| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$566.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Peri's Scope Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dan Coates - Complete Advanced Piano Solos
Piano seul [Partition] - Avancé Alfred Publishing
The Greatest Love Of All Composed by Michael Masser, Linda Creed Homecoming Com...(+)
The Greatest Love Of All
Composed by Michael
Masser, Linda Creed
Homecoming Composed by
Hagood Hardy
Weve Got Tonight Composed
by Bob Seger
Song From M*a*s*h
(Suicide Is Painless)
Composed by Johnny
Mandel, Mike Altman
Misty Composed by Erroll
Garner, Johnny Burke
Other Side Of Midnight
Composed by Michel
Legrand
The Rose Composed by
Amanda Mc Broom
Tears In Heaven Composed
by Eric Clapton, Will
Jennings
Theme From New York, New
York Composed by Fred
Ebb, John Kander
Heart Composed by Richard
Adler, Jerry Ross
Hey There Composed by
Richard Adler, Jerry Ross
Colors Of My Life
Composed by Cy Coleman,
Michael Stewart
Over The Rainbow Composed
by Harold Arlen, E.y.
Harburg
Separate Lives Love Theme
From "white Nights"
Theme From Ice Castles
Composed by Marvin
Hamlisch, Carole Bayer
Sager
Tonight I Celebrate My
Love Composed by Michael
Masser, Gerry Goffin
In This Life Composed by
Mike Reid, Allen Shamblin
Up Where We Belong
Composed by W Jennings, B
Sainte, Marie, J Nitzsche
From A Distance Composed
by Julie Gold
I Will Always Love You
Composed by Dolly Parton
Oh! What It Seemed To Be
Composed by Bennie
Benjamin, George David
Weiss, Frankie
I Believe I Can Fly
Composed by R. Kelly
Valentine Composed by Jim
Brickman, Jack Kugell
How Do I Live Composed by
Diane Warren
Colors Of The Wind
Composed by Stephen
Schwartz, Alan Menken
A Dream Is A Wish Your
Heart Makes Composed by
Mack David, Al Hoffman,
Jerry Livingston
see less... Tell Him
Composed by Linda
Thompson, David Foster
Con Te Patiro / Time To
Say Goodbye Composed by
Lucio Quarantotto,
Francesco Sartori
Karen's Theme Composed by
Richard Carpenter
The Prayer Composed by
Carole Bayer Sager, David
"babyface" Foster
My One True Friend
Composed by Carole Bayer
Sager, Carole King
Love Solo Composed by Dan
Coates
I Don't Want To Miss A
Thing Composed by Diane
Warren
As Time Goes By Composed
by Herman Hupfeld
La Vie En Rose Composed
by Louiguy, Piaf
(French), David (Eng.)
What's New? Composed by
Bob Haggart, Johnny Burke
Summer Me, Winter Me
Composed by Michel
Legrand, Alan, Marilyn
Bergman
Evergreen Composed by
Barbra Streisand, Paul
Williams
Arthur's Theme (Best That
You Can Do) Composed by
Burt Bacharach, Carole
Bayer Sager
Can You Read My Mind
Composed by John
Williams, Leslie Bricusse
Love And Marriage
Composed by Jimmy Van
Heusen, Sammy Cahn
Desperado Composed by Don
Henley, Glenn Frey
The Wind Beneath My Wings
Composed by Jeff Silbar,
Larry Henley
How Do You Keep The Music
Playing? Composed by
Michel Legrand, Alan
Bergman
Anywhere The Heart Goes
Composed by Henry
Mancini, Will Jennings
Once Before I Go Composed
by Dean Pitchford, Peter
Allen
Star Wars - Main Theme
Composed by John Williams
Open Arms Composed by
Steve Perry, Jonathan
Cain
Canon In D Composed by
Johann Pachelbel
That's What Friends Are
For Composed by Burt
Bacharach, Carole Bayer
Sager
Friends Or Lovers Both To
Each Composed by Paul
Gordon, Jay Gruska
Forever Composed by Kenny
Loggins, Eva Loggins,
David Foster
Saving All My Love For
You Composed by Gerry
Goffin, Michael Masser
Miss Celie's Blues
Composed by Quincy Jones,
Rod Temperton, And
Anne's Theme Composed by
Hagood Hardy
One Moment In Time
Composed by Albert
Hammond, John Bettis
Kei's Song Composed by
David Benoit
I Say A Little Prayer
Composed by Burt
Bacharach, Hal David
Happy Birthday To You
Composed by Mildred J.
Hill, Patty S. Hill
May You Always Composed
by Larry Marks, Dick
Charles
If My Friends Could See
Me Now Composed by Cy
Coleman, Dorothy Fields
You Can Always Count On
Me Composed by Cy
Coleman, David Zippel
Ashokan Farewell Composed
by Jay Ungar
Everything I Do I Do It
For You Composed by Bryan
Adams, Robert Lange,
Michael Kamen
Send In The Clowns
Composed by Stephen
Sondheim
She Loves Me Composed by
Sheldon Harnick, Jerry
Bock
How Could I Ever Know?
