| Beethoven, Ludwig Van :
Concerto for Pianoforte
and Orchestra no. 1 C
major op. 15
Piano et Orchestre [Partition] - Avancé Barenreiter
New findings in Beethoven?s first piano concerto' ' The Bärenreiter edito...(+)
New findings in Beethoven?s first piano concerto' ' The Bärenreiter editor and Beethoven expert Jonathan Del Mar who has received international acclaim for his highly successful editions of Beethoven?s works now turns his focus on the piano concertos.' ' In the Piano Concerto No. 1 in C major op. 15, Del Mar has found no less than 17 corrections in Beethoven?s autograph which were made after the work was published. These have been brought to light in this new Bärenreiter edition. A detailed critical commentary documents all the sources and findings made by the editor.' ' This new critical edition sets the highest scholarly standards without losing sight of the needs of modern performers. ' ' - Urtext edition reflecting the latest musicological research' - Includes Beethoven?s cadenzas ' - Piano reduction with a separate solo piano part / [Concerto pour Piano et Orchestre n°1 Do majeur Opus 15] / Classique / Partition / Agrafé /
27.50 EUR - vendu par Note4Piano Délais: En Stock Plus que 1 ex. en stock, commandez vite ! | |
| The Five Piano Concertos Orchestre [Conducteur d'étude / Miniature] Barenreiter
The standard edition!Now that all the scores, Critical Commentaries and complete...(+)
The standard edition!Now that all the scores, Critical Commentaries and complete performance materials have been published for Beethoven's five Piano Concertos(BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level.Rounding off the edition are an informative Introduction by Beethoven scholar Barry Cooper on the genesis of the works and a Foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach.- Bärenreiter Urtext edition at the cutting edge of scholarship- The standard edition for pianists, students, conductors and libraries- Attractively priced boxed setThe study scores are not available separately at present. / Conducteur De Poche
85.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto For Alto
Saxophone And String
Orchestra E-Flat Major
Op. 109 Saxophone et Orchestre [Conducteur] Barenreiter
The Concerto for Alto Saxophone and Orchestra is Alexander Glazunov's last work-...(+)
The Concerto for Alto Saxophone and Orchestra is Alexander Glazunov's last work- since its first performance in 1934 it has become part of the standard saxophone repertoire.The sole surviving autograph manuscript is the hand-written dedication score given by Glazunov to Sigurd Raschèr (Raschèr was the founder and leader of the well-known and innovative Raschèr Saxophone Quartet).This score contains the original version of the work without the alterations which were made in the proofs to the orchestral score as well as the full version of the composer's cadenza which was later shortened. The autograph manuscript also contains some performance markings by Raschèr.The correspondence between Raschèr and Glazunov documents the composer's thoughts on the work and his recommendations about the size of the accompanying string orchestra. Evidence from this correspondence has been integrated into this edition.This first scholarly-critical edition of a work by Glazunov contains an informative introduction with commentaries about the history of its composition, facsimiles and a critical commentary.The solo part includes both the complete and the shortened version of the cadenza as well as a cadenza by Raschèr which the composer authorised.- Includes the original and new solo cadenzas- With helpful performance tips by Carina Raschèr, the daughter of Sigurd Raschèr- With an Urtext solo saxophone part and a second part prepared by Carina Raschèr- Informative foreword (Ger/Eng) / Saxophone Alto Et Orchestre A Cordes
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| Requiem Op. 89 Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights...(+)
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Choeur Mixte (SATB)
107.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Requiem Op. 89 Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights...(+)
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Violon II
7.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Requiem Op. 89 Soli, choeur mixte et accompagnement satb (soli), SATB (chœur), Orchestre Barenreiter
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights...(+)
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Violon I
39.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto For Marimba And
Orchestra (Piano
Reduction) Marimba, Piano (duo)
