| From Jewish Life Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.BF141 Composed by Ernest Bloch. Edited...(+)
Chamber Music Cello,
Piano SKU:
CF.BF141 Composed by
Ernest Bloch. Edited by
Julian Schwarz. 12+8
pages. Carl Fischer Music
#BF141. Published by Carl
Fischer Music (CF.BF141).
ISBN 9781491159989.
UPC:
680160918584. The
three pieces From Jewish
Life were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance.
The
first movement, Prayer,
is a deeply heartfelt
plea to the almighty. As
Neil W Levin writes, The
initial four-note motive
in the minor mode,
together with its
elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max Janowski's
(1912-1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu. This prayer has
special meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both Prayer
and Janowski's Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt
pathos.
The second
movement, Supplication
(the act of begging
humbly), has more angst,
almost a sense of urgency
as a result of the
rhythmic motor in the
piano. The third
movement, Jewish Song,
evokes a quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish
experience.
The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of Bloch's most
celebrated work, Schelomo
in 1917.
Though
the popularity of Bloch's
oeuvre has been dominated
by works of Jewish
connection, we should not
forget that Bloch had
many other stylistic
periods, including
Franco-Belgian, modal,
serial, and even American
folk. In 1927, he was
awarded Musical America's
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. The three
pieces From Jewish Life
were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance. The first
movement, Prayer, is a
deeply heartfelt plea to
the almighty. As Neil W
Levin writes, The initial
four-note motive in the
minor mode, together with
its elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max Janowski's
(1912-1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu. This prayer has
special meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both Prayer
and Janowski's Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt pathos. The
second movement,
Supplication (the act of
begging humbly), has more
angst, almost a sense of
urgency as a result of
the rhythmic motor in the
piano. The third
movement, Jewish Song,
evokes a quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish experience. The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of Bloch's most
celebrated work, Schelomo
in 1917. Though the
popularity of Bloch's
oeuvre has been dominated
by works of Jewish
connection, we should not
forget that Bloch had
many other stylistic
periods, including
Franco-Belgian, modal,
serial, and even American
folk. In 1927, he was
awarded Musical America's
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. The three
pieces From Jewish Life
were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance.The first
movement,
“Prayerâ€, is
a deeply heartfelt plea
to the almighty. As Neil
W Levin writes,
“The initial
four-note motive in the
minor mode, together with
its elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max
Janowski’s
(1912–1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu.†This
prayer has special
meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both
“Prayer†and
Janowski’s Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt pathos.The
second movement,
“Supplicationâ€
(the act of begging
humbly), has more angst,
almost a sense of urgency
as a result of the
rhythmic motor in the
piano. The third
movement, “Jewish
Songâ€, evokes a
quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish experience.The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of
Bloch’s most
celebrated work, Schelomo
in 1917.Though the
popularity of
Bloch’s oeuvre has
been dominated by works
of Jewish connection, we
should not forget that
Bloch had many other
stylistic periods,
including Franco-Belgian,
modal, serial, and even
American folk. In 1927,
he was awarded Musical
America’s
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| First Gymnopedie Vibraphone et Marimba Imagine Music
Composed by Erik Satie (1866-1925). Arranged by Jeff Gorbski. Score and Parts...(+)
Composed by Erik Satie
(1866-1925). Arranged by
Jeff Gorbski. Score and
Parts. Imagine Music
Publishing #PES183.
Published by Imagine
Music
Publishing
$8.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Lament [Conducteur] - Facile Oxford University Press
String orchestra with optional organ (Vln I, Vln II (A and B), Vla, Vc I, Vc II,...(+)
String orchestra with
optional organ (Vln I,
Vln II (A and B), Vla, Vc
I, Vc II, and Db) - Easy
to Moderately Difficult
SKU:
OU.9780193528017
'And Wept
Bitterly'. Composed
by Mack Wilberg. String
Orchestra. Full score. 12
pages. Duration 6.5'.
Oxford University Press
#9780193528017. Published
by Oxford University
Press (OU.9780193528017).
ISBN 9780193528017. 12
x 9 inches. for
string orchestra, with
optional organ This
moving piece for string
orchestra is full of
pathos and emotion.
Stylistically evocative
of Samuel Barber's
Adagio for
Strings and the
distinctive musical
language of Arvo
Pärt,
Lament is based
around a two-bar arching
ostinato, artfully
developing musical
fragments and enriching
the texture to reach a
powerful central climax.
