| Three Transparencies Orgue Zimbel Press
Organ SKU: SU.80101515 For Organ. Composed by Carson Cooman. Keybo...(+)
Organ SKU:
SU.80101515 For
Organ. Composed by
Carson Cooman. Keyboard,
Organ. Score. Zimbel
Press #80101515.
Published by Zimbel Press
(SU.80101515).
The three
pieces in this collection
(Transparency, Second
Transparency, and Third
Transparency) were
written as separate
works. They can be played
that way or as a group of
three in the given order.
Organ Duration: 14'
Composed: 2022 Published
by: Zimbel Press. $12.95 - 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 | | |
| Graffiti Boosey and Hawkes
Study Score Ensemble (Score) SKU: HL.48024565 Large Ensemble Study Sco...(+)
Study Score Ensemble
(Score) SKU:
HL.48024565 Large
Ensemble Study Score.
Composed by Unsuk Chin.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 160 pages.
Duration 1680 seconds.
Boosey & Hawkes
#M060133718. Published by
Boosey & Hawkes
(HL.48024565).
Most of us,
when confronted with the
term graffiti, are likely
to associate it with the
rather desolate wall
scrawlings all over our
urban landscapes.
However, this is not the
whole picture: no less
artists than Klee, Miro,
Dubuffet, and Picasso
were interestedin it (the
latter painting examples
himself on Parisian
walls). In our time,
there is the highly
interesting and
controversial phenomenon
of Street Art, which has
occasionally wittily
succeeded in criticizing
the commercialization of
cities. At their best,
street artists have been
able to thwart the
expectations created by
omnipresent mass media
and by advertising - one
can find some
particularly remarkable
examples in metropolises
such as Berlin, Paris, or
New York. Though this was
the initial stimulus for
Graffiti, it finally
branched into rather
different directions: it
is only very loosely,
ifat all, connected to
the phenomenon of Street
Art (or to the visual
arts). The music is not
illustrative nor is it
programmatic and the main
idea was to compose a
music which is not
restricted as to time or
place, and which offers
strong contrasts between
different modes of
expression. The three
movements headings give a
hint of the changing
modes, moods, and
structures of the music.
The first movement,
Palimpsest,is
polydimensional and
many-layered; one can
hear allusions to a
multiplicity of styles.
The second movement,
Notturno urbano, forms a
strong contrast to the
hyperactive previous
movement. It starts with
distant and gradually
approaching bell-like
sounds, from which the
whole movement's musical
material is being
derived. The instruments
are often used in an
unconventional way: the
winds as well as the
strings employ extended
techniques, which
contributes to the
aloofness and the
mysteriousness of the
movement. The third,
highly virtuosic,
movement, is a kind of an
'urban passacaglia' (the
name of this musical form
actually derives from the
Spanish 'pasar una
calle', 'to walk along a
street'). It consists of
eight incisive chords,
which are played
continuously by the
brass, albeit always in a
different way. Two worlds
collide in this movement:
the brass attacks are
commented upon by
flitting interjections of
different instruments,
which are highly varied
in character and length.
As a whole, the musical
language of Graffiti
shifts between roughness
and refinement,
complexity and
transparency. It is rich
in contrast and
labyrinthine, neither
tonal nor atonal.
Graffiti calls for great
agility, virtuosity, and
constant changes of
perspective from the
musicians; each
instrument is being
treated as a soloist.
Graffiti was commissioned
by the Los Angeles
Philharmonic Association,
Barbican, London;
Orchestra Ensemble
Kanazawa, Kunststiftung
NRW and Ensemble
musikFabrik. It was first
performed on 26th of
February 2013 by the Los
Angeles Philharmonic New
Music Group conducted
b. $64.00 - Voir plus => Acheter | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor Full
Score. Duration 6:40.
Published by Manhattan
Beach Music.
$30.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Daphnis et Chloe Breitkopf & Härtel
Chorus (with soloists) and orchestra SKU: BR.PB-5651 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra SKU:
BR.PB-5651
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5651.
Published by Breitkopf
and Haertel (BR.PB-5651).
ISBN 9790004215487.
10.5 x 14
inches. The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites. $119.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Cajun Folk Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Manhattan Beach Music
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 6:40. Published
by Manhattan Beach Music.