In 4 movements: I) Saudação, (Greetings), II) Lamento (Lament), III) Dança (D...(+)
In 4 movements: I) Saudação, (Greetings), II) Lamento (Lament), III) Dança (Dance), IV) Despedida (Farewell). The most popular marimba concerto of all time. 'The concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba.' (Percussive Notes). The Concerto for Marimba and Orchestra was written in June and July of 1986 in Brasília and is dedicated to the composer's son Marcelo. The work was originally written for marimba and string orchestra and was premiered in the USA the same year with the Manitowoc Symphony Orchestra in Wisconsin under the direction of Manuel Prestamo. With the commercial success of a 1990 CD and video by Scottish percussionist Evelyn Glennie and the London Symphony Orchestra, the Concerto rapidly came to be regarded as part of the standard literature for percussion. It is considered to be the most popular marimba concerto today, and has been performed by more than eight hundred orchestras worldwide. The concerto contains four movements - unusual for the concerto form - which follow the fast-slow-fast pattern, with the medium tempo third movement inserted before the vigorous finale. Some Brazilian motifs and jazz elements are used throughout the piece, which contains strong rhythmic patterns and catchy melodies. The marimba leads the thematic material throughout much the piece, and as a result, the marimba part of certain movements can be performed solo, without orchestral accompaniment. The solo part explores the many possibilities of modern four-mallet technique, and according to reviews from Percussive Notes magazine 'the concerto is superbly written for the unique timbre and virtuoso technical qualities of the marimba.' / Marimba Et Piano
63.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| ...Le Ciel, Tout A
L'Heure Encore Si
Limpide, Soudain Se
Trouble Horriblement...
(JARRELL MICHAEL) En Français Orchestre [Partition] Lemoine, Henry
Par JARRELL MICHAEL. De la nature... du musical
Michael Jarrell, né en 1958, e...(+)
Par JARRELL MICHAEL. De la nature... du musical
Michael Jarrell, né en 1958, est l'un des compositeurs les plus en vue de sa génération. Dans une démarche toute personnelle, qui ne s'est inféodée à aucun mouvement, et dans une quête intérieure inlassablement poursuivie, il a opéré une synthèse de l'héritage des musiques d'après-guerre dont il a extrait certaines caractéristiques techniques pour les mettre au service d'une véritable poétique musicale. En effet, contrairement à ses aînés, il explore moins le langage pour lui-même, faisant des nouvelles techniques le lieu d'une mutation dans la pensée musicale, qu'il ne cherche à le mettre au service de l'expression. Aussi se méfie-t-il d'une conceptualisation excessive, et de l'utopie dont l'oeuvre serait porteuse, préférant mettre en valeur les vertus d'un artisanat qu'il enseigne par ailleurs à Vienne et à Genève, ainsi que lors de nombreux séminaires à travers l'Europe. Ses oeuvres, facilement identifiables dans l'abondante production contemporaine, sont toutes liées les unes aux autres, non seulement par une certaine forme de sensibilité, leur tonalité propre, mais aussi par la récurrence de certains traits que Jarrell retravaille dans des contextes différents. Il s'est ainsi très tôt constitué un univers qu'il ne cesse de remodeler, visant moins l'originalité apparente de chacune des pièces qu'un déplacement constant des perspectives dans lesquelles les mêmes idées, en elles, peuvent être appréhendées. 'Cent fois sur le métier...' voilà quelle pourrait être sa devise. On trouve ainsi dans chacune de ses oeuvres quelque chose de familier qui acquiert en même temps une certaine étrangeté, sentiment qui constitue peut-être un élément essentiel de son expressivité. La musique de Jarrell arpente les régions du rêve et de l'irréalité, à la recherche de son moment de vérité, souvent situé dans les sonorités les plus graves et tes plus lentes, là où le temps, ailleurs agité, s'immobilise. C'est peut-être ce qui confère à sa musique une forme de tendresse inséparable de la beauté sonore, allant jusqu'à un esthétisme raffiné, loin des recherches extrêmes et des formulations autoritaires. Chez lui, même les techniques instrumentales les plus inhabituelles, ou les sonorités électroniques, auxquelles il a souvent recours, sont rapatriées dans un monde sensible emprunt de pureté où ce sont les qualités expressives qui dominent. Celles-ci ne renvoient pas forcément au moi du compositeur, qui tend au contraire à s'effacer, mais davantage à l'essence même du musical, au phénomène en soi, porteur d'une présence singulière au monde.
