| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto For Violin And Orchestra Carl Fischer
Orchestra violin, piano SKU: CF.B3470 Composed by Julia Perry. Set of Sco...(+)
Orchestra violin, piano
SKU: CF.B3470
Composed by Julia Perry.
Set of Score and Parts.
26+13 pages. Duration 17
minutes. Carl Fischer
Music #B3470. Published
by Carl Fischer Music
(CF.B3470). ISBN
9781491159460. UPC:
680160918058. The
awardee of two Guggenheim
fellowships, Julia Perry
studied composition with
Luigi Dallapiccola and
Nadia Boulanger, and
conducted her works on a
tour throughout Europe
with the Vienna
Philharmonic and the BBC
Orchestra. She would
become one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic. Although
she had an auspicious and
promising career in her
early life, it was
tragically cut short by a
series of strokes leading
to partial paralysis and
eventually, her death, at
age 55 in
1979.Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, shows the influence
of Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument. Angular,
muscled, and sparkling by
turns, this piece is a
sophisticated entry to
the serious violinist's
concert repertoire.There
is no evidence or
documentation that the
Violin Concerto was ever
premiered or performed
during her lifetime,
despite the fact that the
composer prepared a full
score, piano reduction
and orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life. What is
extraordinary about Julia
Perry’s musical
career was the
astonishing success she
attained in her early
years. In her youth she
studied piano, voice,
violin and cello. She
began to compose in her
teenage years, her first
publication being a
choral work in 1947 by
Carl Fischer. Her Stabat
Mater was published in
1951 and would become one
of her most often
performed pieces, with
performances in Europe
and the United States. In
1953 she was awarded a
Guggenheim fellowship to
study with the Italian
composer Luigi
Dallapiccola, first at
the Berkshire Music
Center in Tanglewood,
later in Florence, Italy.
During this time, she
also pursued studies with
Nadia Boulanger in Paris
and was awarded a second
Guggenheim fellowship.
She studied conducting at
this time, touring Europe
in 1957 to conduct her
own works with the Vienna
Philharmonic and the BBC
Orchestra. During her
European sojourns, she
learned and mastered
French, German and
Italian. She would become
one of the first
African-American female
composers to have an
orchestral work performed
by the New York
Philharmonic.Perryâ€
s circumstances would
change dramatically once
she reached forty years
of age, having returned
permanently to the United
States. At some point in
the spring of 1970, she
suffered the first of two
strokes that would
paralyze her right side
and confine her to a
wheelchair for the rest
of her life. Nonetheless,
she continued to compose
and to promote her works
with publishers and
conductors. A second
stroke contributed to her
death in 1979 at age 55.
She likely endured harsh
ethnic and gender
discrimination in the
course of her career, and
her later years would
witness a period of
extreme civil unrest.
These matters and the
significance of music in
her life are undoubtedly
what led her to say,
“Music has a great
role to play in
establishing the
brotherhood of
man.â€Perry’s
catalog is widely varied,
featuring thirteen
symphonies, numerous
chamber and solo works,
pieces for band, choral
and vocal music, and four
operas. Her Violin
Concerto, completed in
1968, is indicative of
the influence of
Dallapiccola’s
teachings: sharp harmonic
dissonances organized
around specific pitch
centers, short repetitive
patterns that establish
significant musical
materials, and
contrapuntal textures.
The work is a single
movement of 392 measures
organized around three
alternating tempos: Slow
(Å’ = 60), Moderate
(Å’ = 84) and Fast
(Å’ = 120). The
opening thirty-measure
cadenza for the solo
violin introduces most of
the thematic material for
the piece. The
orchestration commonly
features antiphonal
writing between
orchestral groups, for
example, strings
alternating with brass,
or strings alternating
with winds. The harp and
piano generally appear as
solo instruments, rather
than as members of the
orchestra. Her fastidious
performance markings in
the solo violin part
indicate her profound
understanding of the
instrument.There is no
evidence or documentation
that the Violin Concerto
was ever premiered or
performed during her
lifetime, despite the
fact that the composer
prepared a full score,
piano reduction and
orchestral parts.
