| Widmann Hunting Quart;str.quar Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet (P/ST) - difficult SKU: HL.49033270 3rd string quartet<...(+)
String quartet (P/ST) -
difficult SKU:
HL.49033270 3rd
string quartet.
Composed by Joerg
Widmann. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Score and parts. Composed
2003. 112 pages. Duration
12'. Schott Music
#ED9749. Published by
Schott Music
(HL.49033270). ISBN
9790001136860.
9.25x12.0x0.3
inches. The
Jagdquartett (Hunt
Quartet), which Jorg
Widmann wrote as his
third string quartet in
2003, following the
Choralquartett, also
begins with a visible
gesture. After a short
signal cry from the
performers, the piece
starts by quoting Robert
Schumann's Papillons op.
2, and for its full
duration retains this
gesture, these starting
sounds. The degrees of
recognizability do change
continuously, to be sure,
in the furious, racing
organism of the score.
The contours change into
forms on another level,
yet now and then the
begining material returns
clearly to the fore,
initiated anew by a cry
from the performers, and
is then digested or
mutated as a rhythmic
study into a field of
harmonic experimentation.
On rare occasions, there
are moments of pause - as
though the musicians were
testing the atmosphere,
as though they were
sensing the weather, so
as ultimately to continue
playing the quartet
across the fields an
forests of notes. A hunt
after joyful performance,
a chase, the whip
cracking, after the thing
to be shot, the sound,
its performer, perhaps
the composer himself? - A
last shout, morendo, dal
niente... - The victim is
not the audience, at any
rate.When comparing the
output of string quartets
from the 18th century to
thetime of Schumann, it
appears to have dropped
considerably. Schumann
composed only three
complete quartets, all of
them in the so-called
'chamber music year'
1842. Jorg Widmann, who
counts Robert Schumann
among his greatest
inspirations, finished a
series of five string
quartets in 2005, at the
same age as Schumann. The
quartets in the cycle
form in themselves the
characters of the
movements of the
classical quartet.
Jagdquartett represents
the fast middle movement,
the scherzo. Widmann's
work appears rough and
wild in the style of
Schumann's alter ego
Florestan. His hunt
begins in the tempo of
'allegro vivace assai'
with the final theme of
Schumann's Papillons
which often appears or is
cited in many of
Schumann's compositions.
Widmann eventually
dismantles the thematic
material of his fierce
quartet, thus
skeletonising his
prey. $79.00 - Voir plus => Acheter | | |
| There Is a Name I Love to Hear Shawnee Press
SAB/opt. C Instrument C Instrument; Choral; Violin (SAB/C INSTRUMENT) SKU: HL...(+)
SAB/opt. C Instrument C
Instrument; Choral;
Violin (SAB/C INSTRUMENT)
SKU: HL.1191698
(Oh, How I Love
Jesus). Composed by
Dan Boone. Shawnee
Sacred. General Worship.
Octavo. Duration 220
seconds. Published by
Shawnee Press
(HL.1191698). UPC:
196288132097.
6.75x10.5x0.029 inches.
John 1:14, John 3:16,
Matthew
1:18-23. This
treasured hymn lyric is
beloved by many, and this
resetting gives it new
expressive potential.
Lyrical and lovely, the
theme has elegant
contours and the
harmonies are effective
and accessible. A
majestic final chorus
soars before the anthem
surrenders to devotion
and serenity. $2.20 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Double Concerto Theodore Presser Co.
Chamber Music Clarinet, Piano, alto Saxophone SKU: PR.114419720 Baroqu...(+)
Chamber Music Clarinet,
Piano, alto Saxophone
SKU: PR.114419720
Baroque. Composed
by Carter Pann. Set of
Score and Parts. 36+12+12
pages. Duration 16
minutes. Theodore Presser
Company #114-41972.
Published by Theodore
Presser Company
(PR.114419720). ISBN
9781491134863. UPC:
680160685790. In a
musical style strongly
influenced by (and
occasionally parodying)
American popular music,
the subtitle
“Baroque†may
seem a puzzle at first.
It is also the key to
Pann’s approach in
composing for multiple
wind soloists and
ensemble. With
Bach’s
Brandenburgs in the
rear-view mirror, Pann
has created a glorious
hybrid of inspirations
with intricate
counterpoint, cadenzas,
beautiful slow textures,
and wild rides, creating
a 16-minute,
fast-slow-fast concerto
grosso. The published
piano reduction is fully
practical for live
performance. My Double
Concerto (subtitled
“Baroqueâ€)
from 2018 posed an
immediate challenge which
gave me some real
trepidation as a
composer. The two solo
instruments, Clarinet and
Alto Saxophone, are quite
varied in their timbral
characteristics yet they
have nearly identical
ranges. I gave many hours
of thought to solving
this challenge and
eventually settled on an
obvious mission: make
each instrument as
independent from the
other as possible.
