| Quartet Flûte, Guitare, Violoncelle, Alto Peters
By Franz Schubert. Edited by Kinsky. For flute (violin), viola, violoncello, gui...(+)
By Franz Schubert. Edited
by Kinsky. For flute
(violin), viola,
violoncello, guitar.
(G)(after
Matiegka:Trio,Op.21).
Published by C.F. Peters.
$39.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Yesterday Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1175851-070 As performed by ...(+)
String Quartet -
intermediate SKU:
BT.DHP-1175851-070
As performed by The
Beatles. Composed by
John Lennon and Paul
McCartney. Arranged by
Nico Dezaire. De Haske
Pops for String Quartet.
Set (Score and Parts).
Composed 2017. De Haske
Publications #DHP
1175851-070. Published by
De Haske Publications
(BT.DHP-1175851-070).
ISBN 9789043153829.
English-German-French-Dut
ch. Almost no other
song in the history of
pop has been covered in
as many versions as the
Beatles classic
Yesterday from
1965. The original
contains a string quartet
accompaniment that
provides the perfect
backing for Paul
McCartneyâ??s vocal and
guitar parts. Nico
Dezaire's arrangement
recreates the
unmistakable sound of the
original whilst giving
the impression that the
entire song ideal was
always meant to be played
by string instruments.
Bijna geen andere
song in de geschiedenis
van de pop is in zo veel
verschillende versies
gecoverd als
Yesterday, de
Beatles-klassieker uit
1965. Het origineel heeft
een
strijkkwartetbegeleiding
die de perfecte backing
vormt voor de zang en het
gitaarspel van Paul
McCartney. Vanuit dat
gegeven is het maar een
kleine stap naar een
arrangement van de song
voor alleen
strijkkwartet. Deze
bewerking van Nico
Dezaire roept de
oorspronkelijke sound op
en geeft tegelijkertijd
het idee dat niet alleen
de begeleiding maar ook
de melodie altijd al
bedoeld was geweest om
door strijkinstrumenten
te worden
gespeeld.
Wohl
kaum ein anderer Song der
Popgeschichte wurde in so
vielen verschiedenen
Versionen bearbeitet wie
der Beatles-Klassiker
Yesterday aus dem
Jahr 1965. Im Original
bildet eine
Streichquartett-Begleitun
g die perfekte klangliche
Grundlage für Paul
McCartneys Sologesang und
sein Gitarrenspiel. Was
also liegt näher, als
den Evergreen gleich in
Streichquartett-Besetzung
aufzuführen? Nico
Dezaires Bearbeitung
lässt den Sound der
Originalversion
unverkennbar durchklingen
und vermittelt doch den
Eindruck, als sei nicht
nur die Begleitung,
sondern auch die Melodie
selbst schon immer von
Streichinstrumenten
gespielt worden ...
Yesterday,
titre incontournables des
Beatles composé en
1965, est lâ??une des
chansons les plus
reprises de lâ??histoire
de la musique pop.
Lâ??original comprend
des parties pour quatuor
cordes qui sont parfaites
comme accompagnement pour
la voix et la guitare de
Paul McCartney. Câ??est
donc une étape logique
dâ??arranger ce titre
pour quatuor cordes. La
version de Nico Dezaire
reproduit le son unique
de lâ??original et
pourrait même faire
croire que même la
ligne mélodique
était composée pour
les cordes lâ??origine
! $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| From Jewish Life Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.BF141 Composed by Ernest Bloch. Edited...(+)
Chamber Music Cello,
Piano SKU:
CF.BF141 Composed by
Ernest Bloch. Edited by
Julian Schwarz. 12+8
pages. Carl Fischer Music
#BF141. Published by Carl
Fischer Music (CF.BF141).
ISBN 9781491159989.
UPC:
680160918584. The
three pieces From Jewish
Life were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance.
The
first movement, Prayer,
is a deeply heartfelt
plea to the almighty. As
Neil W Levin writes, The
initial four-note motive
in the minor mode,
together with its
elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max Janowski's
(1912-1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu. This prayer has
special meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both Prayer
and Janowski's Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt
pathos.
The second
movement, Supplication
(the act of begging
humbly), has more angst,
almost a sense of urgency
as a result of the
rhythmic motor in the
piano. The third
movement, Jewish Song,
evokes a quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish
experience.
The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of Bloch's most
celebrated work, Schelomo
in 1917.
Though
the popularity of Bloch's
oeuvre has been dominated
by works of Jewish
connection, we should not
forget that Bloch had
many other stylistic
periods, including
Franco-Belgian, modal,
serial, and even American
folk. In 1927, he was
awarded Musical America's
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. The three
pieces From Jewish Life
were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance. The first
movement, Prayer, is a
deeply heartfelt plea to
the almighty. As Neil W
Levin writes, The initial
four-note motive in the
minor mode, together with
its elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max Janowski's
(1912-1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu. This prayer has
special meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both Prayer
and Janowski's Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt pathos. The
second movement,
Supplication (the act of
begging humbly), has more
angst, almost a sense of
urgency as a result of
the rhythmic motor in the
piano. The third
movement, Jewish Song,
evokes a quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish experience. The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of Bloch's most
celebrated work, Schelomo
in 1917. Though the
popularity of Bloch's
oeuvre has been dominated
by works of Jewish
connection, we should not
forget that Bloch had
many other stylistic
periods, including
Franco-Belgian, modal,
serial, and even American
folk. In 1927, he was
awarded Musical America's
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. The three
pieces From Jewish Life
were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance.The first
movement,
“Prayerâ€, is
a deeply heartfelt plea
to the almighty. As Neil
W Levin writes,
“The initial
four-note motive in the
minor mode, together with
its elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max
Janowski’s
(1912–1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu.†This
prayer has special
meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both
“Prayer†and
Janowski’s Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt pathos.The
second movement,
“Supplicationâ€
(the act of begging
humbly), has more angst,
almost a sense of urgency
as a result of the
rhythmic motor in the
piano. The third
movement, “Jewish
Songâ€, evokes a
quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish experience.The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of
Bloch’s most
celebrated work, Schelomo
in 1917.Though the
popularity of
Bloch’s oeuvre has
been dominated by works
of Jewish connection, we
should not forget that
Bloch had many other
stylistic periods,
including Franco-Belgian,
modal, serial, and even
American folk. In 1927,
he was awarded Musical
America’s
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Méditation Hébraïque Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.B3473 Composed by Ernest Bloch. Edited...(+)
Chamber Music Cello,
Piano SKU:
CF.B3473 Composed by
Ernest Bloch. Edited by
Julian Schwarz. Set of
Score and Parts. 12+4
pages. Carl Fischer Music
#B3473. Published by Carl
Fischer Music (CF.B3473).
ISBN 9781491161999.
UPC: 680160920679. Key: C
major. Composed in
1924, Ernest
Bloch’s
Méditation
Hébraϊque is a
plaintive and reverent
musical reflection that
flows through many
emotions in a series of
uninterrupted movements:
Moderato, Allegro deciso,
and Moderato. Passionate
rubato phrases are
flecked with light
touches of ornamentation,
much like the inflections
of a cantor's voice.
Hemiola rhythms, dynamic
swells, and contrapuntal
interaction with the
piano lead the soulful
voice of the cello to its
upper range in a dramatic
dialogue that eventually
descends to a more
subdued and stately
resolution. Cellist and
teacher Julian Schwarz
provides practical
fingerings and phrase
markings to achieve the
alternating bright and
warm tone that are
essential to adequately
express the sacred
beauty of the
music. . $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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