| LYRE OF ORPHEUS 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.114414290 For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed December 16
2008. 22+8+8+7+8+8+8
pages. Duration 15
minutes. Theodore Presser
Company #114-41429.
Published by Theodore
Presser Company
(PR.114414290). UPC:
680160594030. Writt
en for Concertante, a
string sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers. Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players.This particular
commission was made with
the goal of giving
center-stage to the
ensemble’s first
cello, a choice I was
especially grateful for,
not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way.As sometimes
happens, naming the piece
was the final act in the
process of creation.Â
Once titled, though, I
found myself looking
through the piece with a
mixture of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning…Lyre of
Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower notes.This
commission has been made
possible by the Chamber
Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund. $105.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| LYRE OF ORPHEUS 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.11441429S For
String Sextet.
Composed by Shulamit Ran.
Contemporary. Full score.
With Standard notation.
Composed December 16
2008. 22 pages. Duration
15 minutes. Theodore
Presser Company
#114-41429S. Published by
Theodore Presser Company
(PR.11441429S). UPC:
680160594054. 9.5 x 13
inches. Written for
Concertante, a string
sextet which has
commissioned six
different works, each
highlighting one of its
players. In Ran's new
work, the second cellist,
Zvi Plesser, was
spotlighted with an
outgoing, intensely
lyrical opening theme,
according to a New York
Times review. Yet, Lyre
of Orpheus never
overlooks the
collaborative,
conversational essence of
the ensemble. Read the
full review here:
http://www.nytimes.com/20
09/03/18/arts/music/18con
c.html?_r=1&adxnnl=1&part
ner=rssnyt&emc=rss&adxnnl
x=1286200920-wRrt7MJ416+F
pOYAUe/IOQ For advanced
performers. Lyre of
Orpheus was composed for
Concertante, the New
York-based string sextet,
for its One Plus Five
Project, a three-year,
six-composer
commissioning project
designed to create six
string sextets, each
featuring one of
Concertante’s core
players. This
particular commission was
made with the goal of
giving center-stage to
the ensemble’s
first cello, a choice I
was especially grateful
for, not only because it
features Zvi Plesser, the
outstanding Israeli
cellist, but also because
it gave ma an opportunity
to highlight an
instrument for which,
from a very early stage
in my life, I have felt a
special affinity. The
cell’s
“soulâ€, so
naturally combining
passion and lyricism, has
always touched me in a
special way. As
sometimes happens, naming
the piece was the final
act in the process of
creation. Once
titled, though, I found
myself looking through
the piece with a mixture
of delight and
astonishment – the
narrative of the almost
iconic mythological story
of love and loss seems as
one entirely plausible,
and to my mind
convincing, way to tract
the unfolding of the
musical events. Of
course, the music was
written with no such tale
(or any tale, for that
matter) in mind. But
perhaps some stories are
emblematic of so much
that is part of our lives
and psyches, of our
desires, fears and
wishes. Orpheus,
whose longing for
Eurydice recognizes no
boundaries of heaven and
hell… Love
regained, then forever
lost…Â
Orpheus’ lyre
intoning his sorrowful
yearning… Lyre
of Orpheus, approximately
fifteen minutes in
length, composed in late
2008, is intermittently
songful, caressing,
passionate, pained,
ferocious, longing.Â
The instrumentation
consists of 2 violins, 2
violas, 2 cellos, the
first of which is the
soloist/protagonist, the
second notable for having
its lowest string tuned
down a third to achieve
extra lower
notes. This commission
has been made possible by
the Chamber Music America
Commissioning Program,
with funding generously
provided by the Aaron
Copland Fund for Music,
and the Chamber Music
America Endowment
Fund.—Shulamit
Ran. $37.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Gudarnas Lyra / The Lyre Of The Gods Chorale SSAA Fennica Gehrman
By Timo-Juhani Kyllonen. For SSAA choir and percussion. Published by Fennica Geh...(+)
By Timo-Juhani Kyllonen.
For SSAA choir and
percussion. Published by
Fennica Gehrman .
$13.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| De La Lyre D'orphee A La Musique Electronique (book) Leduc, Alphonse
SKU: HL.48182121 Composed by Jacqueline Jamin. Leduc. Classical. Softcove...(+)
SKU: HL.48182121
Composed by Jacqueline
Jamin. Leduc. Classical.
Softcover. 100 pages.
Alphonse Leduc #AL23058.
Published by Alphonse
Leduc (HL.48182121).
UPC: 888680851279.
