| Duo concertant pour harpe et piano, Opus 73 Fuzeau
((s.d. = 1810)). By J.L Dussek. Edited by Les Etudiants Du C.E.F.E.D.E.M - Ile D...(+)
((s.d. = 1810)). By J.L
Dussek. Edited by Les
Etudiants Du
C.E.F.E.D.E.M - Ile De
France. Harpe et piano -
Piano et harpe. For Harp,
Piano. Facsimiles.
Collection Dominantes.
Grade 0. 52 pages.
Published by Anne Fuzeau
Productions - France
$32.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Duo pour harpe et piano, Opus 36 Fuzeau
(Paris, Sieber, s.d. = c.1804/1805). By J.L Dussek. Edited by Jehanne Drai. Harp...(+)
(Paris, Sieber, s.d. =
c.1804/1805). By J.L
Dussek. Edited by Jehanne
Drai. Harpe et piano -
Piano et harpe. For Harp,
Piano. Facsimiles.
Collection Dominantes.
Grade 0. 24 pages.
Published by Anne Fuzeau
Productions - France
$20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Oratorio de Noel (Christmas Oratorio), Op. 12 Conducteur de poche, d'étude [Conducteur d'étude / Miniature] Masters
By Camille Saint-Saens. For SSATB soli, SATB Chorus / Orchestra harp, organ, str...(+)
By Camille Saint-Saens.
For SSATB soli, SATB
Chorus / Orchestra harp,
organ, strings. Oratorio;
(complete); Original
Works. Masters Study
Scores. Romantic; French.
Study score. Composed
1858/1863. Published by
Masters Music
Publications (Reprint
source: A. Durand & Fils,
1892, plate D. & F.
4494).
$8.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Duo No. 1 - Intermédiaire International Music Diffusion
By Cors Versailles. By T. Labarre. Arranged by D. Bourgue. For horn and harp. E...(+)
By Cors Versailles. By T.
Labarre. Arranged by D.
Bourgue. For horn and
harp. Ensemble de Cors
de Versailles Daniel
Bourgue Collection.
Classical. Grade 3-4.
Published by
International Music
Diffusion
$25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Frederick's Fables No. 1: Frederick Subito Music
Narrator & Orchestra (narrator, 2(1).2(1).2 - 2.2.2.0 - timpani, 2 percussion, h...(+)
Narrator & Orchestra
(narrator, 2(1).2(1).2 -
2.2.2.0 - timpani, 2
percussion, harp,
celesta; strings) SKU:
SU.90110060 For
Narrator & Orchestra.
Composed by Michael
Abels. Orchestra. Study
Score. Composed 1993-95.
Duration 7'. Subito Music
Corporation #90110060.
Published by Subito Music
Corporation
(SU.90110060). Text:
Leo Lionni. This CD
Sheet Musicâ„¢
collection brings
together over 570 works
for solo and duo piano
(including concerto
reductions) by both
familiar and lesser-known
19th century Russian and
Eastern European
composers. Works include:
Balakirev (Islamey,
Rèverie), Borodin
(Petite Suite),
Dussek (Six
Sonatinas, Partant pour
la Syrie), Dvorák
(Silhouettes, Slavonic
Dances, Legends,
Mazurkas, Poetic Tone
Pictures, Humoresques),
Janácek (On the
Overgrown Path, Zdenka
Variations, Collected
Moravian Dances),
Moszkowski (Spanish
Dances, Fifteen
Études de
Virtuosité),
Mussorgsky (over 20
works including: Pictures
at an Exhibition, Duma,
Intermezzo in Modo
Classico),
Rimsky-Korsakov (Six
Variations on B-A-C-H,
Capriccio Espagnole,
Sheherezade),
Rubinstein (Ondine,
Kamennïy-ostrov,
Lezghinka),
Scharwenka (Polish
National Dances,
Scriabin (over 50
works including: Piano
Sonata Nos. 1-10),
Poème-Nocturne,
Preludes, Impromptus,
Mazurkas), Smetana
(over 30 works including:
Louisiana Polka, Album
Leaves, Wedding Scenes,
Czech Dances Books
I&II),
Tchaikovsky (over 30
works for solo piano &
piano four hands
including: Album for the
Young, The Seasons, Grand
Sonata in G, Dumka,
Scherzo à la Russe,
Swan Lake, Sleeping
BeautyThe Nutcracker, The
Nutcracker Suite, Piano
Concerto Nos. 1&2),
and more Also includes
composer biographies and
relevant articles from
the 1911 edition of
Grove’s Dictionary
of Music and Musicians
4000+ pages [2 CDR Set]
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Prairie Light Theodore Presser Co.
Dan Welcher’s most enduringly and frequently played orchestral work, Prai...(+)
Dan Welcher’s most
enduringly and frequently
played orchestral work,
Prairie Light is a
fascinating musical
companion to three of
Georgia
O’Keeffe’s
most unusual paintings,
Light Coming on the
Plains, Canyon with
Crows, and Starlight
Night. This work is ideal
for performances using
visual projections of the
paintings, and is
frequently programmed for
subscription concerts as
well as those for
educational settings.
