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Sun's on It's Way
Cello
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Meditation on Ink Painting《水墨畫之冥想》
Cello
Cello Solo - Digital Download SKU: A0.961997 Composed by Ma Shui Long 馬水…
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Cello Solo - Digital Download SKU: A0.961997 Composed by Ma Shui Long 馬水é¾. 20th Century,Contemporary. Individual part. 17 pages. SpringAutumnmusic #2341883. Published by SpringAutumnmusic (A0.961997). 《水墨畫之冥想》（ä¹æ”¯å¤§æç´å®¤å…§æ¨‚曲） 1994å¹´ 作曲者自幼喜愛繪畫與音樂。爾後，雖然é¸æ“‡äº†éŸ³æ¨‚為終身志æ¥ï¼Œä½†å°ç¹ªç•«çš„興趣與狂熱，始終有增無減。在已完æˆçš„音樂作å“ä¸ï¼Œå¹¾é¦–å‡èˆ‡ç¹ªç•«æœ‰å¯†åˆ‡çš„關係。作曲者èªç‚ºï¼Œæ‰€æœ‰çš„è—è¡“å‰µä½œï¼Œé›–ç„¶å› å…¶ä½¿ç”¨çš„ç´ æä¸åŒæˆ–表ç¾çš„技法相異，但最後所è¦å‘ˆç¾çš„è—術本質，應是殊途åŒæ¸ï¼ŒéŸ³æ¨‚與繪畫更是ä¸ä¾‹å¤–。 本曲創作的動機，來自於傳統水墨畫ä¸çš„「虛實相生ã€è§€å¿µã€‚å¤äººç¬ªé‡å…‰ã€Œç•«çŒã€äº‘ï¼šå¯¦è™•ä¹‹å¦™ï¼Œçš†å› è™›è™•è€Œç”Ÿï¼Œä¹Ÿå°±æ˜¯ç„¡è™›ä¸æ˜“顯實，無空ä¸èƒ½å˜è™›ã€‚ç„¡ç–ä¸èƒ½æˆå¯†ï¼Œç„¡å¯†ä¸èƒ½è¦‹ç–，是以虛實相生，ç–密相用。作曲者試圖以æ¤ç¹ªç•«æ‰‹æ³•ï¼Œå‘ˆç¾åœ¨æ¤é¦–樂曲çµæ§‹ä¸ï¼Œå¦‚時間與空間的å°æ¯”，織度與密度的互æ›ï¼Œå¯¦é«”與空éˆçš„轉變ç‰ï¼Œä»¥æ±‚音畫之æ„境。 ※本曲由文建會委託創作，首演於1995å¹´11月25日於國家演å¥å»³ï¼Œç”±è²¡åœ˜æ³•äººé‚±å†èˆˆæ–‡æ•™åŸºé‡‘會主辦之「春秋樂集95秋 · 室內樂之夜ã€ã€‚ç”±æ¶‚æƒ æ°‘æ“”ä»»æŒ‡æ®ï¼Œå¤§æç´æ¼”å¥å®¶ç‚ºå«ç¬çŽ²ã€é»ƒæ™ºç‘›ã€é„佩玲ã€æ›¾å²å¦ƒã€æ´ªå©‰å®¹ã€é»ƒéŸ»å®‡ã€åŠ‰å§å«¥ã€è˜‡åƒèŠ³ã€çŽ‹ä½©ç‘œã€‚ 《Meditation on Ink Painting》for Nine Cellos （1994） Music and painting are two beloved arts for Professor Ma since he was a kid. Even he finally decided devoted to music composing for his life, he always had the passion for painting. Several Professor Ma’s compositions were highly inspired from the concepts and techniques of painting. Professor Ma believed that all the arts, although they present differently on the usages of materials or techniques, the essence and highest acheivement of all arts must be the same, including both music and painting. Meditation on Paintings in Ink was directly inspired by the techniques of Chinese traditional ink painting and the concept of the mutuality in virtuality and reality. The composer attempted to transform the philosophy that derive from the virtuality-reality relationship into the composition, presented it as the contrast between time and space, the alternation of texture and density, or, the changing of emptiness and fullness, etc., in order to establish an artistic atmosphere of musical painting. Meditation on Paintings in Ink was commissioned by the Council for Cultural Affairs, premiered in the National Concert Hall, on 25th of November 1995. It was programed in the Euterpe: Spring and Autumn concert series Autumn 1995: A Night of Chamber Music, held by the Chew’s Culture Foundation. The world premiere was conducted by Hwei-Ming Twu and the nine cellists were Wan-Ling Sun, Jyh-Ing Huang, Pei-Ling Cheng (Yi-Chin Cheng) , Shih-Fei Tseng, Wan-Rong Hung, Yun-Yu Huang, Chu-Chuan Liu, Monica C.F. Su and Pei-Yu Wang.
$13.99
12.93 €
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Cello
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Ma Shui Long 馬水é¾
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Meditation on Ink Painting《水墨畫之冥想》
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SpringAutumnmusic
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SheetMusicPlus
Mia & Sebastian's Theme
Cello
Cello Solo - Level 2 - Digital Download SKU: A0.1441514 Composed by Justin Hurwitz.…
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Cello Solo - Level 2 - Digital Download SKU: A0.1441514 Composed by Justin Hurwitz. Arranged by Guilherme Assunção. 21st Century,Broadway,Film/TV,Musical/Show. Individual part. 2 pages. Guilherme A. #1021498. Published by Guilherme A. (A0.1441514). Delight in the harmonious blend of technique and expression with our Cello Solo arrangement. Perfect for advancing musical and technical abilities, this piece focuses on refining bowing techniques, finger positioning, and expressive phrasing. The arrangement highlights the cello’s warm, resonant sound, making it a captivating addition to any musical repertoire and perfect for solo performances.
$4.99
4.61 €
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Cello
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Justin Hurwitz
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Mia & Sebastian's Theme
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Guilherme A.
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
Cello
Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by…
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Cello - Level 3 - Digital Download SKU: A0.549203 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 58 pages. Jmsgu3 #3461839. Published by jmsgu3 (A0.549203). Instrumentation: 8 Cellos arranged in two choirs. Full Score: 28 pg. Study Score: 14 pg. Parts: 2 pg. ea. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.33 €
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Cello
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Gabrieli
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Gabrieli: Canzon Septimi Toni Ch 172 for Cello Choir
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jmsgu3
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SheetMusicPlus
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