| Music for Two, Volume 1 - Flute/Oboe/Violin and Viola Violon, Alto (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana
Ackerman. Arranged by
Daniel Kelley. For Flute
(or Oboe or Violin) and
Viola. Duets. Music for
Two. Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
$22.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Piano seul Theodore Presser Co.
Orchestra Piano SKU: PR.11641861SP Composed by William Kraft. Part. 35 pa...(+)
Orchestra Piano SKU:
PR.11641861SP
Composed by William
Kraft. Part. 35 pages.
Duration 21 minutes.
Theodore Presser Company
#116-41861SP. Published
by Theodore Presser
Company (PR.11641861SP).
UPC:
680160685202. What?
! - my composer
colleagues said - A
concerto for the piano?
It's a 19th century
instrument! Admittedly we
are in an age when
originally created
timbres and/or
musico-technological
formulations are often
the modus operandi of a
piece. Actually, this
Concerto began about two
years ago when, during
one of my creative jogs,
the sound of the
uppermost register of the
piano mingled with wind
chimes penetrated my
inner ear. The challenge
and fascination of
exploring and developing
this idea into an
orchestral situation
determined that some day
soon I would be writing a
work for piano and
orchestra. So it was a
very happy coincidence
when Mona Golabek phoned
to tell me she would like
discuss the Ford
Foundation commission.
After covering areas of
aesthetics and
compositional styles, we
found that we had a good
working rapport, and she
asked if I would accept
the commission. The
answer was obvious. Then
began the intensive
thought process on the
stylistic essence and
organization of the work.
Along with this went a
renewed study of
idiomatic writing for the
piano, of the kind
Stravinsky undertook with
the violin when he began
his Violin Concerto. By a
stroke of great fortune,
the day in February 1972
that I received official
notice from the Ford
Foundation of the
commission, I also
received a letter from
the Guggenheim Foundation
informing me I had been
awarded my second
fellowship. With the good
graces of Zubin Mehta and
Ernest Fleischmann,
masters of my destiny as
a member of the Los
Angeles Philharmonic, I
was relieved of my
orchestral duties during
the Hollywood Bowl
season. Thus I was able
to go to Europe to work
and to view the latest
trends in music
concentrating in London
(the current musical
melting pot and showcase
par excellence), Oslo,
Norway, for the Festival
of Scandinavian Music
called Nordic Days, and
Warsaw, Poland, for its
prestigious Autumn
Festival. Over half the
Concerto was completed in
that summer and most of
the rest during the 72-73
season with the final
touches put on during a
month as Resident Scholar
at the Rockefeller
Foundation's Villa
Serbelloni in Bellagio,
Italy. So much for the
external and
environmental influences,
except perhaps to mention
the birds of Sussex in
the first movement, the
bells of Arhus (Denmark)
in the second movement
and the bells of Bellagio
at the end of the
Concerto. Primary in the
conception was the
personality of Miss
Golabek: she is a
wonderfully vital and
dynamic person and a real
virtuoso. Therefore, the
soloist in the Concerto
is truly the protagonist;
it is she (for once we
can do away with the
generic he) who unfolds
the character and intent
of the piece. The first
section is constructed in
the manner of a
recitative - completely
unmeasured - with letters
and numbers by which the
conductor signals the
orchestra for its
participation. This
allows the soloist the
freedom to interpret the
patterns and control the
flow and development of
the music. The Concerto
is actually in one
continuous movement but
with three large
divisions of sufficiently
contrasting character to
be called movements in
themselves. The first
'movement' is based on a
few timbral elements: 1)
a cluster of very low
pitches which at the
beginning are practically
inaudibly depressed, and
sustained silently by the
sostenuto pedal, which
causes sympathetic
vibrating pitches to ring
when strong notes are
struck; 2) a single
powerful note indicated
by a black note-head with
a line through it
indicating the strongest
possible sforzando; 3)
short figures of various
colors sometimes ominous,
sometimes as splashes of
light or as elements of
transition; 4) trills and
tremolos which are the
actual controlling
organic thread starting
as single axial tremolos
and gradually expanding
to trills of increasingly
larger and more powerful
scope. The 'movement'
begins in quiescent
repose but unceasingly
grows in energy and
tension as the stretching
of a string or rubber
band. When it can no
longer be restrained, it
bursts into the next
section. The second
'movement,' propelled by
the released tension, is
a brilliant virtuosic
display, which begins
with a long solo of wispy
percussion, later joined
in duet with the piano.