Regrettably, this is the
case with the majority of
her works composed in the
final decade of her
life. $24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Travels Through Sound Piano seul [Partition] - Intermédiaire FJH
By Emma Lou Diemer (1927-). Edited by Helen Marlais. For piano. The FJH Contempo...(+)
By Emma Lou Diemer
(1927-). Edited by Helen
Marlais. For piano. The
FJH Contemporary Keyboard
Editions. Early
Elementary - Late
Intermediate. Collection.
36 pages. Published by
The FJH Music Company Inc
$6.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Almira, Konigin von Kastilien HWV 1 Chorale SATB Barenreiter
Solo voices, choir, orchestra (3 Soprano Voice Solo, 3 Tenor Voice Solo, 2 Bass ...(+)
Solo voices, choir,
orchestra (3 Soprano
Voice Solo, 3 Tenor Voice
Solo, 2 Bass Voice Solo,
SATB Choir, 2
recorder-Alto, 2 Oboe,
bassoon, 3 Trumpets,
timpani, 3 Violins,
Viola, Cello, Bassi(Vc,
double bass, bassoon,
harpisc.)) SKU:
BA.BA04050 Opera
in three acts.
Composed by George
Frideric Handel. Edited
by Dorothea Schröder.
This edition: complete
edition, urtext edition.
Linen. Halle Handel
Edition (HHA) Series II,
Volume 1. Oper, Barock
(Opera, Baroque).
Complete edition, Score.
HWV 1. Duration 3 hours,
30 minutes. Baerenreiter
Verlag #BA04050_00.
Published by Baerenreiter
Verlag (BA.BA04050).
ISBN 9790006443598. 33
x 26 cm inches. Language:
German. Text: Feustking,
Friedrich
Christian. “A
lmiraâ€,
Handel’s first
opera, was well received
when premiered in 1705 at
the Theater am
Gänsemarkt in Hamburg.
The director was Reinhard
Keiser, who, remarkably,
had himself already set
Friedrich Christian
Feustking’s text
to music. The role of
Fernando was sung by
Johann Mattheson. The
translation used by
Handel leaves several
Italian arias in their
original language,
resulting in a delightful
mixture of German and
Italian.
The opera
which, after sundry
entangled romances, ends
in the wedding of three
couples, is characterised
by exuberant scenes: the
procession at
Almira’s crowning
ceremony, a duel, a
prison scene and a
masked-ball involving the
three continents Europe,
Africa and Asia.
The vocal score
to “Almiraâ€
by George Frideric Handel
brings about a small
sensation: Whilst
conducting a reenactment
of this work in 1732,
Georg Philipp Telemann
removed the Aria no. 28
“Ingrato,
spietato†from his
conducting score. Since
then this aria has been
deemed lost. Due to
necessity only the edited
vocal text devoid of any
music was presented in
the 1994 volume of the
“Halle Handel
Editionâ€.
Thanks to a recently
discovered contemporary
manuscript copy from the
beginning of the 18th
century which was found
in the music library of
the Mariengymnasium in
Jever, this aria has now
been made available to
performers for the first
time in this new vocal
score edition. Previous
to this the corresponding
pages could only be seen
as a facsimile in an
article of the
“Göttinger
Händel-Beiträgeâ
. Now the aria can
be performed again.
Furthermore, with the
help of this new source,
missing measures in the
basso continuo which had
initially been completed
by the editor of the
“Halle Handel
Edition†volume,
could be reconstructed
from the basso continuo
part of the Bellante aria
“Ich brenne
zwar†(no. 71).
About
Barenreiter
Urtext
What can I
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
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$380.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Zwei Geistliche Lieder Piano, Voix Schott
Voice and Organ or Piano Organ Accompaniment; Piano Accompaniment; Voice (Voice ...(+)
Voice and Organ or Piano
Organ Accompaniment;
Piano Accompaniment;
Voice (Voice and Piano)
SKU: HL.49047076
Zur Ruh', zur Ruh' ihr
muden Glieder / Wenn der
Herr... Voice and.
Composed by Johanna
Senfter. Edited by Rolf
Schö and nstedt.
Vocal Collection.
Classical, General
Worship, Sacred.
Softcover. 16 pages.
