PARTITIONS GRATUITES : UKULéLé (TAB)
- Ethos

Orchestra String Sextet, Piano - Grade 1

SKU: CF.BAS64F

Composed by Larry Clark. Beginning String Orchestra. Full score. With Standard notation. 8 pages. Carl Fischer Music #BAS64F. Published by Carl Fischer Music (CF.BAS64F).

ISBN 9780825899232. UPC: 798408099237. 9x12 inches.

In Greek, the word ethos is used to describe the character and guiding beliefs or ideals that distinguish a community, nation or idea. The Greeks also used this word to refer to the power of music to influence the listener's emotions, behaviors, and morals--a strong statement for the power of music. Larry Clark's dynamic new composition in a distinctive American style will have a positive effect on your students' musical ethos.

About Carl Fischer Beginning String Orchestra Series

Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:

• Limited parts (often 2nd violin and viola are the same part, cello and bass are same part)
• Limited keys and rhythms - only simple 8th note patterns
• Limited independence of parts
• Playable after limited study time
• First position and natural bowings
• Piano for rehearsal and reinforcement

Ensemble

SKU: HL.48189323

Composed by Christian Eloy. Leduc. Softcover. Alphonse Leduc #NT09521Y. Published by Alphonse Leduc (HL.48189323).

UPC: 888680874940. 8.75x12.0x0.63 inches.

Eloy Ethos Ensemble Score & Parts.

Piano

SKU: HL.14040983

Piano. Composed by Theodor Grigoriu. Music Sales America. Classical. Book [Softcover]. Editions Musicales Transatlantiques #ETR001822. Published by Editions Musicales Transatlantiques (HL.14040983).

French.

The Modal Column is a cycle of paired pieces for piano, starting from the classical structure- prelude-fugue - used by Bach in Das wohltemperierte Klavier. The modes that are being used have a relatively simple octavizing structure, hence an almost infinite variety of combinations that can generate a large number of pieces, impossible to exhaust by a composer. Therein lies the idea of a column, in the sense given by Brancusi, i.e. an endless succession of modules.

In the vision of the author, the mechanism of the mode is a secondary (ancillary) aspect, the primary goal is deciphering the ethos incorporated in it.

The prelude-fugue structure hypostatizesthe musical discourse at the two possible extremes. free-constructed. While Romanian music rules in free areas, like any old music with an (especially oral) tradition, the constructed pieces start from Dutch (Flemish) or Venetian polyphony, which precedes the idea of fugue, understood as a technology of the movement (dynamics) of sound, after the models of Giovanni Gabrieli or Ockeghem.

The Modal Column is first of all the presentation of a melodic world but, as the subtitle indicates, also an investigation into the ethos of Romanian music. The forms in which the pieces are thought are simple, non-ostentatious, the whole cycle being in fact a musical workshop, whose better parts may be worth including in ampler works. Before the succinct description of the six couples in Books I and II, a few observations, necessary from a musicological point of view:

• 1. The modes are rich in nostalgia, with even graver nuances in the livelier movements.
• 2. It is well-known, that all the columns - Egyptian obelisks, ancient ornamental columns - have scenarios engraved on them. Trajan's Column describes the wars against the Dacians and their defeat. George Calinescu says, 'Trajan's Column is beautiful, but let us not forget that the Dacians are in chains on it.' The Romanian melos is millennia-old and was but little influenced by historical.
  
  

Organ Accompaniment (SSA Choir)

SKU: HL.48025443

SSA and Organ. Composed by James Macmillan. BH Secular Choral. Choral, Classical. Octavo. Duration 360 seconds. Boosey and Hawkes #M060142017. Published by Boosey and Hawkes (HL.48025443).

ISBN 9781784549053. UPC: 196288216414.

Setti ng of a prayer by Mother Cornelia Connelly, foundress of the Society of the Holy Child Jesus in 1846 and latterly Mayfield School. In 1863 she was inspired to transform the ruins of the Old Palace of Mayfield into a girls’ school embodying the ethos of the Society; this was accomplished in 1872. The Cornelian ethos of the text make this piece suitable for a wide range of occasions, such as Easter, weddings and general thanksgiving. The choral writing is expressively scored in response to the poem; the organ part, for manuals throughout, is supportive and provides musical punctuation, with a short decorative postlude.

SKU: NR.108174

Books/Poster/Art. Score. Noten Roehr #108174. Published by Noten Roehr (NR.108174).

ISBN 9783814223797.