Duration: 14’
Parts available on
rental. This work for
full orchestra was
inspired by three
paintings of the noted
Americanartist Georgia
O’Keeffe. These
three watercolors were
done in 1917 while the
artist was living in
Canyon, Texas (near
Amarillo), and deal
primarily with color and
shape. Consequently, the
music is primarily
concerned with broad
lines and shapes rather
than rhythms, with subtle
washes of color rather
than constant harmonic
movement, and with
arching melody instead of
linear counterpoint.The
first movement, Light
Coming on the Plains, is
an elliptical-shaped
painting, deep blue to
indigo with a
“horizon†at
the bottom that seems
flat and unchanging. The
sun hasn’t risen
yet, although it does in
the course of this
movement, but it seems
instead to be providing
light from behind the
canvas. The music is
unmoving in terms of
rhythm or harmony
(although there is a
modulation midway
through), a color-infused
mantra of sound that is
almost Eastern.At the
height of the sun, we
proceed to the second
movement, entitled Canyon
with Crows. The canyon is
red-orange, with black
crows circling above
friendly unfolding hills.
The music is gentle but
lively and more rhythmic,
with the birds
represented by solo oboe,
clarinet, and sometimes
flute. Halfway through,
the brass have a chorale
version of the opening
motive, played very
slowly, over the unending
triplets of woodwinds and
strings. At the end of
the movement, the
birds return for a
duo-cadenza, accompanied
by the dying rays of the
sun in muted strings and
the ongoing triplets of
the solo quartet.The
stage is set for the
final movement, Starlight
Night. In
O’Keeffe’s
painting, the stars are
represented by
regularly-spaced
rectangles of bright pale
yellow on a blue-black
sky, with the same shape
to the field of vision
and the horizon that is
found in Light Coming on
the Plains. The stars
become audible: harp,
celesta, glockenspiel,
and string pizzicati all
lend a sparkle while a
solo flute introduces a
slowly unfolding theme.
After this theme has been
heard twice and the sky
has begun to really
brighten, there is a
sudden interruption: a
xylophone and a piano
begin another
“mantra†in
brittle staccato chords.
This is the same
mechanical eternity as
O’Keeffe’s
regularly-spaced square
stars, and it continues
on its own as the night
progresses. The music
builds and grows as the
moon rises and arcs, then
falls as the pre-dawn
light that opened the
work returns to bring it
to a close. Acycle of
light, changing with the
movements of sun, moon,
and stars, appearing
differently from various
points of view
$50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bach to the Future - Intermédiaire/avancé Wilhelm Hansen
Score Orchestra; Percussion - Grade 4 SKU: HL.14003062 Percussion and ...(+)
Score Orchestra;
Percussion - Grade 4
SKU: HL.14003062
Percussion and
Orchestra Score.
Composed by Per Nø,
Per Norgard, rd, and
rgå. Music Sales
America. Classical. Set.
134 pages. Duration 1200
seconds. Edition Wilhelm
Hansen #KP00615.
Published by Edition
Wilhelm Hansen
(HL.14003062). ISBN
9788759870075.
12.0x16.5x0.7 inches.
Danish. Per Norgard
BACH TO THE FUTUREFor
many years I have been
specially fascinated by
three of the preludes of
Bach's Well-tempered
Piano, and I wish with
this concerto-version for
percussion-duo and
orchestra to highlight
some of the structural
aspects of these pieces:
It is my belief that
there is a tradition in
the music history, that
makes it possible to let
certain germs in an
earlier period unfold
into new, but not
heterogenious, dimensions
of a perhaps several
hundred years later phase
of the tradition.This
concerto is a result of
several years
collaboration with Uffe
Savery and Morten Friis
(Safri-Duo), as well in
original compositions -
(Resonances,
Repercussion, Resume in
EchoZone I-III) as in
arrangements of the 3
Bach preludes, preparing
for the enormous
stylistic challenges of
this work.A few
introductory comments to
each movement:I Movement:
The archetypal sequence
of broken chords within
C-major has established
itself as almost a
cultural code, allowing
the composer of 1996 to
tell his tale-in-tones
only by stressing and
colouring the tones in
the original piece
without changing the
pitches or (relative)
durations as a
'palimpsest' containing
as well the old as the
new musical tale
simultaneously. Later in
the movement, this
singleline is multiplied
by the, till then
discrete, but permanently
pervading, proportion -
throughout the piece -
very close to the 'Golden
Section'(= 3:5:8.t.i:8
before repetition, 5
before starting anew from
the deepest tone, 3 as
the rest etc. unchanged).
The 3 tonal levels as
well as the 3 relative
speeds are treated
according to these
proportions for certain
passages, but even in
those the main focal
point is directed at the
freely invented melody
(by me) incarnating
itself solely by the
unpermutad sequels of the
original prelude.II
Movement: One feature of
the F sharp-prelude
pervades all the six
minutes-long second
movement: A 4 times
identical rhythmic
pattern = 6:4:3:2:3:4:6 -
as an hourglass-shaped
timeshape - inspired me
by the closeness of this
pattern to a shape within
the infinity-drumming of
my invention, called
Wide-Fan and Narrow-Fan ,
referring to pattern
consisting of
8:4:2:1:2:4:8, the
familiarity with the
above - quoted one being
obvious. New and old
elaborations of this
pattern-pair permeates
the movement, especially
since the Safri-Duo by
their performance of my
Repercussion had
augmented my appetite for
including this idiom in a
wider context:III
Movement: Without the
existence of the
d-minor-prelude I doubt
that I would have dared
to write a work like
this, since it is the
inexhaustible, rare
quality and pecularity of
this piece, which has
stimulated my feeling of
wonder and 'modernity'
(or: eternity!) of this
piece, of which I know of
no equal in its special
respect: the perpetual
ambiguity of melodic
foothold in the rhythmic
ostinato of a broken
descending triad, co. $82.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Upriver Orchestre d'harmonie Theodore Presser Co.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band SKU:
PR.46500013L For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L). UPC:
680160600151. 11 x 14
inches. I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Plus de résultats boutique >> |