| Delightful Dance, Lonesome Chaconne and Fiery Fugue Three Vignettes [Conducteur et Parties séparées] Subito Music
Viola, Cello & Piano SKU: SU.32040150 For Viola, Cello & Piano. Co...(+)
Viola, Cello & Piano
SKU: SU.32040150
For Viola, Cello &
Piano. Composed by
Amy Riebs Mills. Chamber
Music, String
Trio/Quartet/Quintet.
Score & Parts. Subito
Music Corporation
#32040150. Published by
Subito Music Corporation
(SU.32040150).
From delightful
to lonesome to fiery,
this three movement suite
invites both performers
and listeners to share
the joy of being
enveloped in richness of
tone, creating poignant
expressions of the heart.
Marvelous recital and
concert music. Vignette
I: Delightful Dance
Jaunty rhythms and clever
surprises render a joyful
opening section. Later, a
warm, love filled melody
is poured out by each
instrumentalist, and
climbs to a glorious
tutti. Then it is back to
the joyful dance, a few
more surprises, and a
delightfully happy
ending. Vignette II:
Lonesome Chaconne opens
with two dark chords.
Then the piano begins the
chaconne with a mournful
bass line and plaintive
off beats. The viola
enters and plays a
lonesome melody, then is
joined by the cello in a
melancholy duet over the
chaconne until it dies
away. The cello's brief
recitative emerges from
the depths into an aching
cry that is then echoed
by the viola. Joining
together, they pour out a
fervent melody, moving
higher and higher until
they breakthrough to the
light. Alas, the vision
fades, and they return to
only fragments as the
chaconne disappears.
Vignette III: Fiery Fugue
opens with a feisty
subject melody, first in
the viola, followed by
the cello, piano right
hand, and left hand. It
is similar in form to a
Bach fugue, but uses
modal tonality and
syncopated rhythms. The
statements and episodes
build to a recall of the
fervent melody from the
second movement, leading
to the final dynamic
unison statement of the
fugue subject. Just as it
almost dies away, it
recharges and boldly
bounds ahead to the end.
Difficulty Level: 5
(Advanced) Viola, Cello,
Piano Duration: 13'30
Composed: 2016 Published
by: Amy Mills Music, LLC
See composer website for
audio sample. $37.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Chaconne Piano seul Schott
Transcription from Partita No. 1 in D Minor BWV1004 Piano Solo. Composed by ...(+)
Transcription from
Partita
No. 1 in D Minor BWV1004
Piano Solo. Composed by
Martin Stadtfeld. Piano
Solo.
Classical. Softcover. 24
pages. Schott Music
#ED23299.
Published by Schott Music
$21.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| An Anthology of Piano Music for the Left Hand Alone Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1072 Edited by Ruby Morgan. Collection. 168...(+)
Chamber Music Piano
SKU: CF.PL1072
Edited by Ruby Morgan.
Collection. 168 pages.
Carl Fischer Music
#PL1072. Published by
Carl Fischer Music
(CF.PL1072). ISBN
9781491160244. UPC:
680160918836. An
Anthology of Piano Music
for the Left Hand Alone
marks a rare and
significant entry to the
piano literature as one
of the only collections
of the oft-neglected
left-hand piano
repertoire. Serious
literature for the left
hand alone has a long and
storied past. Contained
within this volume, the
serious advanced pianist
will find a wealth of
artistically satisfying
repertoire for the left
hand that will not only
strengthen the technical
development of the left
hand, but also make for
impressive showpieces on
the recital stage.This
volume includes hitherto
unpublished gems like
Earl Wild's Etude No. 3
for the Left Hand Alone
(Based on
Gershwin’s The Man
I Love) and Ruth Wylie's
Soliloquy for Piano, Left
Hand, Op. 23, as well as
established classics of
the repertoire like
Godowky's Chopin
arrangements, and even
modern and contemporary
additions like
Bartok’s Etude for
the Left Hand and
Corigliano's Etude No. 1
for the Left Hand
Alone. $39.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Joy Of Handel And The 'Messiah' Piano seul [Partition] Music Sales
Selected and arranged by Denes Agay and Frank Metis. Book. Published by Music S...(+)
Selected and arranged by
Denes Agay and Frank
Metis. Book. Published by
Music Sales. (YK21826)
Featuring easy-to-play
arrangements of Handel's
best-loved music,
including favorite
selections from "The
Messiah." Although
simplified, all of the
settings are true to the
beloved originals, making
this folio a joy for the
beginning to intermediate
pianist.
$12.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Baroque Spirit, The - Book 1 and Cd
Piano seul [Partition + CD] - Facile Alfred Publishing
By perf. Daniel Glover. Edited by Nancy Bachus. For Piano. Piano Collection. The...(+)
By perf. Daniel Glover.
Edited by Nancy Bachus.
