonie and Trumpet Trio - Grade 1 SKU: BT.AMP-036-140 Comp...(+)
Concert Band/Harmonie and
Trumpet Trio - Grade 1
SKU:
BT.AMP-036-140
Composed by Philip
Sparke. Debut Series
(Anglo). March. Score
Only. Composed 2003.
Anglo Music Press #AMP
036-140. Published by
Anglo Music Press
(BT.AMP-036-140).
Composer Philip
Sparke has long been
fascinated by
history’s
pioneers. In all fields
of human activity, there
has been someone with
enormous vision who has
made the first step into
the unknown. Explorers
have found new lands,
doctors have discovered
new medicines and
scientists are pushing
the bounds of technology
ever further. But there
was always one
‘pathfinder’
, someone who was not
afraid of the unknown,
who dared to go one step
further than anyone
before him. The march is
dedicated those pioneers
who have risked
everything for the sake
of their
vision.
Pathfin
ders March - zu
deutsch Pfadfindermarsch
- wurde zu Ehren der
Pioniere der Geschichte,
wie Entdecker, Forscher
und Mediziner,
komponiert. Sie alle sind
die so genannten
Pfadfinder, die es als
erste wagten,
unerforschte Wege zu
beschreiten. Der
imponierende Marsch, der
das Trompetenregister
herausstreicht, bringt
Glanz in jedes Repertoire
und überzeugt sowohl
Musiker als auch das
Publikum.
Philip
Sparke est un grand
passionné de
l’histoire des
pionniers. Dans tous les
secteurs
d’activité
humaine, il y a eu un
visionnaire qui a franchi
le pas vers
l’inconnu. Les
explorateurs ont
découvert de nouvelles
terres, les médecins
ont développé de
nouveaux remèdes et
les scientifiques
repoussent sans cesse les
limites de la
technologie. Mais il y a
toujours eu un pionnier,
un être sans peur de
l’inconnu, qui a
osé franchir le pas
supplémentaire que nul
n’a osé
franchir auparavant.
Cette marche est
dédiée ces
pionniers qui ont tout
risqué pour
réaliser leur
rêve. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Ultimate Vocal Voyage Voix seule [Partition + CD] Hal Leonard
The Definitive Method for Unleashing the Rock, Pop or Soul Singer Within You. By...(+)
The Definitive Method for
Unleashing the Rock, Pop
or Soul Singer Within
You. By Daniel Zangger
Borch. Book (not sheet
music). BOOK W/CD. 168
pages. Published by Hal
Leonard.
$19.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Axolotl Dance Orchestre d'harmonie [Conducteur et Parties séparées] - Facile RWS Music Company
Grade 2 SKU: CL.RWS-2230-00 (Mvt. 3 from Water Tales: A Suite for Band...(+)
Grade 2 SKU:
CL.RWS-2230-00
(Mvt. 3 from Water
Tales: A Suite for
Band). Composed by
Hoefle. Young Concert
Band. Score and set of
parts. Composed 2022. RWS
Music Company
#RWS-2230-00. Published
by RWS Music Company
(CL.RWS-2230-00).
Named after
Xolotl, Aztec god of fire
and lightning, Mexican
salamanders called
Axolotls are increasing
in popularity. They
feature an anime-like
appearance and have
recently appeared in the
computer game Minecraft!
Axolotl Dance honors the
Mexican heritage of these
amazing creatures with
basic Latin percussion,
and highlights their
charm with a lighter
melody. Not just a pretty
face, these creatures
also have mysterious
powers of regeneration
like no other, making
them of interest to
scientists. Have fun
learning about these
delightful creatures
while preparing this fun
piece for
performance! $65.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Axolotl Dance Orchestre d'harmonie [Conducteur] - Facile RWS Music Company
Grade 2 SKU: CL.RWS-2230-01 (Mvt. 3 from Water Tales: A Suite for Band...(+)
Grade 2 SKU:
CL.RWS-2230-01
(Mvt. 3 from Water
Tales: A Suite for
Band). Composed by
Hoefle. Young Concert
Band. Extra full score.
Composed 2022. RWS Music
Company #RWS-2230-01.
Published by RWS Music
Company (CL.RWS-2230-01).
Named after
Xolotl, Aztec god of fire
and lightning, Mexican
salamanders called
Axolotls are increasing
in popularity. They
feature an anime-like
appearance and have
recently appeared in the
computer game Minecraft!
Axolotl Dance honors the
Mexican heritage of these
amazing creatures with
basic Latin percussion,
and highlights their
charm with a lighter
melody. Not just a pretty
face, these creatures
also have mysterious
powers of regeneration
like no other, making
them of interest to
scientists. Have fun
learning about these
delightful creatures
while preparing this fun
piece for
performance! $8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Teleportation Orchestre d'harmonie [Conducteur] - Débutant FJH
Concert Band Concert Band - Grade 0.5 SKU: FJ.B1656S Score Only. C...(+)
Concert Band Concert Band
- Grade 0.5 SKU:
FJ.B1656S Score
Only. Composed by
Timothy Loest. Concert
Band. FJH Starter Series.
Novelty. Score. Duration
1:00. The FJH Music
Company Inc #98-B1656S.
Published by The FJH
Music Company Inc
(FJ.B1656S).
English. Take an
imaginative departure
from the typical band
piece with this highly
programmatic work.
Depicting futuristic
travel, the music takes
the audience to a time
when matter is broken
down, beamed across
space, and then
reassembled elsewhere.
Your students and
audience will agree with
Einstein, who said, The
greatest scientists are
artists as well..
About FJH
Starter
Series Int
roduction to Beginning
Band - Ideal for the
first several months of
instruction. These pieces
are a comfortable length
for students (about a
half page of music) and
are playable with as few
as five instruments. All
instruments are limited
to a 6-note diatonic
range. Several
supplemental exercises
are included to help
teach different elements
of each piece. Grade
.5 $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Medieval and Renaissance Music for Flute Flûte traversière [Partition + Accès audio] ADG productions
Composed by Jessica Walsh. Saddle stitch. Renaissance/Flute Instruction. Book an...(+)
Composed by Jessica
Walsh. Saddle stitch.
Renaissance/Flute
Instruction. Book and
Downloadable audio.
Duration 65 minutes.
Published by ADG
Productions
(2)$21.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Die geistige Klangvorstellung Breitkopf & Härtel
SKU: BR.BV-477 Franziska Martienssen-Lohmann. Gesangstheorie und Gesan...(+)
SKU: BR.BV-477
Franziska
Martienssen-Lohmann.
Gesangstheorie und
Gesangspadagogik.
Composed by Barbara Hoos
de Jokisch. Paperback.
Buchverlag Breitkopf &
Hartel (Music Books).
Music pedagogy. Book. 600
pages. Breitkopf and
Haertel #BV 477.
Published by Breitkopf
and Haertel (BR.BV-477).
ISBN 9783765104770.
6.5 x 9.5
inches. In her
book, Barbara Hoos de
Jokisch presents the
first comprehensive
approach to the
influential work and
activities of Franziska
Martienssen-Lohmann
(1887-1971). Her
ground-breaking
publications on vocal
theory and pedagogy are
timeless with respect to
their contents, and
modern in their
methodology. The author
uses vivid language to
illustrate the writings
of the distinguished
voice teacher from a
contemporary-history
perspective, as well as
from a biographical and
philosophical one. The
multifaceted book and
enclosed CD-ROM contain a
large quantity of
previously unpublished
photos, correspondence
and other source texts.
Recommended reading for
all singers, voice
students, teachers, voice
scholars and vocal
scientists. $92.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
1 |