6.0x9.5x0.629
inches. Jacqueline
Jamin: De la Lyre
d'Orphee a la Musique
electronique (Book). $17.80 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Lyre of the Gods, Op. 40 Chorale SSAB a cappella Boosey and Hawkes
By Timo-Juhani Kyllonen. (SSAB divisi a cappella). Boosey and Hawkes Secular Ch...(+)
By Timo-Juhani Kyllonen.
(SSAB divisi a cappella).
Boosey and Hawkes Secular
Choral. 14 pages.
Published by Boosey &
Hawkes.
$22.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Jubals Lyre Chorale 2 parties 2 parties Hal Leonard
By George Frideric Handel. Arranged by Carolee Curtright. (2 part). Creating Ar...(+)
By George Frideric
Handel. Arranged by
Carolee Curtright. (2
part). Creating Artistry.
12 pages. Published by
Hal Leonard.
$2.35 $2.2325 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 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 | | |
| Marsyas Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie and Flute Solo - Grade 5 SKU: BT.DHP-1094445-010 (+)
Concert Band/Harmonie and
Flute Solo - Grade 5
SKU:
BT.DHP-1094445-010
Suite concertante pour
flûte/piccolo solo,
harp obligée et
Orchestre d'Harmonie.
Composed by Maxime Aulio.
Solo Spectrum. Concert
Piece. Set (Score &
Parts). Composed 2009. De
Haske Publications #DHP
1094445-010. Published by
De Haske Publications
(BT.DHP-1094445-010).
9x12 inches.
English-German-French-Dut
ch. Marsyas ist ein
Satyr aus den
Metamorphosen des
griechischen Dichters
Ovid (43 v. Chr.-17 n.
Chr.). Er findet eine von
der Göttin Athene
weggeworfene Flöte und
spielt bald so gut, dass
ihn Apollo zu einem
musikalischen Wettstreit
zwischen Flöte und
Lyra herausfordert. Durch
einen üblen Trick
verliert Marsyas und
erleidet eine grausame
Strafe. Diese Sage bot
eine ausgezeichnete
Vorlage für ein
spannendes Solowerk
für Flöte, in
welchem auch die Harfe
(Lyra)
erklingt.
Si les
récits de
métamorphoses furent
très populaires dans
l’Antiquité
gréco-romaine, le
recueil du poète latin
Ovide [43 av. J.-C./17
apr. J.-C.] est de loin
le plus célèbre.
Les quinze livres des
Métamorphoses
racontent la formation du
monde et les
transformations
légendaires des dieux
et des hommes en animaux,
en plantes ou en objets.
Parmi les nombreuses
histoires de
métamorphoses
relatées par Ovide, on
trouve celle de Marsyas,
un satyre originaire de
Célènes en Phrygie.
Fils d’Hyagnis,
considéré comme
l’inventeur de
l’harmonie
phrygienne, Marsyas
excellait dans la
musique. Un jour,
Athéna fit une fl te
double et en joua un
banquet des dieux.
Tournée en
dérisionpar Héra et
Aphrodite, et ayant
constaté elle-même,
en voyant le reflet de
son visage dans
l’eau, que
l’instrument,
quand elle en jouait, lui
déformait les traits,
elle jeta la fl te en
maudissant quiconque la
ramasserait. Cette
malédiction frappa le
satyre Marsyas qui la
trouva et en joua
magnifiquement, au grand
plaisir des paysans des
contrées phrygiennes
qui
l’écoutaient et
qui prétendirent que
le dieu Apollon en
personne n’aurait
pu mieux faire avec sa
lyre. Apollon entra dans
une colère formidable
et proposa
l’insolent satyre
un concours musical dont
le vainqueur pourrait
faire subir au vaincu le
ch timent de son choix.
Les Muses et le roi
Midas, choisis comme
juges, ne réussirent
pas départager les
concurrents. Alors,
Apollon joua de la lyre
l’envers et
demanda Marsyas
d’en faire autant
avec son instrument. Cela
était impossible.
Marsyas n’y
parvint pas, et Apollon
fut déclaré
vainqueur. Il se vengea
du satyre de la plus
cruelle façon : il
l’attacha un pin
et l’écorcha
vif.Certains racontent
qu’Apollon, se
repentant de sa
vengeance,
métamorphosa en fleuve
le corps de Marsyas.
D’autres
prétendent que le sang
de Marsyas ou les larmes
versées par les
nymphes et les satyres,
privés des
enchantements de sa fl
te, formèrent le
fleuve de Phrygie qui
porte son nom. /
Marsyas fut
créé le 22 juillet
2005 Bordes sur Arize en
Ariège par le. $322.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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