On retrouve de telles qualités dans sa dernière oeuvre, ...Le ciel, tout à l'heure si limpide, soudain se trouble horriblement..., commandée par l'Orchestre de la Suisse Romande. Elle fait appel à un grand orchestre symphonique standard: 3 flûtes (dont alto et piccolo, 2 hautbois et cor anglais, 2 clarinettes et clarinette basse, 2 bassons et contrebasson, 4 cors, 3 trompettes, 3 trombones, tuba, harpe, timbales, 4 percussions (vibraphone, glockenspiel, cloches tubes, cymbales, bongos, tam-tam, grosse caisse, temple blocks, tom grave, spring coils, triangle, mark tree) et cordes. Malgré un titre qui pourrait sous-entendre un élément programmatique, l'oeuvre appartient à la catégorie de la musique pure. L'orchestre y est traité de façon conventionnelle, mais avec une virtuosité d'écriture, un raffinement dans la sonorité qui exige beaucoup de ses interprètes.
D'un seul tenant, l'oeuvre se divise en quatre parties principales d'inégale longueur, les deux premières étant plus importantes que les deux suivantes: la première est constituée d'un continuum de notes rapides réparties entre les cordes et Les bois, tandis que les trompettes, doublées par différents instruments, lancent une figure d'appel incisive qui s'allonge progressivement. L'écriture est d'une grande virtuosité, les figurations en triples croches passant d'un instrument ou d'un groupe à un autre. Les notes rapides se figent une première fois dans des oscillations jouées notamment par les cordes divisées, puis à travers des notes répétées qui traversent toute la texture orchestrale. Après un passage intermédiaire privilégiant les sons graves, l'écriture vive reprend jusqu'à un sommet dramatique marqué par des trilles, aussitôt suivi d'une désintégration qui mène à la seconde partie.
Celle-ci débute avec des quintes jouées par les cordes graves divisées et colorées par les percussions (les contrebasses, qui doivent modifier leur accord, jouent des sons harmoniques). La musique semble vouloir repartir d'un point originel, elle se réinvente à partir d'une structure élémentaire, dans une extrême douceur. L'impétuosité du début laisse place à une grande délicatesse des sonorités. C'est un trait que l'on retrouve dans de nombreuses pièces de Jarrell: après l'effervescence d'une écriture brillante, agitée, nerveuse, que l'auditeur suit dans sa course folle, vient un moment réflexif et profond, qui nécessite une réorientation de l'écoule, une plongée dans la nature même du phénomène sonore. La trame qui se déploie dans un tempo lent offre ainsi une autre image de la sonorité orchestrale, comme si une musique des origines, au caractère de litanie, était soudain dévoilée sous la couche éclatante du début. Elle donne le sentiment d'avoir commencé bien avant son moment d'apparition, comme si elle provenait des couches profondes de la conscience, d'une mémoire archaïque. D'ailleurs, Jarrell réélabore ici un passage d'une pièce antérieure, Music for a While, lui reprenant son matériau de base. Le sentiment de profondeur est dû au formidable ralentissement du temps, qui nous met soudainement en apesanteur, mais aussi à une forme en spirale, qui tranche avec la musique directionnelle qui précédait. L'effet que provoque la distance sensible entre de tels contrastes est onirique: on ne sait plus si la première partie, qui nous échappe en se projetant vers l'avant, n'était qu'une forme illusoire, ou si nous entrons, avec la partie lente, dans une sorte de rêve éveillé.
Un passage central, dans cette seconde partie, s'organise autour de guirlandes sonores à la harpe et aux cloches que tout l'orchestre remplit de sonorités suaves. Les arpèges descendants des vents doublés par des pizzicatos de cordes, que transpercent des notes répétées aux trompettes et aux cors, dans un climat encore doux, annoncent la reprise du mouvement frénétique. Mais cette fois, ce sont moins des figures virevoltantes qui passent à travers les pupitres que des blocs de notes joués par la masse des instruments: des figures qui s'élancent vers le haut aboutissent à des notes répétées, en une forme d'antiphonie, et mènent à un sommet d'intensité. Après quoi, en guise de coda, une quatrième partie nous conduit à une fin mourante: l'harmonie se fige, les polyrythmes annulent toute sensation de mesure, les longues tenues des instruments graves chutent chromatiquement, les percussions jouant des figures rituelles, en résonance, jusqu'à l'immobilité finale.
