PARTITIONS GRATUITES :
- Music from Defiance - Oboe

(Violin Solo with String Orchestra). By James Newton Howard. Arranged by Robert Longfield. Score and Parts. Music for String Orchestra. Grade 3-4

Transcribed by R. Mark Rogers for Symphonic Wind Band. Composed by Dmitri Shostakovich (1906-1975). Edited by Mark Rogers. Southern Music. Concert. Softcover. Southern Music Company #S977CB. Published by Southern Music Company

Cello and Piano

SKU: BT.EMBZ14779

Composed by Franz Liszt. Book Only. Composed 2011. 16 pages. Editio Musica Budapest #EMBZ14779. Published by Editio Musica Budapest (BT.EMBZ14779).

The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.

The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).

Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärun g. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.

Cello; Piano Accompaniment

SKU: HL.50512037

Cello and Piano. Composed by Franz Liszt. Edited by Csiky Boldizsar. Arranged by Csí, ky Boldizsá, and r. Romantic. EMB. Classical. Softcover. 14 pages. Editio Musica Budapest #Z14779. Published by Editio Musica Budapest (HL.50512037).

ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.

The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.

Orchestra Double Bass, Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.44641342L

Therapy for String Orchestra. Composed by Michael Boyman. Large Score. With Standard notation. Duration 7 minutes. Merion Music #446-41342L. Published by Merion Music (PR.44641342L).

UPC: 680160667451. 11 x 14 inches.

Anger Management is a study in aggression and heartbreak. Its inspiration comes from a particularly nasty breakup and Tennysons maxim, Tis better to have loved and lost than never to have loved at all. The piece considers and ultimately rejects this notion. My goal was to combine the narrative of romantic loss - with its elements of anger, nostalgia, despair and ultimately defiance - with a strict compositional technique and economy of material. The piece is based on two motives: the gruff, ascending three notes of the first bar and a descending half-step sigh, which is eventually transformed and intensified into a glissando ascending major-7th. Anger Management was premiered and recorded on April 1st, 2013 by Derek Cooper and the Manhattan School of Music String Ensemble.

Orchestra Double Bass, Viola 1, Viola 2, Violin 1, Violin 2, Violoncello 1, Violoncello 2

SKU: PR.446413420

Therapy for String Orchestra. Composed by Michael Boyman. Study Score. With Standard notation. 30 pages. Duration 7 minutes. Merion Music #446-41342. Published by Merion Music (PR.446413420).

UPC: 680160667444. 9 x 12 inches.

Anger Management is a study in aggression and heartbreak. Its inspiration comes from a particularly nasty breakup and Tennysons maxim, Tis better to have loved and lost than never to have loved at all. The piece considers and ultimately rejects this notion. My goal was to combine the narrative of romantic loss - with its elements of anger, nostalgia, despair and ultimately defiance - with a strict compositional technique and economy of material. The piece is based on two motives: the gruff, ascending three notes of the first bar and a descending half-step sigh, which is eventually transformed and intensified into a glissando ascending major-7th. Anger Management was premiered and recorded on April 1st, 2013 by Derek Cooper and the Manhattan School of Music String Ensemble.

Composed by Ernest Chausson (1855-1899). Edited by Peter Jost. Henle Music Folios. Softcover. 16 pages. G. Henle #HN1277. Published by G. Henle (HL.51481277).