Schott Music #ED23654.
Published by Schott Music
(HL.49047076). ISBN
9781705184035. UPC:
196288115076. There
are only two sacred solo
songs in the extensive
oeuvre of the Oppenheim
composer Johanna Senfter.
Both songs, probably
composed in 1917, are
influenced by the
catastrophe of the First
World War. They are
hereby presented as the
first publication.
JOHANNA SENFTER 1879 -
1961 Born and raised in
Oppenheim/Rhein - First
lessons from the mother
(piano, violin) - School
and university years in
Frankfurt/Main -From 1895
parallel music studies at
the Hoch Conservatory in
Frankfurt, graduating in
1903 (piano, organ,
violin, composition;
especially dealing with
J.S. Bach) - From 1907
private lessons with Max
Reger - October 1908 to
1909 his student at the
Leipzig Conservatory -
1909 Arthur Nikisch Prize
for the best composition
- Then worked in
Oppenheim as a freelance
composer and music
teacher - Friendly
relationship between the
Reger family and Senfter
- With Reger's death in
1916 she lost the protege
for the advertising of
her works (approx. 130) -
1921 founding of two
music societies. ROLF
SCHONSTEDT Born in
Erfurt/Thuringia in 1944
- studied church music in
Herford and Cologne -
church music exams (B / A
/ artistic maturity exam
/ concert exam) Kantor
positions in Remscheid,
Wuppertal, Hamm/Westf. -
KMD, state chairman of
church musicians, state
church music director,
lecturer at the Westf.
phil. (The organ song - a
new genre on the
threshold of the 20th
century) - As an
organist,
harpsichordist,conductor,
lecturer in Europe,
Russia, North and South
America, Africa -
Co-founder of the 2nd
Reger Festival in
Argentina - Boardmember
of the International Max
Reger Society - Member of
the Argentine National
Academy for Art and Music
- Honors and awards
(national /
international) -
Publisher: Series The
Spiritual Song / The
Organ Works by Karl Hasse
- Radio, television, disc
/CD. $13.99 - Voir plus => Acheter | | |
| Prayer Schott
Chamber Ensemble; Tenor (Score & Parts) SKU: HL.49045281 Tenor, Chambe...(+)
Chamber Ensemble; Tenor
(Score & Parts) SKU:
HL.49045281 Tenor,
Chamber Choir, Organ,
Harp, Trumpet, Cello.
Composed by Alvin
Singleton. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Classical. Softcover.
Composed 2016. 42 pages.
Duration 21'. Schott
Music #ED30160. Published
by Schott Music
(HL.49045281). ISBN
9781495078989. UPC:
888680651466.
9.0x12.0x0.3 inches.
English. Prayer is
one of the composer's
most original and
sophisticated works. The
typical African-American
church service seems to
be a source for this
piece with its interplay
of sections and colors,
yet the work in form and
rhythmic choices is
clearly 'classical' and
never breaks out into
easy imitations of, for
example, gospel music.The
work opens with the choir
singing the spiritual 'My
Lord, What a Mornin'' in
octaves, sung flat-out a
cappella, as might happen
in church. The
instrumental section
following this opening
feels very much like a
thoughtful response by
the congregation.
Instruments seem to
behave like individual
churchgoers, colorfully
dressed and answering
various episodes with
individual thoughts. As
for any fears that the
mighty organ might drown
out the proceedings,
Singleton puts that to
rest by employing it
almost like another choir
or section of the choir.
The trumpet soloist does
not blast us into heaven,
it tends to sing and, we
find out later, is
preparing us for the
spiritual 'Where Shall I
Be When the Firs' Trumpet
Soun'?' Even the tenor
soloist behaves much like
just another (but still
important) instrument.The
composer has chosen to
not only feature
spirituals, but also to
set a poetic text called
A Christian Prayer, whose
main message, almost like
some modern-day Kyrie,
calls out 'save us teach
us ' and extols the
importance of humility
and the defeat of
violence. Singleton has
always been a composer
who has simultaneously
answered the call to
carry out what he feels
is his duty to his fellow
humans while using the
finest of his art to do
so, and Prayer finds him
at the top of his game.-
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