| This present moment used to be the unimaginable future... Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
Composed by Christian Mason. World premiere: Paris, Cite de la musique, Januar...(+)
Composed by Christian
Mason.
World premiere: Paris,
Cite
de la musique, January
14,
2020. Breitkopf and
Haertel
#EB 9377. Published by
Breitkopf and Haertel
$46.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Maybelle Glenn : Classic Italian Songs Voix moyenne, Piano [Vocal Score] Theodore Presser Co.
For School and Studio Volume I Medium High. By Maybelle Glenn. Arranged by Berna...(+)
For School and Studio
Volume I Medium High. By
Maybelle Glenn. Arranged
by Bernard Taylor. For
medium voice, piano.
Published by Theodore
Presser Company.
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zeitlupen - Eine Kleine Fussball-Collage Schott
Baritone and Piano. Piano; Voice SKU: HL.49016720 For Baritone and Pia...(+)
Baritone and Piano.
Piano; Voice SKU:
HL.49016720 For
Baritone and Piano.
Composed by Benjamin
Schweitzer. This edition:
Saddle stitching. Sheet
music. Classical.
Composed 2003. 12 pages.
Duration 11'. Schott
Music #ED9989. Published
by Schott Music
(HL.49016720). ISBN
9790001144209. UPC:
884088991258.
9.0x12.0x0.056 inches.
German. Football
(resp. soccer) has been
fascinating for many
contemporary composers -
maybe because of the
unpredictable dramaturgy
within a match, the
complexity of different
combinations, contrasts
or complements between
different strategies, the
soloist-like position of
extraordinary players -
in short, there are
numerous connections to
musical ideas.Zeitlupen
(Slow-motion replays)
reflects football on
different layers. The
cycle consists of three
interlocking parts: four
poems from Gottfried
Blumenstein's 11 Haikus
vom Fussballfeld form the
musical core, to which
three pantomime-actions
with piano accompaniment,
showing characteristic
situations, are added.
(This idea is based on a
kind of a
slow-motion-soccer, using
a balloon instead of a
football, that I used to
play with my brother in
our room, when the
weather not allowed to go
outside for a match on
the playground nearby.
The similarity towards
far-eastern meditational
techniques of these
pantomimes also forms a
connection to the haiku
form of the poems.) The
piece is completed by two
recitations recalling
famous teams and the best
and (maybe) worst from
german football history:
the world champions from
1954 and the team of the
unbearable put-up game
against Austria during
the world championship of
1982. This part also
refers to a well-known
poem by Peter Handke, Die
Aufstellung des 1. FC
Nurnberg vom 27. 1.
1968.Behind that, playing
with numbers has been
important for the
structure. The form of
the haiku (5-7-5
syllables), a symmetric
all-interval-series and
many other elements are
taken from the number of
12 (eleven players and
their coach). Gesture and
sound-colours of the
piano part are economical
but precise; towards the
ending percussive sounds
dominate it. Directly
illustrative moments -
like the rhythm of cheers
call in Nr. IV - are
rather exceptional. The
altogether form follows
the labyrinthical
structure of Pierre
Boulez' Le marteau sans
maitre, written around
the famous year of
1954...Benjamin
Schweitzer. $15.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Immeasurable Space of Tones Violon Chester
Score and Parts Mixed Ensemble (Score & Parts) SKU: HL.233289 For Viol...(+)
Score and Parts Mixed
Ensemble (Score & Parts)
SKU: HL.233289
For Violin,
Vibraphone, Piano,
Sustaining Keyboard and
Contrabass. Composed
by John Luther Adams.
Music Sales America.
Classical. Set. Duration
1800 seconds. Chester
Music #CH85987. Published
by Chester Music
(HL.233289).
12.0x9.25x0.43
inches. Score and
separate parts with
spiral-bound
keyboard/organ part.
Number 5, 1950 was Mark
Rothko's last painting
before the breakthrough
into his mature format.
In it the luminous color
fields of a classic
Rothko are inscribed
across the middle with
three delicate lines.
Describing this painting
and its pivotal position
in Rothko's work, Brian
O'Doherty observes:
'After this, the lines
disappear completely.' In
recent years gesture and
figuration have
disappeared from my
music. What used to be
background has emerged to
become a musical world
composed entirely of
floating color fields. In
this new world I've
changed media, moving
from the orchestra to
smaller combinations of
acoustical instruments
and
electronically-processed
sounds. I still think in
orchestral terms, but
this hybrid medium allows
me to create orchestral
textures for more
practical and readily
available ensembles.
Initially I imagined this
as a kind of monolithic
music -an entire piece as
one rich and complex
sound. Then I came to
hear it as homophonic or
heterophonic. And now -
in this musical world
that I thought was
completely free of lines
- I've come to hear a
polyphony of harmonic
clouds. Maybe the lines
never disappear
completely. Maybe
Christian Wolff was right
when he quipped: 'No
matter what we do, sooner
or later it all sounds
melodic.' - John Luther
Adams. $38.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bent Sorensen: Adieu For String Quartet Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire Wilhelm Hansen
String Quartet - Grade 4 SKU: HL.14001159 Composed by Bent Sorensen. Musi...(+)
String Quartet - Grade 4
SKU: HL.14001159
Composed by Bent
Sorensen. Music Sales
America. Classical.
Studyscore. Composed
2005. 28 pages. Edition
Wilhelm Hansen #WH30120B.
Published by Edition
Wilhelm Hansen
(HL.14001159). ISBN
9788759805527. UPC:
888680792657.
8.25x11.75x0.106
inches. Study score
to Bent Sorensen's Adieu
for String Quartet. The
slow choral-like music
which initiates Adieu was
the result of an image or
almost a dream that I
had. Without being able
to explain why, I
imagined a procession of
people, maybe medieval
monks, wearing large gray
mantles with
Ku-Klux-Klan-like white
cowls on their heads,
something like a funeral
procession. The title
Adieu is partly a comment
on this funeral
procession, but also used
because the piece is
split up by three
slow-ascending glissandi,
a kind of farewell
glissandi which removes
the intervening music.
The first absorbing
glissando is soft and
removes both the slow
funeral choral and the
agitating figures in the
first half of the piece.
The second glissando is
given only to the cello
and crawls out from the
elegiac melodies in the
middle part. The third
and final glissando is
intense and agitating,
and prepares the way for
the end of the piece.
This end primarily deals
with the relationship
fast - slow. This
relationship is turned
topsy turvy: the music
gets faster and faster
until it is so fast that
it suddenly becomes slow,
so slow in fact that it
is very quickly able to
become extremely fast
again. Bent Sorensen. $18.25 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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