| 3e Symphonie en ut mineur, op. 78 - Avancé Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1,
Fl2 , Fl3(Fl-picc), 2 Ob,
EnglHn, 2 clarinet,
clarinet-B, 2 bassoon,
bassoon-Co, Hn1, Hn2 ,
Hn3(chrom.), Hn4(chrom.),
3Trp, 3trombone, timpani,
Tr-Gr, Tri, Be, Org,
piano-4ms, 2 Violin,
Viola, Cello, Double
Bass) - Level 5 SKU:
BA.BA10303-01
Composed by Camille
Saint-Saens. Edited by
Michael Stegemann. This
edition: Edition of
selected works, Urtext
edition. Linen.
Saint-Saens, Camille.
Oevres instrumentales
completes I/3. Edition of
selected works, Score.
Opus 78. Duration 39
minutes. Baerenreiter
Verlag #BA10303_01.
Published by Baerenreiter
Verlag (BA.BA10303-01).
ISBN 9790006559503. 33
x 26 cm inches. Key: C
minor. Preface: Michael
Stegemann. The
third symphony by Camille
Saint-Saens, known as the
Organ Symphony, is the
first publication in a
complete
historical-critical
edition of the French
composer's instrumental
works.
I gave
everything I was able to
give in this work. [...]
What I have done here I
will never be able to do
again.Camille Saint-Saens
was rightly proud of his
third Symphony in C minor
Op.78, dedicated to the
memory of Franz Liszt.
Called theOrgan
Symphonybecause of its
novel scoring, the work
was a commission from the
Philharmonic Society in
London, as was
Beethoven's Ninth, and
was premiered there on 19
May 1886. The first
performance in Paris
followed on 9 January
1887 and confirmed the
composer's reputation
asprobably the most
significant, and
certainly the most
independent French
symphonistof his time, as
Ludwig Finscher wrote in
MGG. In fact the work
remains the only one in
the history of that genre
in France to the present
day, composed a good half
century after the
Symphonie fantastique by
Hector Berlioz and a good
half century before
Olivier Messiaen's
Turangalila
Symphonie.
You
would think that such a
famous, much-performed
and much recorded opus
could not hold any more
secrets, but far from it:
in the first
historical-critical
edition of the Symphony,
numerous inconsistencies
and mistakes in the
Durand edition in general
use until now, have been
uncovered and corrected.
An examination and
evaluation of the sources
ranged from two early
sketches, now preserved
in Paris and Washington
(in which the Symphony
was still in B minor!)
via the autograph
manuscript and a set of
proofs corrected by
Saint-Saens himself, to
the first and subsequent
editions of the full
score and parts. The
versions for piano duet
(by Leon Roques) and for
two pianos (by the
composer himself) were
also consulted. Further
crucial information was
finally found in his
extensive correspondence,
encompassing thousands of
previously unpublished
letters. The discoveries
made in producing this
edition include the fact
that at its London
premiere, the Symphony
probably looked quite
different from its
present appearance
...
No less
exciting than the work
itself is the history of
its composition and
reception, which are
described in an extensive
foreword. With his
Symphony, Saint-Saens
entered right into the
dispute which divided
French musical life into
pro and contra Wagner in
the 1880s and 1890s. At
the same time, the work
succeeded in preserving
the balance between
tradition and modernism
in masterly fashion, as a
contemporary critic
stated:The C minor
Symphony by Saint-Saens
creates a bridge from the
past into the future,
from immortal richness to
progress, from ideas to
their
implementation.
On
19 March 1886 Saint-Saens
wrote to the London
Philharmonic Society,
which commissioned the
work:
Work on the
symphony is in full
swing. But I warn you, it
will be terrible. Here is
the precise
instrumentation: 3 flutes
/ 2 oboes / 1 cor anglais
/ 2 clarinets / 1 bass
clarinet / 2 bassoons / 1
contrabassoon / 2 natural
horns / [3 trumpets /
Saint-Saens had forgotten
these in his listing.] 2
chromatic horns / 3
trombones / 1 tuba / 3
timpani / organ / 1 piano
duet and the strings, of
course. Fortunately,
there are no harps.
Unfortunately it will be
difficult. I am doing
what I can to mitigate
the
difficulties.
As
in my 4th Concerto [for
piano] and my [1st]
Violin Sonata [in D minor
Op.75] at first glance
there appear to be just
two parts: the first
Allegro and the Adagio,
the Scherzo and the
Finale, each attacca.
This fiendish symphony
has crept up by a
semitone; it did not want
to stay in B minor, and
is now in C
minor.
It would be
a pleasure for me to
conduct this symphony.
