| Stream Theodore Presser Co.
Chamber Music Clarinet, Viola, Violin 1, Violin 2, Violoncello SKU: PR.114417...(+)
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello SKU:
PR.114417500 For
Clarinet And String
Quartet. Composed by
Shulamit Ran. Premiered
by Anthony McGill,
clarinet, and Brentano
String Quartet; Kimmel
Center, Philadelphia, PA.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2016.
32+12+12+12+12+12 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41750. Published by
Theodore Presser Company
(PR.114417500). UPC:
680160634910. 9.5 x 13
inches. Stream for
Clarinet and String
Quartet (2015) was
commissioned by the
Philadelphia Chamber
Music Society in
celebration of its 30th
Anniversary Season,
through support of The
William Penn Foundation.
The first performance was
in April 2016 at the
Kimmel Center in
Philadelphia. Notes from
the composer: The 'line'
in Stream is often
threaded together into a
chain made up of separate
'points' played by the
strings, and sometimes by
the string and the
clarinet. An analogy
might be that each
instrument, at times,
produces a single 'ray of
light' from within the
larger light source.
Moreover, there are many
passages where the
intended effect is that
of the strings providing
a 'halo' surrounding the
solo clarinet. Similarly,
the clarinet often
dovetails with, as well
as emerges or submerges
in and out of, a strand
in the string
music.. What's in a
name? Â Â In my
titles, I generally aim
to capture something that
I believe to be essential
about the particular
work. Â At some level
this is to offer an
entry-point for the
listener, a glimpse of
the composition in its
totality. Â STREAM as a
title came to be when
much of the music was
already fully composed,
and it encapsulates much
of what I wish to say in
words about this work: it
suggests flow - whether
gentle or forceful; it
implies a journey, one
that could take us onto
unexpected terrains yet
is always moving forward;
embedded into this word
is also the idea of
stream of consciousness,
and with it, free
association and
unexpected twists of
fancy. Approximately
16 minutes in duration,
STREAM is to be played
without a break, yet
there are strong elements
of a three-movement
structure here. An
expository
quasi-first-movement lays
out important materials
of varying character; the
middle part, suggesting
contrast and repose, is
initially slow and
reflective, but then
embarks on new
explorations of the
notion of stasis, while
the final movement is
dominated by fast-moving
music of high energy that
consolidates the previous
materials. Important
throughout is the way in
which seemingly
transitional stretches of
music emerge and propel
the music onward in ways
that are at once
unexpected and
fantastical. A
composer's statement
about this work would not
be complete without
acknowledging the degree
to which the work was
inspired by the awareness
that it was being created
for a quintet of
extraordinary performers
of the most beautiful and
flowing musicianship -
clarinet virtuoso Anthony
McGill and the intrepid
Brentano
Quartet. Shulamit
Ran . $63.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Stream [Conducteur] Theodore Presser Co.
Chamber Music Clarinet, Viola, Violin 1, Violin 2, Violoncello SKU: PR.114417...(+)
Chamber Music Clarinet,
Viola, Violin 1, Violin
2, Violoncello SKU:
PR.11441750S For
Clarinet And String
Quartet. Composed by
Shulamit Ran. Premiered
by Anthony McGill,
clarinet, and Brentano
String Quartet; Kimmel
Center, Philadelphia, PA.
Contemporary. Full score.
With Standard notation.
Composed 2016. 32 pages.
Duration 16 minutes.
Theodore Presser Company
#114-41750S. Published by
Theodore Presser Company
(PR.11441750S). UPC:
680160634934. 9.5 x 13
inches. Stream for
Clarinet and String
Quartet (2015) was
commissioned by the
Philadelphia Chamber
Music Society in
celebration of its 30th
Anniversary Season,
through support of The
William Penn Foundation.
The first performance was
in April 2016 at the
Kimmel Center in
Philadelphia. Notes from
the composer: The 'line'
in Stream is often
threaded together into a
chain made up of separate
'points' played by the
strings, and sometimes by
the string and the
clarinet. An analogy
might be that each
instrument, at times,
produces a single 'ray of
light' from within the
larger light source.
Moreover, there are many
passages where the
intended effect is that
of the strings providing
a 'halo' surrounding the
solo clarinet. Similarly,
the clarinet often
dovetails with, as well
as emerges or submerges
in and out of, a strand
in the string
music.. What's in a
name? Â Â In my
titles, I generally aim
to capture something that
I believe to be essential
about the particular
work. Â At some level
this is to offer an
entry-point for the
listener, a glimpse of
the composition in its
totality. Â STREAM as a
title came to be when
much of the music was
already fully composed,
and it encapsulates much
of what I wish to say in
words about this work: it
suggests flow - whether
gentle or forceful; it
implies a journey, one
that could take us onto
unexpected terrains yet
is always moving forward;
embedded into this word
is also the idea of
stream of consciousness,
and with it, free
association and
unexpected twists of
fancy. Approximately
16 minutes in duration,
STREAM is to be played
without a break, yet
there are strong elements
of a three-movement
structure here. An
expository
quasi-first-movement lays
out important materials
of varying character; the
middle part, suggesting
contrast and repose, is
initially slow and
reflective, but then
embarks on new
explorations of the
notion of stasis, while
the final movement is
dominated by fast-moving
music of high energy that
consolidates the previous
materials. Important
throughout is the way in
which seemingly
transitional stretches of
music emerge and propel
the music onward in ways
that are at once
unexpected and
fantastical. A
composer's statement
about this work would not
be complete without
acknowledging the degree
to which the work was
inspired by the awareness
that it was being created
for a quintet of
extraordinary performers
of the most beautiful and
flowing musicianship -
clarinet virtuoso Anthony
McGill and the intrepid
Brentano
Quartet. Shulamit
Ran . $28.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dance Your Dance Chorale SATB SATB, Piano Carl Fischer
Choral SATB Choir and Piano SKU: CF.CM9560 Composed by Jacob Narverud. SW...(+)
Choral SATB Choir and
Piano SKU:
CF.CM9560 Composed by
Jacob Narverud. SWS.