Le titre de la pièce provient de Lucrèce (De la nature). Il n'a pas de signification structurelle immédiate, comme souvent chez Jarrell, mais exprime en quelques mots l'idée qui avait présidé au morceau. Le trouble s'apparente ici à une forme d'étrangeté, à quelque chose d'inquiétant qui n'apparaît pas de façon narrative, tel un vent d'orage dans un ciel serein, mais comme l'essence même de l'articulation formelle entre deux types d'écriture, deux types d'expression qui exigent des temporalités opposées l'une à l'autre. La soudaineté, c'est le renversement entre les deux. Pourtant, on retrouve un même noyau entre les parties vives et les parties lentes, la quinte jouant dans les deux cas un rôle structurel, et le mib apparaissant comme une note polaire (toute la musique de Jarrell est aimantée par des pôles qui orientent l'écoute). Si le passage du limpide au trouble se traduit par la sonorité orchestrale, par le maniement très sensible des timbres qui provient en grande part de la tradition orchestrale française, il se manifeste aussi par des figures qui évitent tout profil thématique, toute forme mélodique au sens traditionnel du terme, et qui composent la texture. L'auditeur a directement à faire avec la matière sonore. Et celle-ci est composée de part en part.
L'adjectif poétique vient à l'esprit pour définir une invention qui s'écarte aussi bien des formes illustratives que des constructions schématiques, et qui repose essentiellement sur l'organisation des hauteurs au détriment des effets, des sonorités bruiteuses ou des gestes iconoclastes. Et malgré les passages brillants, malgré les explosions sonores toujours maîtrisées et un maniement virtuose de l'orchestre, cette poétique révèle un caractère fondamental plutôt intimiste.
Philippe Albèra / contemporain / Répertoire / Orchestre
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Symphonie Nr. 9 (MAHLER
GUSTAV) Orchestre [Conducteur d'étude / Miniature] Universal Edition
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Th...(+)
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. The large-scale form of 'Symphony No. 9' is unusual in a number of ways. It reminds in no way of the ninth symphonies of famous predecessors. Two slow movements, an Andante comodo at the beginning and an Adagio at the end, form the frame for two of the most parodistic and embittered inner movements that Mahler ever wrote - a ländler-waltz combination, and the 'Rondo-Burleske', a bitter, ironic movement that is derisively dedicated 'to my brothers in Apollo'. The most extraordinary part of Mahler's last completed symphony must certainly be the slow finale - a 20-minute long intensively singing movement laden with conflict that includes references to earlier works by Mahler, in slow motion as it were ('Urlicht',' Ablösung im Sommer', the 'Scherzo of Symphony No. 3', 'Der Abschied' from 'Das Lied von der Erde', and 'Oft denk' ich, sie sind nur ausgegangen' from the 'Kindertotenlieder'); it indeed seems that a circle is being closed. (Reinhold Kubik) Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre
50.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Adagio aus der Symphonie
Nr. 10 (MAHLER GUSTAV) Orchestre [Conducteur d'étude / Miniature] Universal Edition
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Un...(+)
Based on the Critical Edition- Orchestra material on hire. Par MAHLER GUSTAV. Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Orchestre
34.70 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Der Wein (BERG ALBAN) Voix Soprano, Orchestre Universal Edition
Konzertarie mit Orchester. Par BERG ALBAN. Universal Edition continues its new s...(+)
Konzertarie mit Orchester. Par BERG ALBAN. Universal Edition continues its new study score standard. These completely redesigned scores offer an unparalleled insight into the music of the last hundred years. Great care has been taken to select the best available content for this journey through music history, and every score has been edited according to the latest quality standards./ Répertoire / Soprano et Orchestre
46.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Texan Tenebrae HPS 1694
(TURNAGE MARK-ANTHONY) Orchestre Boosey and Hawkes
Par TURNAGE MARK-ANTHONY. This work was commissioned by the Canary Islands Festi...(+)
Par TURNAGE MARK-ANTHONY. This work was commissioned by the Canary Islands Festival, the Royal Concertgebouw Orchestra and the Chicago Symphony Orchestra. It was composed in 2009 and first performed on 21 January 2010 at Auditorio de Tenerife, Santa Cruz de Tenerife, Spain, by the London Philharmonic Orchestra, conducted by Vladimir Jurowski.