For Piano. Piano
Collection. The Spirit
Series. Masterwork. Early
Intermediate /
Intermediate (grade
3/4/5). Book and CD. 64
pages. Published by
Alfred Music Publishing
(2)$10.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308). ISBN
9782898522253. Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
FRANCE
SCO BIRAGHI
Au
lendemain d'une
récente
expérience au sein
du jury d'un concours de
guitare, j'ai
constaté avec
grand plaisir que Giorgio
Mirto, avec qui j'avais
partagé le
rôle de
juré, souhaitait
célébrer
l'expérience du
concours - au cours de
laquelle nous avons
découvert que nous
avions eu un grand
affinité de
pensée - avec
quelque chose qui
pourrait perdurer dans le
temps et ne pas
s'évaporer comme
cela arrive souvent lors
de rencontres courtes et
occasionnelles entre
musiciens. Il l'a fait en
véritable
compositeur, ce qu'il
est, et m'a
dédié une
Suite d'une très
belle facture ÃÂ
laquelle je me suis
permis de collaborer au
moins formellement, en
suggérant des
titres pour les quatre
mouvements. C'est ainsi
qu'est née la
Suite n.1, une
pièce qui ne
respecte pas strictement
les règles
formelles de
l'époque baroque,
mais les
réinterprèt
e et les réutilise
dans une nouvelle
tonalité.
L'inspiration
évidente du
baroque tardif de
l'Ã
Âuvre m'a
amené ÃÂ
trouver des titres qui
invitaient
l'interprète
ÃÂ approfondir
l'inspiration
esthétique de
l'Ã
Âuvre. J'ai donc
suggéré
ÃÂ Giorgio de
titrer les quatre
mouvements avec quelque
chose qui reliait leur
contenu ÃÂ quatre
grands du XVIIIe
siècle.
Maîtres allemands.
Le prélude est
ainsi devenu d'Eisenach
en raison de son
atmosphère parfois
improvisée
ÃÂ la Bach, le
deuxième
mouvement, vaguement
toccata, parle un langage
d'orgue ÃÂ la
manière de
Buxtehude (qui vivait
àLübeck),
le mouvement lent a un
Qualité
haendélienne - et
Haendel est né
ÃÂ Halle - et le
dernier mouvement, loin
d'être une
véritable
Chaconne, a sans doute le
goût de cette
dernière pour la
variation et l'ostinato,
traits typiques de
Telemann qui vivait
ÃÂ Magdebourg. Les
villes qui apparaissent
dans les titres sont donc
indélébiles
aux auteurs cités.
De plus, il ne faut pas
penser que le style de
l'Ã
Âuvre soit en
aucune façon
allemand, étant
donné que Giorgio
Mirto s'exprime dans un
langage très
joyeux qui
synthétise la
modalité avec le
minimalisme, le tout
assaisonné d'un
clin d'Ã
Âil au rock
progressif Floyd de Pink.
ou un Mike Oldfield... Le
résultat de ce
mélange
d'idées,
d'inspirations et de
styles est un ouvrage que
personnellement je ne me
lasse pas de lire et de
relire, pour la
fraîcheur qui s'en
dégage et pour le
climat expressif qui
monte, se nourrissant de
plein efficacité.
On ne peut finalement pas
ignorer que la note B,
celle qui marque de
manière mineure
certaines des
Ã
Âuvres les plus
expressives du
répertoire de
guitare, depuis
l'étude de Sor qui
a fait tomber amoureux de
la guitare des
générations
d'étudiants,
jusqu'ÃÂ celle de
Frank Martin Quatre
Pièces via La
Catedral di Barrios, est
le point d'appui modal de
toute la Suite : il est
vrai que le
Prélude commence
par un accord clair en mi
mineur et s'attarde sur
une fin ouverte en la
mineur, mais il semble
presque que le mi initial
sert de une rampe de
lancement pour une suite
de l'Ã
Âuvre dans
laquelle la dominante,
c'est-ÃÂ -dire le B,
est le véritable
Nord musical,
l'étoile polaire
qui nous guide dans les
trois autres mouvements
jusqu'ÃÂ la fin de
la Chaconne de
Magdebourg. Je souhaite
ÃÂ Giorgio et
àë notre
û Suite une grande
longévité
et un destin favorable
dans le monde complexe et
complexe de la
composition contemporaine
pour guitare. Et je le
remercie encore,
flatté de son
très aimable
dévouement.
FRANCESCO BIRAGHI. $12.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Best of Yiruma Piano seul Volonte and Co
Composed by Yiruma. Contemporary Music. Book Only. Composed 2020. 106 pages. ...(+)
Composed by Yiruma.
Contemporary Music. Book
Only. Composed 2020. 106
pages. Volonte e Co
#VOLMB812. Published by
Volonte e Co
$22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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