| Peter Maxwell Davies: Two Dances From Caroline Mathilde Harpe, Flûte (duo) Chester
Flute and Harp SKU: HL.14021002 Composed by Sir Peter Maxwell Davies. Mus...(+)
Flute and Harp SKU:
HL.14021002 Composed
by Sir Peter Maxwell
Davies. Music Sales
America. Classical. Book
[Softcover]. Composed
1999. 10 pages. Chester
Music #CH60938. Published
by Chester Music
(HL.14021002). ISBN
9780711955103.
9.0x12.0x0.054
inches. Two dances
for flute and harp from
Peter Maxwell Davies'
ballet Caroline Mathilde.
A new instrumentation
restores this linked pair
of dances from Davies's
second full-length
ballet, Caroline Mathilde
based on the story of the
eighteenth-century
British princess sent in
marriage to Denmark, to
the eighteenth-century
milieu of the work's
setting and musical
world. The period manners
- a gavotte in the first
dance, a gigue at the
start of the second - are
typically overlaid with
the composer's
Scottishness. In general
the harp has an
accompanying role, but it
comes forward alone in
the second movement,
which ends with bravura
from both instruments.
These two dances were
first performed in
September 1993 at the
Northlands Festival by
David Nicholson and
Eluned Pierce. Score and
flute part. Duration c.
5mins. Harp part edited
by Elune Pierce. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Royal Coronation Dances Orchestre d'harmonie - Intermédiaire Manhattan Beach Music
Concert band - Grade 3 SKU: MH.1-59913-054-8 Composed by Bob Margolis. Su...(+)
Concert band - Grade 3
SKU:
MH.1-59913-054-8
Composed by Bob Margolis.
Suitable for advanced
middle school, high
school, community and
college bands. Conductor
score and set of parts.
Duration 4:45. Published
by Manhattan Beach Music
(MH.1-59913-054-8).
ISBN
9781599130545. Roya
l Coronation Dances is
the first sequel to the
Fanfare Ode & Festival,
both being settings of
dance music originally
arranged by Gervaise in
the mid 16th-century (the
next sequel is The
Renaissance Fair, which
uses music of Susato and
Praetorius). Fanfare Ode
& Festival has been
performed by many tens of
thousands of students,
both in high school and
junior high school. I
have heard that some of
them are amazed that the
music they are playing
was first played and
danced to over 400 years
ago. Some students tend
to think that music
started with Handel and
his Messiah to be
followed by Beethoven and
his Fifth Symphony, with
naught in between or
before of consequence.
Although Royal Coronation
Dances is derived from
the same source as
Fanfare Ode & Festival,
they are treated in
different ways. I
envisioned this new suite
programmatically -- hence
the descriptive movement
titles, which I imagined
to be various dances
actually used at some
long-ago coronation. The
first movement depicts
the guests, both noble
and common, flanked by
flag and banner bearers,
arriving at the palace to
view the majestic event.
They are festive, their
flags swirling the air,
their cloaks brightly
colored. In the second
movement, the queen in
stately measure moves to
take her place on the
throne as leader and
protector of the realm.
In the third movement,
the jesters of the court
entertain the guests with
wild games of sport.
Musically, there are
interesting sonorities to
recreate. Very special
attention should be given
to the tambourine/tenor
drum part in the first
movement. Their lively
rhythms give the movement
its power. Therefore they
should be played as
distinctly and
brilliantly as possible.
The xylophone and
glockenspiel add clarity,
but must not be allowed
to dominate. Observe
especially the differing
dynamics; the intent is
to allow much buzzing
bass to penetrate. The
small drum (starting at
meas. 29) should be
played expressively, with
attention to the notated
articulations, with the
brass light and detached,
especially in a lively
auditorium. It is of some
further interest that the
first dance is extremely
modal. The original is
clearly in G mixolydian
mode (scale:
G-A-B-C-D-E-F-G).
However, other editors
might put in F-sharps in
many places (changing the
piece almost to G major),
in the belief that such
ficta would have been
automatically put in by
the 16th-century
performers as they
played. I doubt it. I
have not only eschewed
these within the work,
but even at the cadences.
So this arrangement is
most distinctly modal
(listen to the F-naturals
in meas. 22 and 23, for
instance), with all the
part-writing as Gervaise
wrote it. In the second
movement, be careful that
things do not become too
glued together. In the
16th century this music
might have been played by
a consort of recorders,
instruments very light of
touch and sensitive to
articulation. Concert
band can easily sound
heavy, and although this
movement has been scored
for tutti band, it must
not sound it. It is
essential, therefore,
that you hear all the
instruments, with none
predominating. Only when
each timbre can be heard
separately and
simultaneously will the
best blend occur, and
consequently the greatest
transparency. So aim for
a transparent, spacious
tutti sound in this
movement. Especially have
the flutes, who do this
so well, articulate
rather sharply, so as to
produce a chiffing sound,
and do not allow the
quarter-notes to become
too tied together in the
entire band. The entrance
of the drums (first
tenor, then bass) are
events and as such should
be audible. Incidentally,
this movement begins in F
Major and ends in D
Minor: They really didn't
care so much about those
things then. The third
movement (one friend has
remarked that it is the
most Margolisian of the
bunch, but actually I am
just getting subtler, I
hope) again relies upon
the percussion (and the
scoring) to make its
points. Xylophone in this
movement is meant to be
distinctly audible.