This is a welcome
addition to the string
orchestra repertory.
This piece was recorded
on the 2019 Mormon
Tabernacle Choir and
Orchestra CD Tree of
Life under the title
'And Wept Bitterly
(Lament on an Ostinato
for String
Orchestra)'. - A
moving piece for string
orchestra full of pathos
and emotion
-
Recorded on the 2019
Mormon Tabernacle Choir
and Orchestra CD Tree
of Life under the
title 'And Wept Bitterly
(Lament on an Ostinato
for String
Orchestra)'
-
Based around a two-bar
arching ostinato
-
Stylistically evocative
of Arvo Part and Barber's
Adagio for
Strings
$28.50 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and
Orchestra SKU:
BT.PWM5447 For
Soprano, Alto, Baritone,
Mixed Choir and
Orchestra. Composed
by Karol Szymanowski.
Classical. Book Only.
Composed 2000. 68 pages.
Polskie Wydawnictwo
Muzyczne #PWM5447.
Published by Polskie
Wydawnictwo Muzyczne
(BT.PWM5447).
''Stabat
Mater'' by Karol
Szymanowski for solo
voices, chorus and
orchestra, Op. 53, is one
of the most famous and,
at the same time, most
personal works of the
composer, making its
appeal to the audience
through the depth of its
expression and sheer
artistry. The first
sketches of the work were
made in the spring of
1925, while work on the
full score occupied the
composer from 20 January
to 2 March 1926. Józef
Jankowskis Polish
translation of the
medieval sequence formed
the basis of the
composition. This text,
which was simple in a
folk-like way, devoid of
pathos but full of
religious zeal,
harmonized perfectly from
the poetic point of view
with the composers
creative design. In an
interview for the monthly
Muzyka Szymanowski
stated: ''in its Polish
vestments that eternal,
naive hymn was filled for
me with its own immediate
expressive content; it
became something painted
in colours which were
recognisable and
comprehensible as
distinct from the black
and white of the archaic
original'' (''A Footnote
to Stabat Mater'', Muzyka
1926, Nos. 11/12). In the
score, the Latin text is
given beside the Polish
text, making it possible
for the work to be
performed more easily by
foreign performers. In
this work, the universal
tradition of the
Christian church was
fused with the Polish
religious tradition. The
composer creates the
religious folk-like
climate primarily through
the character of the
melodies which are akin
to to the plainchant
melodies to the text of
Stabat Mater (the
sequence, and especially
the hymn) and their
paraphrases in Polish
religious songs (e.g. Sta
a Matka Bole ciwa [The
Dolorous Mother was
standing]) as well as
motifs from Polish Lenten
songs and Gorzkie ale
(Bitter Laments).
Szymanowski did not
introduce them as
quotations, but
intersperses the melodic
lines, which are more
fully developed and
frequently highly
chromatic, with diatonic
phrases, based on modal
scales. They appear in
all the movements of the
work determining its
cohesion. In dividing the
twenty-stanza text into
separate segments,
Szymanowski created a
six- movement cantata. He
took care to distinguish
between the emotional
shades of the various
movements, varying his
selection of solo voices
(soprano, contralto,
baritone), the voices of
the chorus (female or
mixed) and the orchestral
forces. In the first and
third movements the
lyrical idiom prevails;
the first movement,
portraying the Mother of
God at the foot of the
cross, has a narrative
character, whereas the
third is a kind of prayer
from a man who
sympathizes with, and who
wishes to be associated
with Mater Dolorosas
pain. In these movements
only the female voices
are used (soprano,
contralto and female
chorus), while the
orchestra is employed in
a chamber style,
sometimes drawing on solo
accompanying parts (e.g.
the beginning of the
third movement). The
fourth movement, which
continues the mood of
prayerful contemplation,
is designed for soprano
and contralto solo as
well as unaccompanied
chorus. On the other
hand, the second and
fifth movements,
involving the
participation of solo
baritone and the full
chorus and orchestra, are
similar with regard to
forces and their dramatic
character, which is
austere in expression,
harsh in tone, and
markedly dissonant. Here
grand climaxes appear
with powerful orchestral
tutti. The sixth movement
crowns the whole. The
lyrical, soft melody of
the solo soprano at the
beginning is gradually
strengthened by the
addition of the female
chorus and the solo
contralto, and in the
final section, the solo
baritone as well as the
tutti of chorus and
orchestra. The
conclusion, subdued and
full of concentration,
suggests the introvert
character of the
experience as opposed to
its dramatic pathos.