Explore opposite areas of
each range
simultaneously. Set very
different contours
against one another in
the solo parts. These
kinds of things.I. Bach
in the Fifties sets the
soloists up as competing
crooners. I wanted to
write a 1950s-style teen
idol tune, complete with
electric organ, and
writing the music I
imagined J.S. Bach might
tend towards if he was
writing for The Platters
or Perry Como. This first
movement also presents
within it a traditional
concerto-style cadenza
for both soloists
together.II. Desert Arias
should transport the
listener to an arid,
barren land over which a
mirage of canons
emerge.III.
Pronouncements is set in
the style of a baroque
concerto’s final
movement. Nuance is
forfeited on behalf of
straight-ahead melodic
dueling. Stravinsky
lingers like a ghost
behind this finale. $34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Johan De Meij : Big Apple, The (A New York Symphony)(Symphony No. 2) Orchestre d'harmonie - Intermédiaire/avancé Amstel Music
The Big Apple (A New York Symphony)(Symphony No. 2) (Part II Gotham - Parts Only...(+)
The Big Apple (A New York
Symphony)(Symphony No. 2)
(Part II Gotham - Parts
Only). By Johan De Meij.
For Concert Band. Amstel
Music. Grade 5-6. Amstel
Music #AM17. Published by
Amstel Music
$231.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Big Apple, The (A New York Symphony)(Symphony No. 2) Orchestre d'harmonie - Intermédiaire/avancé Amstel Music
The Big Apple (A New York Symphony)(Symphony No. 2) (Complete Edition - Parts On...(+)
The Big Apple (A New York
Symphony)(Symphony No. 2)
(Complete Edition - Parts
Only). By Johan De Meij.
For Concert Band. Amstel
Music. Grade 5-6. Amstel
Music #AM19. Published by
Amstel Music
$462.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Abendstern - Intermédiaire Carl Fischer
Orchestra violin 1, violin 2, violin 3, viola, cello, bass - Grade 3 SKU: CF....(+)
Orchestra violin 1,
violin 2, violin 3,
viola, cello, bass -
Grade 3 SKU:
CF.CAS117 Composed by
Lauren Bernofsky. Concert
String Orchestra (CAS).
Set of Score and Parts.
With Standard notation.
8+8+2+5+5+5+8 pages.
Duration 3 minutes, 59
seconds. Carl Fischer
Music #CAS117. Published
by Carl Fischer Music
(CF.CAS117). ISBN
9781491153291. UPC:
680160910793. 9 x 12
inches. Key: A
major. Abendstern,
composed by Lauren
Bernofsky,?evokes an
image of a sunset over
the tree-covered hills of
the Bavarian countryside
with the Abendstern, or
evening star, shining
brightly over the scene.
A hauntingly beautiful
theme in falling
thirds?evokes the
treetops as they become
darker and murkier. This
piece is a wonderful
addition to any concert
program and can be used
as a touching?tribute at
a memorial
service. One summer night
during a visit to Bavaria
in southern Germany, I
stood outside on a
balcony overlooking the
hills of the Bavarian
forest, watching the
beautiful early-evening
sky. It was still light
out, but I could make out
one solitary star in the
sky. As the sun slowly
went down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.)
I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant
light.. One summer night
during a visit to Bavaria
in southern Germany, I
stood outside on a
balcony overlooking the
hills of the Bavarian
forest, watching the
beautiful early-evening
sky. It was still light
out, but I could make out
one solitary star in the
sky. As the sun slowly
went down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.)
I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant
light.. One
summer night during a
visit to Bavaria in
southern Germany, I stood
outside on a balcony
overlooking the hills of
the Bavarian forest,
watching the beautiful
early-evening sky. It was
still light out, but I
could make out one
solitary star in the sky.
As the sun slowly went
down, the landscape
became more and more dark
and indistinct, and the
star shone brighter and
brighter. My
mother-in-law stood there
with me. I asked her the
name of the star, and she
answered, Abendstern (or
Evening Star.) I was so
moved by what I saw, I
went inside and took out
my manuscript paper and
started to write down
this piece. The
tree-covered hills and
tranquility of the
evening are evoked by the
theme, whose contour
(with little bumps)
mirrors the contour of
the treetops on the
hills. The star is
represented by the
sustained note E; at the
beginning of the piece,
it can be heard in a low
register in the violas,
and over the course of
the piece, it is heard in
higher and higher
octaves, as the star
shines ever more
brightly. By the end, the
landscape has disappeared
into the darkness, and
now all we see is the
star, shining its
brightest, and played by
the upper strings, now
harmonized to convey its
brilliant light.
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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