Whether it would be a
pleasure for others to
hear it? That is the
question. It is you who
wanted it, I wash my
hands of it. I will bring
the orchestral parts
carefully corrected with
me, and if anyone wants
to give me a nice
rehearsal for the
symphony after the full
rehearsal, everything
will be fine.
When
Saint-Saens hit upon the
idea of adding an organ
and a piano to the usual
orchestral scoring is not
known. The idea of adding
an organ part to a
secular orchestral work
intended for the concert
hall was thoroughly novel
- and not without
controversy. On the other
hand, Franz Liszt, whose
music Saint-Saens'
Symphony is so close to,
had already demonstrated
that the organ could
easily be an orchestral
instrument in his
symphonic poem
Hunnenschlacht (1856/57).
There was also a model
for the piano duet part
which Saint-Saens knew
and may possibly have
used quite consciously as
an exemplar: theFantaisie
sur la Tempetefrom the
lyrical monodrama Lelio,
ou le retour a la Vie op.
14bis (1831) by Berlioz.
The name of the organist
at the premiere ist
unknown, as,
incidentally, was also
the case with many of the
later performances; the
organ part is indeed not
soloistic, but should be
understood as part of the
orchestral
texture.
In fact
the subsequent success of
the symphony seems to
have represented a kind
of breakthrough for the
composer, who was then
over 50 years of age.My
dear composer of a famous
symphony, wrote
Saint-Saens' friend and
pupil Gabriel Faure:You
will never be able to
imagine what a pleasure I
had last Sunday [at the
second performance on 16
January 1887]! And I had
the score and did not
miss a single note of
this Symphony, which will
endure much longer than
we two, even if we were
to join together our two
lifespans!
About
Barenreiter
Urtext
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expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
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a user-friendly
format - Excellent
print quality -
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| Peri's Scope Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonata No. 6 "Kharkiv", Op. 48 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4244 Composed by Konstantin Bliokh. Sco...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4244
Composed by Konstantin
Bliokh. Score. Les
Productions d'OZ #DZ
4244. Published by Les
Productions d'OZ
(DZ.DZ-4244). ISBN
9782898521614. La
Sonate n° 6 Kharkiv
pour guitare solo a
été composée en
2021, Ã la fin du
confinement lié au
COVID-19. Ã? ce
moment-là , ma famille
et moi étions
restés dans notre
ville natale de Kharkiv
(également connue sous
le nom de Kharkov), en
Ukraine, pendant près
de deux ans. Nous
considérions cette
période de pandémie
comme un désastre,
mais nous avons
réalisé plus tard
que c'était en fait un
moment plutôt heureux,
car la guerre est
arrivée dans notre
pays quelques mois plus
tard. Depuis 2022, une
fraction considérable
des 1,5 million de
citoyens de Kharkiv ont
quitté leur foyer,
ceux qui sont restés
vivent sous des attaques
incessantes de missiles,
et beaucoup ont été
tués. Je voudrais
dédier cette Sonate
à la ville
frontalière de Kharkiv
et, surtout, Ã ses
citoyens souffrant de la
guerre.
Pourtant,
la musique de la Sonate
n'a aucun programme
spécifique. Ici, je
donnerai un bref
aperçu de ses
principaux éléments
de composition pour
faciliter les
interprétations
futures.
Les
premier et quatrième
mouvements de cette
Sonate sont basés sur
l'interaction entre le
principe
dodécaphonique et le
centre tonal de sol
majeur, naturel pour la
guitare. En particulier,
le premier mouvement est
basé sur l'interaction
de la triade de sol
majeur Solâ??Siâ??Ré
des cordes de guitare
à vide 2â??3â??4, le
motif ascendant 1
impliquant les notes
Miâ??Fa#â??Laâ??Do#
(Ã l'origine sur la
première corde), et le
motif descendant 2
utilisant les notes
Miâ??Doâ??Sibâ??La
(Ã l'origine sur la
corde de basse 6). Ces
éléments se
complètent presque
pour former douze tons
(Ã l'exception du Fa
manquant), et les motifs
alternent avec des
fragments ostinato où
chaque note de la triade
de sol majeur est
déplacée pas Ã
pas d'un demi-ton vers le
haut ou vers le
bas.
Le
deuxième mouvement est
un Scherzo impliquant de
nombreux demi-tons dans
des accords accentués
et des passages rapides,
ainsi qu'un mouvement
mélodique chromatique
dans la voix de basse. Il
est presque atonal dans
certains fragments, mais
a un centre tonal global
de la mineur.
Le
troisième mouvement
est un Adagio
méditatif basé sur
un thème composé
dans l'échelle
hexatonique
Réâ??Miâ??Faâ??Sol#
â??Laâ??Si et des
accords ostinato
impliquant les cordes de
basse à vide
Miâ??Laâ??Ré et le
demi-ton
Siâ??Do.