Composed by Marsha
Norman, Lucy Simon
My Unknown Someone
Composed by Cy Coleman,
Adolph Green, Betty
Comden
Favorite Son Composed by
Cy Coleman, Adolph Green,
Betty Comden
I Swear Composed by Gary
Baker, Frank Myers
I Can Love You Like That
Composed by S Diamond, M
Derry, J Kimball
Beauty And The Beast
Composed by Howard
Ashman, Alan Menken
Angel Eyes Composed by
Jim Brickman
If You Believe Composed
by Jim Brickman
Because You Loved Me
Composed by Diane Warren
Un-break My Heart
Composed by Diane Warren
Ragtime Composed by
Stephen Flaherty, Lynn
Ahrens
Complete Advanced Piano
Solos (Music for All
Occasions). Arranged by
Dan Coates. For solo
piano. Piano -
Intermediate / Advanced
Collection; Piano
Supplemental. The
Professional Touch
Series. Contemporary
Instrumental and Pop. SMP
Level 9 (Advanced).
Collection. Standard
notation (does not
include words to the
songs). 304 pages.
Published by Alfred Music
Publishing
(80)$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Sonata No. 6 "Kharkiv", Op. 48 Guitare Guitare classique - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4244 Composed by Konstantin Bliokh. Sco...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4244
Composed by Konstantin
Bliokh. Score. Les
Productions d'OZ #DZ
4244. Published by Les
Productions d'OZ
(DZ.DZ-4244). ISBN
9782898521614. La
Sonate n° 6 Kharkiv
pour guitare solo a
été composée en
2021, Ã la fin du
confinement lié au
COVID-19. Ã? ce
moment-là , ma famille
et moi étions
restés dans notre
ville natale de Kharkiv
(également connue sous
le nom de Kharkov), en
Ukraine, pendant près
de deux ans. Nous
considérions cette
période de pandémie
comme un désastre,
mais nous avons
réalisé plus tard
que c'était en fait un
moment plutôt heureux,
car la guerre est
arrivée dans notre
pays quelques mois plus
tard. Depuis 2022, une
fraction considérable
des 1,5 million de
citoyens de Kharkiv ont
quitté leur foyer,
ceux qui sont restés
vivent sous des attaques
incessantes de missiles,
et beaucoup ont été
tués. Je voudrais
dédier cette Sonate
à la ville
frontalière de Kharkiv
et, surtout, Ã ses
citoyens souffrant de la
guerre.
Pourtant,
la musique de la Sonate
n'a aucun programme
spécifique. Ici, je
donnerai un bref
aperçu de ses
principaux éléments
de composition pour
faciliter les
interprétations
futures.
Les
premier et quatrième
mouvements de cette
Sonate sont basés sur
l'interaction entre le
principe
dodécaphonique et le
centre tonal de sol
majeur, naturel pour la
guitare. En particulier,
le premier mouvement est
basé sur l'interaction
de la triade de sol
majeur Solâ??Siâ??Ré
des cordes de guitare
à vide 2â??3â??4, le
motif ascendant 1
impliquant les notes
Miâ??Fa#â??Laâ??Do#
(Ã l'origine sur la
première corde), et le
motif descendant 2
utilisant les notes
Miâ??Doâ??Sibâ??La
(Ã l'origine sur la
corde de basse 6). Ces
éléments se
complètent presque
pour former douze tons
(Ã l'exception du Fa
manquant), et les motifs
alternent avec des
fragments ostinato où
chaque note de la triade
de sol majeur est
déplacée pas Ã
pas d'un demi-ton vers le
haut ou vers le
bas.
Le
deuxième mouvement est
un Scherzo impliquant de
nombreux demi-tons dans
des accords accentués
et des passages rapides,
ainsi qu'un mouvement
mélodique chromatique
dans la voix de basse. Il
est presque atonal dans
certains fragments, mais
a un centre tonal global
de la mineur.
Le
troisième mouvement
est un Adagio
méditatif basé sur
un thème composé
dans l'échelle
hexatonique
Réâ??Miâ??Faâ??Sol#
â??Laâ??Si et des
accords ostinato
impliquant les cordes de
basse à vide
Miâ??Laâ??Ré et le
demi-ton
Siâ??Do.
Enfin,
le quatrième mouvement
est basé sur le
thème
dodécaphonique complet
composé de deux
phrases comprenant les
motifs 1 et 2 du premier
mouvement :
Solâ??Faâ??Sibâ??Labâ
??Doâ??Mibâ??Ré et
Miâ??Siâ??Do#â??Laâ??
Fa#. Ce thème est
présenté dans ses
formes prime et
rétrograde. Il y a des
dialogues entre la
première corde, les
basses et les cordes
médianes à vide,
similaires au premier
mouvement. Ã? son
apogée, le thème
dodécaphonique est
interprété en
utilisant le mouvement
parallèle de l'accord
de sol majeur standard de
la guitare avec les
cordes médianes Ã
vide sur douze
positions.
La
Sonate a été
créée en
première et
enregistrée (CD Naxos
No. 8.574630) par le
célèbre guitariste
ukrainien Marko Topchii,
qui a également
vécu et étudié
à Kharkiv. Je lui suis
extrêmement
reconnaissant pour
l'interprétation
brillante de cette
pièce.
Je suis
très redevable envers
Productions d'Oz d'avoir
conservé mes notations
originales là où
celles-ci ne
correspondent pas au
style de
l'éditeur.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Re: Person I Knew Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Who Can I Turn To? Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Why I Pity the Woman Who Never Spills Chorale SSAA SSAA A Cappella - Avancé Seafarer Press
By Elizabeth Alexander. Text: Joan Wolf Prefontaine. For Women's Choir (SSAA) a ...(+)
By Elizabeth Alexander.
Text: Joan Wolf
Prefontaine. For Women's
Choir (SSAA) a cappella.
(SSAA). Level:
medium-difficult.
Duration 5 minutes.
Published by Seafarer
Press.
$4.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Five Ensemble Jazz [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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