978- 3-8142-2379-7, Heinemann, Michael, 1956- , ed, Reale, Roberto, 1974- , ed, Erinnerungen an die Kompositionsklasse, Massenet 1894-1895 / Charles Koechlin, Des jardins enchantes = Verzauberte Gärten /, Otfrid Nies, Enescu in Paris : eleve des conservatoires /, Adalbert Grote, Enescus Universalität und Ethos / Gheorghe Firca, Enescu und die Synergie der Musik im Abendland :, der kritische Romantiker / Dan Dediu, Stilistische Absorption und originelle, Transfiguration in Enescus Poetik /, Alexandru Leahu, Enescus musikalische Zeit / Corneliu Dan, Georgescu, Kadenzierte Syntagmen in der Musik von Enescu /, Valentin Timaru, George Enescus Octuor : doppelt und elastisch /, Martin Kowalewski, Tradition and modernism in George Enescu's, Oedipe / Mihai Cosma, Secret drama : Enescu, love and Oedipe /, John Sorensen, Die absteigende Sekunde als Ur-Intervall der, Klage : Analyse und Interpretation des Prologs, der Oper Oedipe von George Enescu /, Roberto Reale, Oedipe : a totally different reading / Marin, Marian-Balasa, Notation und Klangwirklichkeit : zu George, Enescus 3eme Sonate pour piano et violon, dans le caractere populaire roumain op. 25 /, Eva Maria Houben, Enescus Kammersinfonie : ein Vermächtnis /, Rainer Cadenbach, George Enescus Suite für Klavier in D-Dur,, op. 10, Nr. 2 / Raluca Stirbat, Herkunft und Gegenwart : zu George Enescus, Suite im alten Stil op. 3 / Michael Heinemann, Oedipe / Myriam Marbe, Enescus Einstellung zur Arbeit und über die, Zeit, die er dem Komponieren gewidmet hat /, Stefan Niculescu, Enescus Dixtuor op. 14 / Pascal Bentoiu, Das Drama von Enescus Genie : die Vielseitigkeit, seiner natürlichen Begabungen I / Viorel Cosma, Tonalität bei Enescu : Aspekte ihrer, Weiterentwicklung / Wolfgang Andreas Schultz, Spezifische musikalische Gesten bei Enescu :, eine Untersuchung unter dem Aspekt der, Musikarchetypen / Corneliu Dan Georgescu, Possible Jewish influences on George Enescu's, works / Speranta Radulescu, George Enescus Werk : ein Modell für die, europäische Synchronisierung der rumänischen, Musik in der Nachkriegszeit / Laura Manolache, Aspekte der Enescu-Rezeption in Deutschland /, Helmut Loos, George Enescu : in the light of recent documents /, Maria Cristina Bostan, Rumänische Musik nach Enescu / Valentina, Sandu-Dediu.

Composed by Larry Clark. For concert band. Beginning Band. Full score - large. 16 pages. Duration 2 minutes, 16 seconds. Published by Carl Fischer

SKU: BA.BVK01950

Composed by Andreas N. Tarkmann and Johannes Kohlmann. Paperback. Book. 240 pages. Baerenreiter Verlag #BVK01950_00. Published by Baerenreiter Verlag (BA.BVK01950).

ISBN 9783761819500. 19 x 12.5 cm inches. Language: German. Preface: Tarkmann, Andreas N.

Mendelssohn's Violin Concerto op. 64, is a key work of the 19th century, adhering to the classical style of Beethoven while pointing the way to the romantic ethos of Brahms. It has long been known that Mendelssohn performed the work with three soloists in succession: Ferdinand David, who worked closely with the composer during its composition and played it at the premiere; the 'child prodigy' Joseph Joachim; and Hubert Leonard, a young Belgian virtuoso about whom little is known.

As proof sheets for the Violin Concerto in E minor were long considered lost, it could be described as somewhat of a sensation when proofs for the solo violin part resurfaced together with a letter from Mendelssohn to Leonard.

The letter informs us that the composer invited Leonard to his home in Frankfurt in order to make his acquaintance. It was already known that Mendelssohn had given proof sheets to David; now we know that he also gave some to Leonard.

The recently discovered proofs reveal how Leonard played the concerto with Mendelssohn on that memorable evening in February 1845. Besides containing bowing marks and fingering, they also show how Leonard executed shifts of position and where he employed open strings. Furthermore modifications made to dynamic markings and additional legato bowing are shown.

It is safe to assume that all of this was done with Mendelssohn's approval. That the young violinist made a positive impression on the composer is confirmed in the latter's correspondence following their joint performance. Mendelssohn is full of praise for Leonard's playing and offers to lend his support in finding employment in Germany.

This revised edition of the Mendelssohn Violin Concerto (only the orchestral parts remain unchanged) includes a separate booklet on performance practice.

The editor, Clive Brown, is an acknowledged expert on Romantic performance practice.

- New source situation owing to recently rediscovered proofs
- Revised Urtext edition
- With a separate booklet on performance practice (Eng/Ger).