| Keyboard Strategies Piano seul Schirmer
Master Text II. By Various. Piano Collection. 432 pages. Published by G. Schirme...(+)
Master Text II. By
Various. Piano
Collection. 432 pages.
Published by G. Schirmer,
Inc.
$50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| All the Tunes You've Ever Wanted to Play - Book 1 - C instruments Edition [Livre] Kevin Mayhew
Arranged by Colin Hand. For c instruments. Music Theory. All Styles. Beginning-I...(+)
Arranged by Colin Hand.
For c instruments. Music
Theory. All Styles.
Beginning-Intermediate.
Book. Published by Kevin
Mayhew Publishers
$10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Phaedrus Violon et Piano Theodore Presser Co.
Chamber Music Clarinet, Piano, Violin SKU: PR.164002390 Composed by Dan W...(+)
Chamber Music Clarinet,
Piano, Violin SKU:
PR.164002390 Composed
by Dan Welcher. Set of
Score and Parts. With
Standard notation.
Composed 1995. 26+14+14
pages. Duration 14
minutes. Theodore Presser
Company #164-00239.
Published by Theodore
Presser Company
(PR.164002390). UPC:
680160038091. I
became interested in the
work of Plato through my
friend and collaborator,
the writer and
philosopher Paul
Woodruff. Paul's new
translation, with
Alexander Nehamas, of the
Symposium gave me
insights into ancient
Greek ways of thinking
about Love, Beauty, and
Wisdom -- and managed to
keep the earthy, and
often bawdy side of it
all in full view. But
their new translation of
Plato's later dialogue
Phaedrus went even
further: the beauty of
the speeches is
breathtaking, and the
discourse itself is
enough to keep one awake
at night. Basically the
Great Speech of Socrates
in the Phaedrus dialogue
has to do with the place
of Eros in the world, and
with the conflict in the
soul between fleshly
pleasure and philosophic
discovery. I will not
attempt to encapsulate
this brilliant discourse
in a program note:
suffice it to say that
reading it gave rise to
my two-sided work for
clarinet, violin, and
piano, Phaedrus. The
first movement represents
the Philosophic life, and
is thus subtitled
Apollo's Lyre (Invocation
and Hymn). It begins with
an unaccompanied melody
for the clarinet, which
(after a pair of
harp-like flourishes for
the piano, expands into
an accompanied canon. The
voices in the dialogue
(clarinet and violin)
follow each other by a
prescribed number of
beats, but the music is
totally devoid of any
meter at all. The piano,
representing the lyre,
accompanies this lyric
love-feast with repeated
strummed chords. The
canon has three large
sections, and ends with
violin echoing the
unaccompanied clarinet
invocation as the sound
of the lyre fades. The
second movement, called
Dionysus' Dream-Orgy
(Ritual Dance) presents,
after a brief
introduction, another
kind of unmetered music.
Rather than long lyric
flights of philosophic
song, however, this time
we hear a unison dance of
unbridled energy and
sensual transport. The
piece soon forms itself
into a loose arch form,
with contrasting metered
dance sections divided by
the unison unmetered orgy
tune. Midway through the
movement, Apollo's melody
returns from the first
movement, but it is a
temporary reminiscence.
The orgiastic dance
returns, reaches a
climax, and ends with a
stomping of feet. While
Plato asserts that a
proper balance between
lust and reason is
necessary in all men, he
(naturally) gives the nod
to Philosophy as the
better choice in which to
live. Not so in my music:
the two sides are meant
to coexist and to
complement each other. No
sides are taken. Phaedrus
was commissioned of the
Verdehr Trio by Michigan
State University. It is
dedicated to the Vedehr
Trio with great affection
and admiration. $85.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Young Violinist's Repertoire, Book 4 Violon et Piano - Débutant Faber Music Limited
Edited by Paul de Keyser and Fanny Waterman. For Violin and Piano. Book; Method/...(+)
Edited by Paul de Keyser
and Fanny Waterman. For
Violin and Piano. Book;
Method/Instruction;
String - Violin Studies
or Collection. Faber
Edition. Published by
Faber Music
$12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Im Zoo - At the Zoo - Au Zoo Violon et Piano Barenreiter
(fur Geige und Klavier - for violin and piano - pour violon et piano). By Romual...(+)
(fur Geige und Klavier -
for violin and piano -
pour violon et piano). By
Romuald Twardowski;
Antoni Cofalik. For
Violin, Piano. Score;
Single Part
$22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Happy Rain on A Spring Night - Score [Conducteur] Theodore Presser Co.
Chamber Music Clarinet, Flute, Piano, Violin, Violoncello SKU: PR.11441271S(+)
Chamber Music Clarinet,
Flute, Piano, Violin,
Violoncello SKU:
PR.11441271S For
Flute, Clarinet, violin,
Cello, and Piano.
Composed by Chen Yi. Poem
by Du Fu (712-770 in Tang
Dynasty). Premiered at
Merkin Hall in New York.
Contemporary. Full score.
With Standard notation.
Composed 2004. 45 pages.
Duration 12 minutes.
Theodore Presser Company
#114-41271S. Published by
Theodore Presser Company
(PR.11441271S). UPC:
680160587094. 8.5 x 11
inches. Poem by Du Fu
(712-770 in Tang
Dynasty). It's like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. This music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
60-70 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehersal A and B
(measures 1 - 41)
represents the first four
lines of the poem. The
woodwind instruments
response to the rustling
of fast moving notes on
muted string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures. The
music in Rehersal C and D
(measures 42-87)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy key slaps on the
flute creates a
mysterious atmosphere, in
a dialogue with other
instruments. The cello
glissandi recite the poem
in the tone of Mandarin,
echoed by the string
harmonics. The music in
Rehersal E, F, G (m 88 -
161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehersal H, m. 162 - the
end), which stands on the
energetic peak at the end
of the
piece. Commissioned by
the Music From Copland
House ensemble, supported
by a grant from the
NYSCA’s
Composer’s
Commissions program in
2002, my mixed ensemble
piece Happy Rain on a
Spring Night is written
for all five instruments
in the ensemble: flute,
clarinet, violin, cello
and piano, and premiered
on Oct. 18, 2004, at
Merkin Hall in New York.