Performance Score. With
Standard notation. 20
pages. Carl Fischer Music
#CM9560. Published by
Carl Fischer Music
(CF.CM9560). ISBN
9781491150924. UPC:
680160908424. 6.875 x
10.5 inches. Young
singers are encouraged to
examine the numerous
aspects and challenges of
their lives with
positivity, and to always
dance your dance. Written
in a feeling of one,
always moving forward,
the varied vocal
combinations are
supported throughout by
an undulating piano
accompaniment which sets
the whimsical tone for
this lovely piece. $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Eight Variations Piano seul Theodore Presser Co.
Chamber Music Piano SKU: PR.110417650 Composed by Martin Amlin. Sws. Perf...(+)
Chamber Music Piano
SKU: PR.110417650
Composed by Martin Amlin.
Sws. Performance Score.
With Standard notation. 8
pages. Duration 5
minutes. Theodore Presser
Company #110-41765.
Published by Theodore
Presser Company
(PR.110417650). ISBN
9781491111482. UPC:
680160615797. 9x12
inches. Commissione
d by Piano & Keyboard
magazine, Amlin’s
EIGHT VARIATIONS is a
charming 5-minute piece
designed to be within
reach of intermediate
pianists. The work begins
with a fascinating
chorale in true Amlin
style — a study in
major-seventh chords in
varied inversions and
everchanging harmony. The
result is a theme that is
at once beautiful, fresh,
and always moving
forward. Seven
characteristic variations
follow, subjecting the
original chord
progression through the
guises of a Habanera, a
Bach-style invention, and
further treats.
[ADDITION] Andrew Willis
has recorded EIGHT
VARIATIONS for Albany
Records, on a CD also
including the works
listed below. $9.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spun (score only) Ensemble de Percussions [Conducteur] C. Alan Publications
Composed by Nathan Daughtrey. Percussion Ensemble. For Percussion Ensemble (Bell...(+)
Composed by Nathan
Daughtrey. Percussion
Ensemble. For Percussion
Ensemble (Bells/Crotales
(2 octaves) Vibraphone 1
(3-octave) Vibraphone 2
(3-octave) Chimes Marimba
1 (4-octave) Marimba 2
(4-octave) Marimba 3
(4.3-octave) Marimba 4
(5-octave)). Medium
difficult. Score only.
Duration 8:30. Published
by C. Alan Publications
$14.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Momentum Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Composed by Chris M. Bernotas. Concert Band. Concert Band; Part(s); Score....(+)
Composed by Chris M.
Bernotas. Concert Band.
Concert Band; Part(s);
Score. Alfred Concert
Band.
Grade 4. 284 pages.
Published by Alfred Music
$85.00 $80.75 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Piano Quintet Schott
Piano Quintet (Score & Parts) - difficult SKU: HL.49045531 For string ...(+)
Piano Quintet (Score &
Parts) - difficult
SKU: HL.49045531
For string quartet and
piano. Composed by
Pierre Jalbert. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 2017. 84 pages.
Duration 19'. Schott
Music #ED31291. Published
by Schott Music
(HL.49045531). ISBN
9781495094767. UPC:
888680685058.
9.0x12.0x0.401
inches. My Piano
Quintet consists of four
contrasting movements.
The first movement,
entitled Mannheim Rocket,
is a modern take on the
18th-century musical
technique in which a
rising figure speeds up
and grows louder. Marked
'Furioso', the movement
is gradually filled with
rising scalar figures
which build in volume and
finally 'launch' into
space with ethereal
string harmonics. At this
point, the music becomes
almost static, though the
inner rhythm
continues.The second
movement, entitled Kyrie,
is marked 'Still,
chant-like'. The
principal idea, stated
between first violin and
viola, is a chromatically
transformed chant-like
motive. It also features
a long, lyrical cello
line, made up exclusively
of natural harmonics,
emphasizing the
non-tempered ('out of
tune') 7th and 11th
partials.The third
movement is a scherzo in
which the strings and
piano sometimes alternate
and imitate each other,
reacting to each other's
gestures, and at other
times, combine and
synchronize to produce a
more blended sound. A
short Trio-like section
appears before the return
of the scherzo music.The
last movement, Pulse, is
made up of perpetually
moving 8th notes,
sometimes harmonically
static, but always
pushing forward. The work
is interrupted twice with
short, freer sections,
but always returns to its
pulse-oriented nature.-
Pierre Jalbert. $101.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) 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) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. 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. The 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
63 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 Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
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 sound and key
slaps on the flutes
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 F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)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)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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