| Retrospective Piano seul Ricordi
Piano (Piano) SKU: HL.50586611 Piano compositions 1963-2009. Compo...(+)
Piano (Piano) SKU:
HL.50586611 Piano
compositions
1963-2009. Composed
by Saul Cosentino.
Ricordi Germany. Book
Only. Composed 2011.
Ricordi Berlin #SY2799.
Published by Ricordi
Berlin (HL.50586611).
Piano
compositions by Saul
Cosentino from the years
1963 to 2009. He became
famous as composer and
pianist of the Tango
Nuevo era. However, his
pieces illustrate many
other musical aspects and
very effective modern
romantic piano music.
De Argentijnse
componist en pianist Saul
Cosentino wordt beschouwd
als een van de beste
componisten en
uitvoerders van de
moderne tango.
RetroSpective
bevat 14 composities voor
piano die hij schreef van
1963-2009.
Klavier
kompositionen aus den
Jahren 1963 bis 2009 des
argentinischen
Tango-Komponisten und
Pianisten Saul Cosentino,
der als einer der besten
Komponisten und
Interpreten des modernen
Tango gilt. Die
wirkungsvollen,
mittelschweren Stucke in
diesem Buch zeigen jedoch
noch viel mehr Facetten.
Il volume
raccoglie le composizioni
pianistiche di Saul
Cosentino che vanno dal
1963 al 2009. Cosentino
ha acquisito fama come
compositore e pianista
dell'epoca Tango Nuevo. I
suoi pezzi presentano
anche altre
caratteristiche musicali:
musica pianistica
moderno-romantica di
grande efficacia,
difficolta media. $19.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Animals -- Retrospective Guitar TAB Songbook Guitare notes et tablatures Alfred Publishing
(Guitar TAB). For Guitar. This edition: Authentic Guitar TAB Edition. Artist/Per...(+)
(Guitar TAB). For Guitar.
This edition: Authentic
Guitar TAB Edition.
Artist/Personality; Book;
Guitar Personality;
Guitar TAB. Guitar
Songbook. Rock. 96 pages.
Published by Alfred Music
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Sextet Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.11442131S Composed
by Peter Schickele. Full
score. Duration 26
minutes. Theodore Presser
Company #114-42131S.
Published by Theodore
Presser Company
(PR.11442131S). UPC:
680160681006. A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fingerstyle Guitar From Scratch Guitare notes et tablatures [Partition] - Débutant Skeptical Guitarist Publications
By Bruce Emery. For Guitar. Arpeggios and Travis-Style patterns to accompany the...(+)
By Bruce Emery. For
Guitar. Arpeggios and
Travis-Style patterns to
accompany the voice.
Level: beginning.
Coil-bound book. 145
pages. Published by
Skeptical Guitarist
Publications.
(3)$16.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Sextet Theodore Presser Co.
Chamber Music Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2...(+)
Chamber Music Viola 1,
Viola 2, Violin 1, Violin
2, Violoncello 1,
Violoncello 2 SKU:
PR.114421310 Composed
by Peter Schickele. Set
of Score and Parts.
74+21+20+22+19+21+19
pages. Duration 26
minutes. Theodore Presser
Company #114-42131.
Published by Theodore
Presser Company
(PR.114421310). UPC:
680160680993. A lot
of chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend - my brother, who
plays viola, was an is an
inveterate chamber music
player - and members of
parents' generation. The
latter included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the orchestra's
concert mistress, and
others) but also people
from various other walks
of life. Although I don't
play a string instrument,
I was almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.) Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980's, ideas for
a string sextet began
appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it's hard for
me to finish a major
work, since there are
always other pieces (with
deadlines) waiting to be
completed. So when the
Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done. The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going. I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. A lot of
chamber music playing
went on in Fargo, North
Dakota during my teenage
years. The participants
included both high school
friend – my
brother, who plays viola,
was an is an inveterate
chamber music player
– and members of
parents’
generation. The latter
included not only
professional musicians
(the conductor of the
Fargo-Moorhead Community
Orchestra, who also
played cello and was my
first composition
teacher, his wife, who
was the
orchestra’s
concert mistress, and
others) but also people
from various other walks
of life. Although I
don’t play a
string instrument, I was
almost always in
attendance, with score in
hand. (One summer, all
the young cellists we
played with went to the
Interlochen Music Camp,
so I got to play the
cello parts on the
bassoon.)Mostly it was
string quartets that were
played, but one of the
larger pieces I remember
being done more than once
was the Brahms Sextet in
G Major, and I think that
the idea for utilizing
that combination had been
lurking in the back of my
mind since then. In the
middle 1980’s,
ideas for a string sextet
began appearing in my
sketchbooks; one movement
(the fourth) was actually
completed in one of the
sketchbooks. But without
a deadline, it’s
hard for me to finish a
major work, since there
are always other pieces
(with deadlines) waiting
to be completed. So when
the Composers Showcase at
Lincoln Center asked me
to put together a
retrospective of my work,
I knew I wanted to have a
premiere on the program,
and May 7, 1990 became
the deadline that I got
the piece done.The work
is in six movements, with
a symmetrical key
pattern; the movements
range from the very
dramatic to the very
easy-going.I had
contacted the Lark
Quartet, who had
commissioned my String
Quartet No.2, about
forming the core of the
sextet. Unfortunately,
one of the Larks had a
scheduling conflict, but
the other three rounded
up three more players,
and the six of them gave
the piece a rousing
performance, in spite of
the limited rehearsal
time. The players were
Eva Gruesser, Genovia
Cummins, Anna Kruger,
Mary Hamman, Astrid
Schween and Julia
Lichten. $250.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 5 Quatuor à cordes: 2 violons, alto, violoncelle Fennica Gehrman
String quartet SKU: FG.55011-689-4 Composed by Seppo Pohjola. Score and p...(+)
String quartet SKU:
FG.55011-689-4
Composed by Seppo
Pohjola. Score and parts.
Fennica Gehrman
#55011-689-4. Published
by Fennica Gehrman
(FG.55011-689-4). ISBN
9790550116894. Sepp
o Pohjola (b. 1965)
composed his fifth string
quartet, lasting about 20
minutes, in
February-March 2018. He
was inspired to write it
by a visit to the Vincent
van Gogh Museum in
Amsterdam the previous
year, where he was
greatly impressed by the
vast, comprehensive
retrospective and
especially the
horrifyingly honest
self-portraits. The soft
opening tones bear an
instruction alluding to
Schonberg's Verklarte
Nacht string sextet: the
quiet music must be
richly shaded. The notes
in the canon-like part
writing almost always
change at different
moments in each
instrument, with a longer
or shorter delay. The
independent lines weave
tightly together. The
only dynamic is forte for
minutes on end in the
powerful closing section.
Duration c. 20 minutes.
Score (A4) and parts
(B4). $48.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Reihe Vol. 8, Retrospective (Ge Universal Edition
SKU: PR.UE026108 Composed by Herbert Eimert. With Standard notation. Univ...(+)
SKU: PR.UE026108
Composed by Herbert
Eimert. With Standard
notation. Universal
Edition #UE026108.
Published by Universal
Edition (PR.UE026108).
UPC:
803452006718. $26.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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