Enfin,
le quatrième mouvement
est basé sur le
thème
dodécaphonique complet
composé de deux
phrases comprenant les
motifs 1 et 2 du premier
mouvement :
Solâ??Faâ??Sibâ??Labâ
??Doâ??Mibâ??Ré et
Miâ??Siâ??Do#â??Laâ??
Fa#. Ce thème est
présenté dans ses
formes prime et
rétrograde. Il y a des
dialogues entre la
première corde, les
basses et les cordes
médianes à vide,
similaires au premier
mouvement. Ã? son
apogée, le thème
dodécaphonique est
interprété en
utilisant le mouvement
parallèle de l'accord
de sol majeur standard de
la guitare avec les
cordes médianes Ã
vide sur douze
positions.
La
Sonate a été
créée en
première et
enregistrée (CD Naxos
No. 8.574630) par le
célèbre guitariste
ukrainien Marko Topchii,
qui a également
vécu et étudié
à Kharkiv. Je lui suis
extrêmement
reconnaissant pour
l'interprétation
brillante de cette
pièce.
Je suis
très redevable envers
Productions d'Oz d'avoir
conservé mes notations
originales là où
celles-ci ne
correspondent pas au
style de
l'éditeur.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Re: Person I Knew Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Who Can I Turn To? Big band [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Transfigured Life - Still Life Violon et Piano - Avancé Doberman
Violin and piano - Advanced SKU: DY.DO-1525 Composed by David Braid. Scor...(+)
Violin and piano -
Advanced SKU:
DY.DO-1525 Composed
by David Braid. Score and
part. Les Editions
Doberman-Yppan #DO 1525.
Published by Les Editions
Doberman-Yppan
(DY.DO-1525). ISBN
9782897963057. J'ai
me les formes musicales
concises telles que le
Prélude et la Fugue,
où il y a une idée
claire et directe, suivie
d'une autre plus complexe
et
développée.
Conformément Ã
cette idée, cette
Å“uvre se compose de
deux pièces
distinctes, la
première -
Transfigured Life - vise
à attirer l'auditeur
avec son rythme rapide et
dansant et sa partie de
violon simple et
mélodique. Il se
«transfigure» via
quelques courts
intermèdes au piano
solo en seulement deux
notes alternées pour
terminer - qui sont le
cœur de l'idée
originale, maintenant
clarifiée en
effaçant tout le
reste.
Le
deuxième morceau -
Still Life - conserve son
sentiment de quiétude
grâce à une ligne
de piano simple qui
laisse beaucoup d'espace
à la partie
contrastée (mais
encore une fois simple)
du violon. En tant que
pièce absolue et non
programmatique, le titre
fait référence
uniquement à la
couleur et au rythme
atmosphériques ; c'est
à l'auditeur de voir
la « nature morte »
de son choix dans son
esprit.
Une note
sur les performances
: Malgré ma
référence à des
lignes « simples »
et l'évitement
déterminé par
l'Å“uvre des
grincements modernistes
traditionnels,
l'œuvre présente
certains défis
d'exécution en termes
de phrasé et
d'ensemble qui
nécessitent des
compétences et une
musicalité
considérables.
L'Å“uvre a eu le
privilège d'être
récemment
enregistrée par le
violoniste Ezgi
Sarıkcıoğlu et
la pianiste Rossitza
Stoycheva, et est
disponible sur toutes les
principales plateformes
:
https://open.spo
tify.com/album/6p5YIe17ci
0UMuo2RqZgjR https://m
usic.apple.com/gb/album/t
ransfigured-life-still-li
fe-world-premiere-recordi
ng/1738035953 Envoyer
des
commentaires
Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
https:/
/open.spotify.com/album/6
p5YIe17ci0UMuo2RqZgjR
https://music.apple.com/g
b/album/transfigured-life
-still-life-world-premier
e-recording/1738035953.
p>
$14.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Why I Pity the Woman Who Never Spills Chorale SSAA SSAA A Cappella - Avancé Seafarer Press
By Elizabeth Alexander. Text: Joan Wolf Prefontaine. For Women's Choir (SSAA) a ...(+)
By Elizabeth Alexander.
Text: Joan Wolf
Prefontaine. For Women's
Choir (SSAA) a cappella.
(SSAA). Level:
medium-difficult.
Duration 5 minutes.
Published by Seafarer
Press.
$4.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Five Ensemble Jazz [Conducteur et Parties séparées] - Avancé Jazz Lines Publications
Arranged by Chuck Israels. For little big band. Swing, Jazz. Difficult. Score an...(+)
Arranged by Chuck
Israels. For little big
band. Swing, Jazz.
Difficult. Score and
parts. Published by Jazz
Lines Publications
$50.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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