| Gwyneth Walker: When the
Spirit Sings: String
Trio: Score & Parts Orchestre à Cordes [Conducteur et Parties séparées] Lauren Keiser Music Publishing
for String Trio Score and Parts-A set of three American spirituals arranged for ...(+)
for String Trio Score and Parts-A set of three American spirituals arranged for string trio including My Lord What a Morning Were You There and This Train is Bound for Glory.. Songs selected to represent a variety of moods--soulful energetic mournful and rhythmic and present them in new ways through idiomatic string writing. Commissioned by Musica Harmonia.
29.99 GBP - vendu par Musicroom GB | |
| When the Spirit Sings:
String Trio: Score Orchestre à Cordes Lauren Keiser Music Publishing
String Trio Full Score-A set of three American spirituals arranged for string tr...(+)
String Trio Full Score-A set of three American spirituals arranged for string trio including “My Lord What a Morning” “Were You There” and “This Train is Bound for Glory.”. Songs selected to represent a variety of moods--soulful energetic mournful and rhythmic and present them in new ways through idiomatic string writing. Commissioned by Musica Harmonia.
13.99 GBP - vendu par Musicroom GB | |
| Double Concerto (Score
And Parts) Piano Trio: Violon, Alto, Piano [Partition] Chester
For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so...(+)
For Violin, Viola and Piano (Reduced from the orchestra version). Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of his Opus 1 Sinfonietta , composed in the summer of 1932, his second year as a student at the Royal College Of Music. The Sinfonietta was written (in less than three weeks) very soon after Britten had completed the first draft of the Double Concerto - but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weeks later. Although the Concerto follows the same three-movement pattern as the Sinfonietta , it is more ambitious in scale - and since the sketch is, unusually for Britten, complete in practically every detail, it is puzzling that he never made a full score of the work after finishing the composition, and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was, of course, a Viola player, although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college, John Ireland, who, as Britten recorded in his diary, was 'pretty pleased' with it - but it is distinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete the Double Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936. In the absence of Britten's full score it was necessary for me to prepare the work from the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add anything significant to Britten's texture. The Double Concerto (Britten's manuscript title was 'Concerto In B Minor', but he referred to it in his diary, in characteristic shorthand, as '2ble Concerto') is the most recent addition to his corpus of works, mostly dating from Britten's youth and early maturity, that, since his death, have been revived after many years, or performed for the first time. Britten himself occasionally returned to his early works, and in his last years revised both the early String Quartet In D of 1931 and the opera Paul Bunyan . The Piano score published separately is not a reduction from the orchestral score, but a transcription of Britten's composition sketch, including his indications of instrumentation. The first performance of the Double Concerto was given at the 50th Aldeburgh Festival by Katherine Hunka and Philip Dukes, with the Britten-Pears Orchestra conducted by Kent Nagano, on June 15th 1997. -Colin Matthews / Violon, Alto Et Piano
43.35 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Duos And Trios For Violin 2 Violons (duo) [Partition + CD] - Intermédiaire Boosey and Hawkes
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements o...(+)
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians standard to learn and enjoy. Duos and Trios for Violin features selected highlights from For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and other works, imaginatively arranged for two or three violins by Hywel Davies. The collection provides ideal flexible small ensemble material for teaching and performance. An accompanying audio CD features demonstration and minus-one tracks. / 2 Ou 3 Violons
22.20 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Duos And Trios For
Clarinet 2 Clarinettes (duo) [Partition + CD] - Intermédiaire Boosey and Hawkes
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements o...(+)
The Boosey and Hawkes Bartók Edition showcases brand new stylish arrangements of highlights from the leading twentieth century composer for developing musicians standard to learn and enjoy. Duos and Trios for Clarinet features selected highlights from For Children, Mikrokosmos, Romanian Folk Dances, Romanian Christmas Carols and other works, imaginatively arranged for two or three clarinets by Hywel Davies. The collection provides ideal flexible small ensemble material for teaching and performance. An accompanying audio CD features demonstration and minus-one tracks. / 2 Ou 3 Clarinettes
22.20 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| The Complete Guitar
Player Songbook - Omnibus
Edition 1 Ligne De Mélodie, (Paroles) et
Accords [Partition + CD] - Facile Amsco Wise Publications
The Complete Guitar Player series has taught hundreds of thousands how to play a...(+)
The Complete Guitar Player series has taught hundreds of thousands how to play and the accompanying songbooks have featured hits by Paul Simon, Elvis Presley, The Beatles, John Denver and many other top artists. Now these songbooks are available in super value omnibus editions like this one. The songs are still graded by ease of playing and everything is there... standard notation, Guitar chord boxes, full lyrics and even strumming patterns! Over 180 great songs! Perfect for all players and singers! The bonus CD contains backing tracks to 16 of the songs in the book. / Ligne Mélodique, Paroles Et Accords, Guitar Tab
31.06 EUR - vendu par LMI-partitions Délais: En Stock | |
| Gospels Et Spirituals
Vol.1 En Français Chorale SATB SATB, Piano [Partition] A Coeur Joie
Recueil de 14 oeuvres, la plupart avec piano.Arrangements de Pierre-Gérard Vern...(+)