 The musical
imagination came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in the
Tang Dynasty. Happy
Rain on a Spring Nightby
Du Fu (712-770 in the
Tang Dynasty)Â Happy
rain comes in time,When
spring is in its
prime.With night breeze
it will fall,And quietly
moisten all.Clouds darken
wild roads,Light
brightens a little
boat.Saturated at
dawn,With flowers
blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) It’s
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds; our new society is
pushing us forward to the
new future. Â The music
reflects the scenes and
the expression according
to the meaning of the
poem when it’s
being unfolded line by
line. Â Although the
tempo is set 60-70
quarter notes per minute
throughout (played
vividly, never slowing
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 1-41)
represents the first four
lines of the poem.
 The woodwind
instruments respond to
the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures.
 The music in
Rehearsal C and D
(measures 42-87)
represents the next two
lines of the poem.
 It’s so dark,
a little light in the
boat is shimmering on the
lake... Â The breathy
key slaps on the flute
create a mysterious
atmosphere, in a dialogue
with other instruments.
 The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
 The music in
Rehearsal E, F and G (m
88-161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehearsal H, m.
162-192), which stands on
the energetic peak at the
end of the
piece. According to
the principle of the
Golden Section, I have
constructed the piece
with two large parts (m.
1-115 and m. 116-192).
 The GS falls onto the
beginning of the climax
section of the piece,
which is exciting and
loud. Â All
subdivisions of the
structures coincide with
the numbers of
proportions based on the
GS principle. Â The
music has textures
changed according to the
proportional arrangement
throughout the
piece. First Part (m.
1-115, total 115
measures), including two
sectionsSection I (m.
1-69, total 69 measures),
including two
divisionsFirst Division
(m. 1-41, total 41
measures), including two
subdivisions:Subdivision
I (m. 1-25, total 25
measures)Rehearsal A,
violin triplets + cello
metalic sound in small
intervals, followed by
woodwinds.Subdivision II
(m. 26-41, total 16
measures)Rehearsal B,
cello triplets + violin
metallic sound in small
intervals, overlapped by
woodwinds.Second Division
(m. 42-69, total 28
measures)Rehearsal C,
breathy key slaps on
flute, in dark.Section II
(m. 70-115, total 46
measures), including two
divisionsFirst Division
(m. 70-87, total 18
measures)Rehearsal D,
soft cello reciting,
followed by string
harmonics & woodwind
“echoâ€
passages.Second Division
(m. 88-115, total 28
measures)Rehearsal E,
starts to buildup the
excitement, with piano
toccata in the beginning.
When it reachesthe
patterns on the top of
the keyboard, the lowest
passages on piano and
cello punch in, andreview
the pitch material with
small intervals.Second
Part (m.116-192, total 77
measures), including two
sectionsSection I (m.
116-161, total 46
measures), including two
divisionsFirst Division
(m. 116-133, total 18
measures)Rehearsal F, the
excitement reaches the
climax, GS located. All
instruments join
in.Second Division (m.
134-161, total 28
measures)Rehearsal G,
combination of E and F,
continue to
buildup.Section II (m.
162-192, total 31
measures)Rehearsal H,
coda, keep the excitement
on the peak. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Five Poems Violon et Piano Theodore Presser Co.
Chamber Music violin, piano SKU: PR.144407050 Composed by James Primosch....(+)
Chamber Music violin,
piano SKU:
PR.144407050 Composed
by James Primosch. Set of
Score and Parts. With
Standard notation. 28+12
pages. Duration 20
minutes. Theodore Presser
Company #144-40705.
Published by Theodore
Presser Company
(PR.144407050). UPC:
680160655519. 9 x 12
inches. Celebrating
30 years, the
Philadelphia Chamber
Music Society
commissioned a work of
20-25 minutes for violin
and piano from James
Primosch, University of
Pennsylvania professor of
music. Primosch had
originally thought to
create a new sonata, but
what developed is more
appropriately a set of
five character pieces,
two of which were
directly inspired by
poems. Five Poems was
premiered in May, 2016,
and Primosch's thoughts
are recorded at his
website:
https://jamesprimosch.com
/2016/05/10/five-poems-pr
emiere/. Upon
receiving a commission
from the Philadelphia
Chamber MusicSociety for
a violin and piano piece
in honor of its 30th
anniversary, myplan was
to write a sonata, a term
suggesting a relatively
abstractdiscourse. But as
the piece developed, the
movements struck me
ascharacter pieces rather
than music employing a
more
“symphonicâ€ap
proach. When specific
poems started to attach
themselves in my mindwith
two of the movements, the
overall title Five Poems
became clear.The title of
the second movement is a
line from Susan
Stewart’s“De
scentâ€, which deals
with Aeneas’s
visit to the underworld.
The musicis alternately
fiercely driving and
quite still, though
tense.
RobertFrost’s
Nothing Gold Can Stay
summons fleet scale
passages framinglyrical
counterpoint. The
remaining movements do
not refer to
specificpoems, but have
titles reflecting their
expressive tone.
Dreamscape ismusing with
an improvisatory violin
line over shifting pairs
of pianochords. Nightsong
is a bluesy lullaby that
turns highly
dramatic.Vision begins
with a closely argued
struggle but breaks
through tosomething
spacious and clear. $33.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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