$195.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Daphnis et Chloe Breitkopf & Härtel
Chorus (with soloists) and orchestra SKU: BR.PB-5652 Fragments Symphon...(+)
Chorus (with soloists)
and orchestra SKU:
BR.PB-5652
Fragments Symphoniques
- Urtext of the
Suites. Composed by
Maurice Ravel. Edited by
Jean-Francois Monnard.
Choir; Softbound.
Partitur-Bibliothek
(Score Library). Suite;
Early modern. Sheet
Music. Breitkopf and
Haertel #PB 5652.
Published by Breitkopf
and Haertel (BR.PB-5652).
ISBN 9790004215494.
10.5 x 14
inches. The ballet,
a masterpiece of
Impressionist
orchestration, is now
followed by new Urtext
editions of the
well-known Daphnis
Suites, both edited by
Ravel expert
Jean-Francois Monnard.
Ravel extracted two
suites, two Fragements
Symphoniques: the work
now known as the First
Suite was published
before the first
performance of the
ballet. It served as a
test for the composer,
who wanted to present the
just orchestrated pages
in concert. Suite No. 1
was premiered in April
1911, but its reception
was disastrous. It was
not until three years
later that Suite No. 2
was performed. It takes
up the third and last
part of the ballet
unchanged. It is largely
thanks to this suite,
with its richness of
color in the famous Lever
du jour, that the work is
known.The large format of
the conducting score as
well as the orchestral
parts allow good
readability and support
the clarity and
transparency of the
modern notation. The
already published piano
reduction EB 9422 can
also be used for the
suites due to the double
bar count and information
about the layout of the
suites. $146.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 4 "chaconne" - Score And Parts Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet SKU: HL.49045639 Chaconne. Composed by Fred Lerdahl...(+)
String quartet SKU:
HL.49045639
Chaconne. Composed
by Fred Lerdahl. This
edition: Saddle
stitching. Sheet music.
String Ensemble.
Softcover. Composed 2016.
108 pages. Duration 990
seconds. Schott Music #ED
30174. Published by
Schott Music
(HL.49045639). ISBN
9781540004796. UPC:
888680710774.
9.5x12.0x0.37
inches. Chaconne
(2016), for string
quartet, was commissioned
by the Daedalus Quartet
to celebrate its 15th
anniversary. The
commission was supported
by New Music USA, made
possible by annual
program support and/or
endowment gifts from
Pennsylvania Council on
the Arts, Helen F.
Whitaker Fund, and Aaron
Copland Fund for Music.My
music has a substantial
history with Daedalus. I
composed the Third String
Quartet (2008) for them,
and subsequently they
performed my three string
quartets on several
occasions and recorded
them brilliantly on
Bridge Records (Bridge
9352: Music of Fred
Lerdahl, vol. 3).
Chaconne is in one
movement lasting 19
minutes. It is
effectively my fourth
string quartet. Quartets
1-3 form a unified cycle
lasting 70 minutes. When
I finished the cycle, I
thought I would never
write again for the
medium; yet I could not
resist the opportunity of
working again with
Daedalus. The issue was
how to compose another
string quartet unrelated
to the earlier cycle. The
solution came from my
solo cello piece There
and Back Again (2010),
which was based on a
four-bar variation
pattern from a
17th-century chaconne.
Unlike the asymmetrical
phrases and expanding
variations of much of my
music, the chaconne form
requires symmetrical
phrases and strictly
periodic variations. I
wished to work again with
these symmetries but on a
larger scale. Chaconne
also differs in character
and expression from the
three-quartet cycle. The
cycle is inward and
intense, a kind of
psychological excavation.
Chaconne is, for the most
part, transparent and
playful. Many of its
textures emerge from
little canons, not
completely unlike the
rounds that children
sing. Any composer who
writes in chaconne form
(one thinks above all of
the last movement of
Bach's D minor violin
partita and the finale of
Brahms's Fourth Symphony)
is confronted with the
challenge of how to
create a larger form out
of a constantly repeating
pattern.My Chaconne grows
from paired
antecedent-consequent
phrases, each variation
lasting eight bars. The
50 variations group into
three large rotations,
forming three arcs of
tension and relaxation,
with subtle parallel
connections across the
rotations.
Notwithstanding my
attraction to chaconne
form, I purposefully
disguised its symmetries
and periodicities in
order to build an overall
dramatic shape. Fred
Lerdahl. $118.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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