Recueil de 14 oeuvres, la plupart avec piano.Arrangements de Pierre-Gérard Verny, Cyrille Martial, William L. Dawson, H. T. Burleigh. / Choeur Mixte Et Piano / 72 pages / Partition
20.90 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Pepin Camille -
Nighthawks - Harpe Jobert
Création 04/11/2018 - Cologne (Allemagne), Philharmonie - Anaïs Gaudemard (h...(+)
Création 04/11/2018 - Cologne (Allemagne), Philharmonie - Anaïs Gaudemard (harpe) Commanditaire Fondation Calouste Gulbenkian et Philharmonie de Paris Dédicace à Anaïs Gaudemard Notice Nighthawks est une oeuvre pour harpe solo. Lorsqu' Anaïs Gaudemard [1] m'a demandé d'écrire cette oeuvre, elle souhaitait l'intégrer à un programme sur le thème des oiseaux. J'ai immédiatement pensé à l'oeuvre Nighthawks (1942) - ou Oiseaux de nuit - du peintre réaliste américain Edward Hopper (1882-1967). Inspirée par cette oeuvre, j'ai conçu la pièce d'un seul tenant comme un voyage au coeur de ce tableau. Hopper y projette un instantané de la vie quotidienne américaine. La scène se déroule à une heure avancée de la nuit et plusieurs atmosphères s'en dégagent. En effet, l'oeil est à la fois attiré par cette rue sombre, déserte, et immaculée d'un centre-ville américain ; intrigué par la situation figée des quatre personnages à l'intérieur d'un diner aux couleurs vives ; et hypnotisé par l'éclat de l'immense vitrine du bar. Contrastante avec l'obscurité de la rue, la lumière de cette vitre éclairée au néon est saisissante. Elle sépare ainsi les deux ambiances du tableau. La vue du spectateur à travers elle se fait de l'extérieur vers l'intérieur du bar. L'absence de porte de sortie donne l'impression que les personnages sont isolés et leur solitude est encore renforcée par cette vitre qui entoure la scène éclairée - comme s'ils étaient sous cloche. A l'intérieur du diner, un homme vu de dos mange ; un couple se tient côte à côte (l'homme fume ; la femme est vêtue de rouge) ; un serveur s'affaire. Nous ne savons rien d'eux. Que font-ils à une heure si tardive ? Où se trouve la sortie ? De quoi discutent-ils ? Se connaissent-ils ? J'ai voulu concevoir musicalement cette scène du point de vue du spectateur, comme si nous étions happés, aspirés à l'intérieur même du tableau. L'introduction - Mystérieux, sombre - fait entendre les douze coups de minuit et nous plonge dans l'obscurité de cette rue typiquement américaine. De cette atmosphère nocturne naît un chant étrange - presque ouaté avec les sons xylophoniques - comme si nous ne pouvions l'entendre distinctement à travers la vitre lumineuse qui sépare la rue et le bar. Happés par cette lumière vive, nous passons à travers la vitrine et rentrons progressivement à l'intérieur du diner au moyen d'une boucle hypnotique répétée inlassablement, comme si nous rentrions dans un état de transe - Hypnotique. C'est la tension sous-jacente de cette situation figée des personnages que j'ai voulu représenter dans le passage central - Rythmique et pulsé. Puis, nous sortons de cette sensation d'hypnose en repassant à travers la vitre du bar et retrouvons l'atmosphère nocturne de cette rue déserte et immaculée - Hypnotique - Mystérieux. Camille Pepin [1] Créatrice et dédicataire de la pièce Presse Que voici une oeuvre tout simplement belle ! Camille Pépin, née en 1990, a eu un parcours marqué par la danse et la composition. Mais on découvre ici tout simplement une artiste, qui nous invite à la contemplation d'une oeuvre du peintre Edward Hopper. Ayant travaillé la composition et l'orchestration aussi bien avec Thierry Perrine qu'avec Thierry Escaich, Guillaume Connesson et Marc- André Dalbavie, elle s'est forgé un langage original qui lui permet ici de nous envouter à la fois par sa musique et par la contemplation du tableau. On pourra en juger par l'interprétation qui est faite de cette pièce sur YouTube qu'on écoutera ainsi en regardant le tableau. Bien sûr, on peut aussi écouter l'oeuvre telle quelle : elle se suffit. Mais avec le tableau... Daniel Blackstone L'Education Musicale n°128 (janv-fév 2020)
17.00 EUR - vendu par Woodbrass Délais: Sur commande | |
| Benjamin Britten: Double
Concerto (Full Score):
Violin & Viola: Score [Partition] Chester
Britten was so remarkably prolific as a young composer that many of the works fr...(+)
Britten was so remarkably prolific as a young composer that many of the works from his teens were put aside to await revision or completion as he rushed on to the next piece. This was particularly the case around the time of hisOpus 1 Sinfonietta composed in the summer of 1932 his second year as a student at the Royal College Of Music.The Sinfonietta was written (in less than three weeks) very soon after Britten had completed thefirst draft of the Double Concerto; but after finishing the Sinfonietta he went back to revise the Concerto's second movement. He started work on his Op.2 Phantasy for Oboe and String Trio a few weekslater.Although the Concerto follows the same three-movement pattern as the Sinfonietta it is more ambitious in scale; and since the sketch is unusually for Britten complete in practically every detail it ispuzzling that he never made a full score of the work after finishing the composition and seems to have made no attempt to get it performed. It is not clear if he had particular performers in mind (he was of course a Violaplayer although he is not likely to have intended the part for himself). He showed the work to his composition teacher at the college John Ireland who as Britten recorded in his diary was 'pretty pleased' with it; but it isdistinctly possible that his experience in rehearsing the Sinfonietta with a student orchestra in 1932 ('I have never heard such an appalling row!' reads another diary entry) discouraged him from going on to complete theDouble Concerto in score. He was not to hear any of his orchestral works until the first performance of Our Hunting Fathers in 1936.In the absence of Britten's full score it was necessary for me to prepare the workfrom the sketch. But the instrumentation is so carefully indicated in the draft that the resulting score is not far from being 100% Britten - only between bars 70 and 74 of the slow movement did there seem to be any need to add
39.99 GBP - vendu par Musicroom GB | |
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