This 8 minute atmospheric piece is moody and full of suspense, structured in a single slow movement. Suitable for advanced standard performers. / Date parution : 2022-10-12/ Répertoire / Orchestre
35.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto For Alto
Saxophone And Orchestra
(DENISOV EDISON) Saxophone Alto et Piano Sikorski
Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison...(+)
Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano
77.30 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Requiem Op. 89 Soli (SATB), Chor (SATB) und
Kammerorchester Barenreiter
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights...(+)
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Violoncelle
7.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Requiem Op. 89 Soli (SATB), Chor (SATB) und
Kammerorchester Barenreiter
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights...(+)
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Alto
7.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Danse Macabre And
Havanaise (SAINT-SAENS
CAMILLE) Orchestre [Partition] Dover Publications
Par SAINT-SAENS CAMILLE. Two of Saint-Saens most popular works appear together i...(+)
Par SAINT-SAENS CAMILLE. Two of Saint-Saens most popular works appear together in this affordable volume. First composed in a song form Danse Macabre was later rewritten as a symphonic poem. It is important to remember that risque music was considered more daring and controversial than today and audiences at its 1875 debut were resistant to its unconventional charms, but it eventually became a crowd pleaser. Havanaise is among the most challenging of violin and orchestra pieces, but a standard showpiece in the repertoire of every serious violinist. Based on the Cuban dance, Habanera, the 1887 work features a languid mood, highlighted by bursts of virtuoso activity. This volumecontains the full score for violin and orchestra of both these magnificent pieces./ Répertoire / Orchestre
17.50 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Piano Concerto HPS 1646
(TURNAGE MARK-ANTHONY) Piano et Orchestre Boosey and Hawkes
Par TURNAGE MARK-ANTHONY. This work was commissioned by the Rotterdam Philharmon...(+)
Par TURNAGE MARK-ANTHONY. This work was commissioned by the Rotterdam Philharmonic Orchestra in honour of Silvia Tóth and dedicated to Hans Werner Henze. It was composed in 2012?13 and first performed on 10 October 2013 at De Doelen, Rotterdam, Netherlands, by Marc-André Hamelin (piano) with the Rotterdam Philharmonic Orchestra, conducted by Yannick Nézet-Séguin.
This 20 minute work is formed of three movements and explores a wide range of moods and textures. Suitable for advanced standard performers. / Date parution : 2022-10-12/ Répertoire / Orchestre et Piano
38.80 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Requiem Op. 89 Soli (SATB), Chor (SATB) und
Kammerorchester Barenreiter
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights...(+)
Dvorák's 'Requiem?, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber orchestra based on the full score from the 'Complete Edition of the Works by Antonín Dvorák?.The arrangement dispenses with all the brass instruments except for a single horn- all that remains of the percussion are the timpani- the organ has also been taken out. The cor anglais and bass clarinet parts can be replaced by an oboe and clarinet (ossia staves in score and parts).This arrangement, which judiciously reduces the richness of Dvorák's original orchestration, makes the work available to a broader range of performers outside professional circles.- Standard choral work with a manageable reduced orchestration- A stylistically appropriate as well as tried and tested arrangement- In keeping with the vocal score H 2924-90 / Contrebasse
7.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Camille Saint-saens
Danse Macabre And
Havanise Orch - Violin Orchestre, Violon [Partition] Kevin Mayhew
Description Two of Saint-Saens most popular works appear together in this aff...(+)
Description Two of Saint-Saens most popular works appear together in this affordable volume. First composed in a song form Danse Macabre was later rewritten as a symphonic poem. It is important to remember that risque music was considered more daring and controversial than today and audiences at its 1875 debut were resistant to its unconventional charms, but it eventually became a crowd pleaser. Havanaise is among the most challenging of violin and orchestra pieces, but a standard showpiece in the repertoire of every serious violinist. Based on the Cuban dance, Habanera, the 1887 work features a languid mood, highlighted by bursts of virtuoso activity. This volume contains the full score for violin and orchestra of both these magnificent pieces.