Not to be ignored, the
orchestra takes over
shooting the material
throughout all its
sections like a small
agile bird deftly
maneuvering through
nothing but air, while
the piano counterposes
moments of lyricism. The
orchestra reaches a
climax, thrusting us into
the third 'movement'
which begins with a
cadenza-like section for
the piano. This moves
gently into an expressive
section (expressive is
not a negative term to
me) in which duets are
formed with various
instruments. There are
fleeting glimpses of
remembrances past, as a
fragmented
recapitulation. One
glimpse is hazily
expressed by strings and
percussion in a moment of
simultaneous contrasting
levels of activity, a
technique of which I have
been fond and have
utilized in various
fixed-free relationships,
particularly in my
Percussion Concerto,
Contextures and Games:
Collage No. 1. The second
half of the third
'movement; is a large
coda - akin to those in
Beethoven - which brings
about another display of
virtuosity, this time
gutsy and driving,
raising the Concerto to a
final climax, the soloist
completing the fragmented
recapitulation concept as
well as the work with the
single-note sforzando and
low cluster from the very
opening of the first
movement. $47.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Be Thou My Vision Violon David E. Smith Publications
By Rich Heffler. For woodwind duet or violin duet. Sacred. Level 5. Published by...(+)
By Rich Heffler. For
woodwind duet or violin
duet. Sacred. Level 5.
Published by David E.
Smith
$7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Be Thou My Vision Violon [Conducteur et Parties séparées] David E. Smith Publications
Arranged by Donald J. Young. For violin duet. Level: 4. Score and set of parts. ...(+)
Arranged by Donald J.
Young. For violin duet.
Level: 4. Score and set
of parts. 12 pages.
Published by David E.
Smith.
$7.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Adaptable Quartets Violon - Débutant Excelcia Music Publishing
Violin - Grade 1.5 to 3 SKU: XC.SB2008 21 Quartets for Any Combination...(+)
Violin - Grade 1.5 to 3
SKU: XC.SB2008
21 Quartets for Any
Combination of String
instruments. Composed
by Various. Edited by
Diana Traietta, Matthew
R. Putnam, and Tyler
Arcari. Arranged by
Matthew R. Putnam and
Tyler Arcari. Concert and
Holiday. Adaptable
Ensemble Series. Concert
and Contest. Concert and
contest. Ensemble,
Collection, Book.
Excelcia Music Publishing
#SB2008. Published by
Excelcia Music Publishing
(XC.SB2008). ISBN
9781644020531. UPC:
812598035513. 9 x 12
inches. Adaptable
Quartets contains 21
newly-composed or
arranged quartets that
can be flexibly used with
any combination of string
instruments, making them
an invaluable resource in
the modern orchestra
room! Written at an
accessible 1.5-3 grade
level, Adaptable Quartets
follow the popular
Adaptable Duets and Trios
books by the same
composers. Tyler Arcari
and Matthew R. Putnam
bring with them a wealth
of educational experience
as music educators to
craft quartets that are
fun to play and musically
stimulating. Adaptable
Quartets are sure to
become an instant
favorite. String editing
by Diana
Traietta.
CONTENTS
Abide with Me
(Monk) Agincourt
Carol (English Folk
Song) The Barber of
Seville (Rossini) Be
Thou My Vision (Trad.
Irish) Capstone
(Arcari) Chorale -
Jupiter (Holst)
Country Gardens (Trad.
Morris Dance) Curse
of Tortuga (Arcari)
Dawn of the Century -
March (Paull) Fortune
Favors the Bold
(Putnam) Gesu Bambino
(Yon) Go Tell It on
the Mountain
(Spiritual)
Greensleeves (Trad.
English Folk Song)
Home on the Range
(Kelly) In the Hall
of the Mountain King
(Grieg) Les Toreadors
- Carmen (Bizet)
Scimitar! (Matthew R.
Putnam) Sea Shanty
(19th Century Sea
Shanty) Song Without
Words - Second Suite in F
(Holst) The Emperor
Waltz (Strauss II)
When Johnny Comes
Marching Home (American
Folk Song). $14.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Music for Two, Volume 1 - Flute/Oboe/Violin and Cello/Bassoon Flûte, Violoncelle [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Cello (or Bassoon)....(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe or Violin) and Cello
(or Bassoon). Duets.
Music for Two. Wedding,
Classical. Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
(4)$22.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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