Stabat Mater by
Szymanowski is part of a
long tradition of
compositions based on the
text of the medieval
sequence - ranging from
polyphonic works by
Josquin des Prés and
Palestrina to the
romantic Stabat by
Giuseppe Verdi and Anton
n Dvo ák. And it was
perhaps because of his
consciousness of this
tradition that
Szymanowski used
stylizing devices in the
spirit of early music.
The archaization
manifests itself not only
in the character of the
melodies and their modal
framework, but also in
the harmonies (with their
predominance of triads,
open fourths and fifths
chords and doubled
thirds), the simple
rhythms as well as the
texture of the choruses
(esp. the fourth
movement). The composer
does not, however,
imitate the style of any
specific historical
epoch, but combines
resources taken from
early music with modern
tonal and harmonic
techniques. Archaization
in Stabat Mater serves,
moreover, a symbolic
function; in evoking the
many-centuries old
tradition of church
music, it emphasizes the
universal nature of the
idea contained in the
text of the sequence,
while the re-reading of
the text by the composer
gives the work its
individual features.
[Zofia Helman, translated
by Ewa Cholewka]. $28.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Clarinet Concerto - Solo part & piano reduction Clarinette Fennica Gehrman
Clarinet, piano SKU: FG.55011-708-2 Composed by Kimmo Hakola. Solo part a...(+)
Clarinet, piano SKU:
FG.55011-708-2
Composed by Kimmo Hakola.
Solo part and piano
reduction. Fennica
Gehrman #55011-708-2.
Published by Fennica
Gehrman (FG.55011-708-2).
ISBN
9790550117082. Kimm
o Hakola's Clarinet
Concerto (2001) is
finally available as a
piano reduction and a
solo part! The concerto
created world-wide buzz
after the premiere, which
was augmented after the
CD release. The Clarinet
Concerto is a rich and
original work lasting
some 40 minutes. It has
four movements: the
opening movement is
dominated by the
aggressive toccata-like
pounding typical of
Hakola. The slow
movement, Hidden Songs,
is a soaring, melodic and
captivating piece of
music. The third
movement, Allegro farara,
is a wild and whirling
Oriental dance in a
quirky 7/8 rhythm. The
finale, which follows
without a break, begins
with crowd noises that
slowly fade. The movement
title, Khasene, is the
Yiddish for 'wedding'.
The nuptials turn out to
be quite raucous as
Hakola rolls out poignant
pathos and rollicking
klezmer look-alikes in
turn. The soloist is
given scope for
improvisation. $37.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| The Journey Suite Orgue Wayne Leupold Editions
| | |
| Codebreaker. Vocal Score Stainer and Bell
Soprano voice solo, SATB choir and orchestra SKU: ST.D108 Composed by Jam...(+)
Soprano voice solo, SATB
choir and orchestra
SKU: ST.D108
Composed by James
McCarthy. For soprano
solo, SATB chorus and
orchestra. Libretto by
the composer, with words
selected and adapted from
various writers. James
McCarthy's acclaimed
cantata dramatically
recounts key episodes in
the story of Alan Turing,
the Second World War
codebreake. Vocal Score.
Stainer & Bell Ltd.
#D108. Published by
Stainer & Bell Ltd.
(ST.D108). ISBN
9790220225628. Jame
s McCarthy's Codebreaker
dramatically recounts key
episodes in the story of
Alan Turing, whose work
at Bletchley Park
decrypting the naval
Enigma codes helped save
countless lives during
the Second World War, and
whose legacy endures in
our contemporary digital
culture transformed by
computer science. Turing
is recalled as a
brilliant mathematician,
pioneer and prophet.
Above all, in a score
conceived in bold
contrasts of pathos and
dynamic energy, he is
remembered as a suffering
individual, an outsider
destroyed by the
unforgiving public
prejudice of his time,
yet whose complex and
sensitive inner being was
inseparable from his
genius. On the cusp of a
twenty-first century
revolution in artificial
intelligence, the
passionate, accessible
and visionary music of
Codebreaker urges us all
to regret past
misunderstandings, be
vigilant against
lingering bigotries, and
simply to hold in
reverence Turing's
inspiring achievement,
while wondering at the
cruel betrayal of an
ordinary-extraordinary
man who was also a
profound benefactor to
humankind. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
Plus de résultats boutique >> |