15.90 EUR - vendu par Woodbrass Délais: En Stock | |
| Stringpops Christmas
(Score/Ecd) Orchestre à Cordes [Partition + CD] Faber Music Limited
Wilson Peter (Arranger). Par WILSON PETER. Flexible arrangements of three irresi...(+)
Wilson Peter (Arranger). Par WILSON PETER. Flexible arrangements of three irresistible pieces from popular Christmas songs for young string players: perfect for concerts or just for fun! For Violin, optional Viola, Cello and Double Bass (up to approximately Grade 2 standard), plus additional open-string parts so beginners can be included, with Piano accompaniments. Put the CD-Rom in a computer to access PDFs of all ten instrumental parts and print out as many as are needed. Put it in a standard CD player to hear the free audio tracks of the Piano accompaniments - ideal for rehearsals and performances./ Répertoire / Conducteur et Poche
17.40 EUR - vendu par LMI-partitions Délais: En Stock | |
| Stringpops Harry Potter
(WILSON PETER) Orchestre à Cordes [Partition + CD] Faber Music Limited
Par WILSON PETER. Flexible arrangements of three irresistible pieces from the fa...(+)
Par WILSON PETER. Flexible arrangements of three irresistible pieces from the famous film based on JK Rowling's book, and one great new original Harry Potter inspired piece by Peter Wilson for young string players: perfect for concerts or just for fun! For Violin, optional Viola, Cello and Double Bass (up to approximately Grade 2 standard), plus additional open-string parts so beginners can be included, with Piano accompaniments. Put the CD-Rom in a computer to access PDFs of all ten instrumental parts and print out as many as are needed. Put it in a standard CD player to hear the free audio tracks of the Piano accompaniments - ideal for rehearsals and performances./ Recueil / Conducteur
17.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Beethoven L.v. - The
Five Piano Concertos -
Score Piano et Orchestre Barenreiter
The standard edition! Now that all the scores, Critical Commentaries and comple...(+)
The standard edition! Now that all the scores, Critical Commentaries and complete performance materials have been published for Beethoven?s five Piano Concertos(BA 9021-9025), Bärenreiter are now presenting the five study score editions in a boxed set. The musical text reflects a judicious study of every surviving source, producing an Urtext edition at the very highest level. Rounding off the edition are an informative Introduction by Beethoven scholar Barry Cooper on the genesis of the works and a Foreword by the renowned editor Jonathan Del Mar describing the sources and the editorial approach. ? Bärenreiter Urtext edition at the cutting edge of scholarship ? The standard edition for pianists, students, conductors and libraries ? Attractively priced boxed set The study scores are not available separately at present. Edition no.: TP 920 ISMN: 9790006205479 Editor: Del Mar, Jonathan Language(s) of text: English, German Product format: Study score (5), Urtext edition Binding: in a slipcase Pages / Format: XIII,99/XIII,74/XV,86/XVII,98/XIX,104 S. - 23,5 x 16,7 cm
71.80 EUR - vendu par Woodbrass Délais: Sur commande | |
| Stringpops James Bond
(WILSON PETER) Orchestre à Cordes [Partition + CD] Faber Music Limited
Par WILSON PETER. Flexible arrangements for young string players of two famous J...(+)
Par WILSON PETER. Flexible arrangements for young string players of two famous James Bond themes and one great new original James Bond piece by Peter Wilson: perfect for concerts or just for fun! For Violin, optional Viola, Cello and Double Bass (up to approximately Grade 2 standard), plus additional open-string parts so beginners can be included, with Piano accompaniments. Put the CD-Rom in a computer to access PDFs of all ten instrumental parts and print out as many as are needed. Put it in a standard CD player to hear the free audio tracks of the Piano accompaniments - ideal for rehearsals and performances./ Recueil / Conducteur
17.40 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
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