Therefore, be especially
sure that the xylophone
player is secure in the
part, and also that the
tambourine and toms sound
good. This movement must
fly or it will sink, so
rev up the band and
conduct it in 1 for this
mixolydian jesting. I
suppose the wildly
unrelated keys (clarinets
and then brass at the
end) would be a good
16th-century joke, but to
us, our
put-up-the-chorus-a-half-
step ears readily accept
such shenanigans.
Ensemble instrumentation:
1 Full Score, 1 Piccolo,
4 Flute 1, 4 Flute 2 & 3,
2 Oboe 1 & 2, 2 Bassoon 1
& 2, 1 Eb Clarinet, 4 Bb
Clarinet 1, 4 Bb Clarinet
2, 4 Bb Clarinet 3, 2 Eb
Alto Clarinet, 1 Eb
Contra Alto Clarinet, 3
Bb Bass & Bb Contrabass
Clarinet, 2 Eb Alto
Saxophone 1, 2 Eb Alto
Saxophone 2, 2 Bb Tenor
Saxophone, 2 Eb Baritone
Saxophone, 3 Bb Trumpet
1, 3 Bb Trumpet 2, 3 Bb
Trumpet 3, 4 Horn in F 1
& 2, 2 Trombone 1, 4
Trombone 2 & 3, 3
Euphonium (B.C.), 2
Euphonium (T.C.), 4 Tuba,
1 String Bass, 1 Timpani
(optional), 2 Xylophone &
Glockenspiel, 5
Percussion. $95.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Peter Maxwell Davies: A Spell For Green Corn - The MacDonald Dances Violoncelle, Orchestre Chester
Violin and Orchestra (Score) SKU: HL.14008406 Composed by Sir Peter Maxwe...(+)
Violin and Orchestra
(Score) SKU:
HL.14008406 Composed
by Sir Peter Maxwell
Davies. Music Sales
America. 20th Century.
Book [Softcover].
Composed 1999. 94 pages.
Chester Music #CH60978.
Published by Chester
Music (HL.14008406).
ISBN
9780711948716. A
work for solo violin and
orchestra, commissioned
by Donald McDonald for
the 21st birthday of the
Scottish Chamber
Orchestra and the 60th
birthday of the composer.
It was first performed in
November 1993 in Glasgow,
by James Clark and the
Scottish Chamber
Orchestra conducted by
Maxwell Davies. The spell
is one quoted by George
Mackay Brown in his book
An Orkney Tapestry: 'Let
not plough be put to acre
except a fiddle cross
first the furrow.'
Davies's dancing concerto
imagines the fiddler
following a route from
field to field, from
dance to dance,
accompanied by a bunch of
companions in the form of
an orchestra. As the
music goes on, so it gets
brighter and livelier,
moving from the dark
colouring of clarinets,
bassoons and strings to
full ensemble with
prominent brass and
(solo) tuned percussion,
as if the dancers as much
as the fields were
beginning to glow with
new life. Score
(miniature). Duration c.
20mins. $39.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Two Rumanian Dances Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ60 Composed by Bela Bartok. Book Only. Composed 1951. 2...(+)
Piano SKU:
BT.EMBZ60 Composed by
Bela Bartok. Book Only.
Composed 1951. 20 pages.
Editio Musica Budapest
#EMBZ60. Published by
Editio Musica Budapest
(BT.EMBZ60).
English-German-Hungari
an. 'Bartók
wrote the first dance
around the time of the
Romanian movements of the
'Seven Sketches', after
his first trip collecting
Romanian folk music in
July-August 1909. The
second dance is the fruit
of March the following
year, and it was only
after some time he
decided they should be
published as a pair. From
the beginning, audiences
were impressed by the
first dance, in the
composer's peculiar
performance, with its
initial drumming, and its
driving rhythms. If less
popular, compositionally
the second dance is more
original. He parades and
varies his material in a
chain form, and this too
is reminiscent of the
dances heard in the
playing of Romanian
Transylvanian
villagemusicians, which
in his scholarly work
Bartók called 'motive
dances.' (HCD 32525
Bartók New Series Vol.
25, László
Somfai). $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 2 Rumanian Dances, Op. 8a Piano seul EMB (Editio Musica Budapest)
By Bela Bartok. EMB. Size 9x12 inches. 20 pages. Published by Editio Musica Buda...(+)
By Bela Bartok. EMB. Size
9x12 inches. 20 pages.
Published by Editio
Musica Budapest.
(1)$16.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Danceries (Set II) Orchestre d'harmonie Faber Music Limited
Composed by Kenneth Hesketh. Score; Wind Band. Faber Edition: Faber Wind Band Se...(+)
Composed by Kenneth
Hesketh. Score; Wind
Band. Faber Edition:
Faber Wind Band Series.
Form: Dance. 20th
Century; Masterwork.
Published by Faber Music
(AP.12-0571570496).
$41.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
Plus de résultats boutique >> |