| 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 | | |
| Norwegian Dances, Op. 35 Flûte, Clarinette, Piano (trio) Theodore Presser Co.
Chamber Music Clarinet, Flute, Piano SKU: PR.114417570 For Flute, Bb C...(+)
Chamber Music Clarinet,
Flute, Piano SKU:
PR.114417570 For
Flute, Bb Clarinet, And
Piano. Composed by
Edvard Grieg. Arranged by
Michael Webster. Sws
each. See the program
notes on pages two and
three of the full score.
Set of Score and Parts.
With Standard notation.
Composed 2008. 40 8 8
pages. Duration 18
minutes. Theodore Presser
Company #114-41757.
Published by Theodore
Presser Company
(PR.114417570). ISBN
9781491107867. UPC:
680160636013. 9x12
inches. The famous
set of dances by Norway's
greatest composer were
written for piano duet.
Grieg later created a
piano solo version, but
refused to orchestrate
the set. After some study
of Grieg and his music,
Michael Webster has
arranged the four dances
for Flute, Clarinet, and
Piano in a faithful
setting, using the piano
duet version as a guide.
This lively Grieg classic
will be a welcome new
addition to performance
programs. For advanced
performers.______________
_________________________
Text from the scanned
back cover:Born in 1944,
MICHAEL WEBSTER made his
New York recital debut at
Town Hall in 1968 with
his eminent father,
Beveridge Webster, as
pianist. In the same
year, he won the Young
Concert Artists
International Competition
and succeeded his
teacher, Stanley Hasty,
as Principal Clarinet in
the Rochester
Philharmonic, a position
he held for twenty years.
Webster has performed
with the Chamber Music
Society of Lincoln
Center, the 92nd Street
Y, with the Tokyo,
Cleveland, Muir, Ying,
Enso, and Dover String
Quartets, and with the
festivals of Marlboro,
Santa Fe, Norfolk,
Chamber Music Northwest,
Angel Fire, Steamboat
Springs, Park City,
Sitka, Kapalua, Bowdoin,
Orcas Island,
Skaneateles, La Musica di
Asolo, Stratford,
Victoria, and Domaine
Forget.As soloist he has
appeared with many
orchestras, including the
Philadelphia Orchestra
under Aaron Copland and
the Boston Pops under
John Williams. His
travels have taken him as
performer and teacher to
most of the 50 states, as
well as Canada,
Mexico,Puerto Rico,
Central and South
America, Europe, Japan,
China, Australia, and New
Zealand. Webster was
Acting Principal Clarinet
of the San Francisco
Symphony, and has served
on the clarinet and/or
conducting faculties of
New England Conservatory,
Boston University,
University of Michigan,
and the Eastman School,
from which he earned his
three degrees. Currently
he is Professor of Music
at Rice Universityâ??s
Shepherd School of Music
and Artistic Director of
the Houston Youth
Symphony, which has won
multiple first prizes in
national performance
competitions.With his
wife, flutist Leone
Buyse, and pianist Robert
Moeling, he plays in the
Webster Trio, which has
recorded his arrangements
on Tour de France and
World Wide Webster for
Crystal Records.
Otherarrangements were
recorded for Nami and
Camerata Tokyo in Japan
with pianist Chizuko
Sawa. Webster has also
recorded for Albany,
Arabesque, Beaumont,
Bridge, Centaur, CRI, and
New World. He has played
at many ClarinetFests for
the International
Clarinet Association and
written a column entitled
â??TeachingClarinetâ?
in The Clarinet Magazine
since 1998. Michael
Webster is a Buffet
artist-clinician,
performing on Buffet
clarinets
exclusively. NORWEGIAN
DANCES (Grieg)Michael
Websterâ??s
transcriptions for Flute,
Clarinet, and Piano have
created the core
literature for this
instrumental genre.
Working directly from
Griegâ??s original piano
four-hands version of the
charmingly familiar
Norwegian Dances, Webster
has given flutists and
clarinetists another
addition to the
ensembleâ??s
repertoire. $31.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189S Composed by
Samuel Adler. Large
Score. With Standard
notation. 41 pages.
Duration 10 minutes. Carl
Fischer Music #FE189S.
Published by Carl Fischer
Music (CF.FE189S).
ISBN 9780825877520.
UPC: 798408077525. 9.5 x
13 inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $58.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Nuptial Scene Carl Fischer
Chamber Music Bass Clarinet, Celesta, Cello, Flute, Mezzo-soprano voice, Oboe, P...(+)
Chamber Music Bass
Clarinet, Celesta, Cello,
Flute, Mezzo-soprano
voice, Oboe, Percussion,
Viola, Violin SKU:
CF.FE189 Composed by
Samuel Adler. Set of
Score and Parts. With
Standard notation.
41+4+4+4+2+3+3+3+3 pages.
Duration 10 minutes. Carl
Fischer Music #FE189.
Published by Carl Fischer
Music (CF.FE189). ISBN
9780825877513. UPC:
798408077518. 9.5 x 13
inches. Nuptial
Scene was commissioned by
the Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
Testimonium, a festival
to preserve Jewish
heritage. The work was
written in September,
1975, and premiered in
Jerusalem in February,
1976, with the Jerusalem
Symphony, Juan Pablo
Izquierdo conducting, and
Adi Etzion as soloist. It
is dedicated to Recha
Freier, the originator
and prime mover of the
festival. Nuptial Scene
is based on a simple
medieval poem of
prenuptial instruction.
Part of it is in Catalan
and part in Hebrew. The
poem originated in
Catalonia, where a highly
developed Jewish
community existed until
the expulsion of 1492. A
mother is instructing her
daughter in the ways and
strategies of marriage
and rejoicing with a new
song for a new bride.
When I initially planned
the setting for this
lovely poem, I realized
that the age of the
daughter would be about
twelve, for girls in that
historical period were
married at puberty. This
set in motion a scheme
for the composition,
since my oldest daughter
was thirteen at that
time, and I used her
psyche to give me
direction. When a girl of
twelve or thirteen thinks
of a wedding, she is
completely captivated by
its frills -- the dress,
the party, the dancing.
In her imagination, the
reality of a husband or
any kind of domestic
responsibility would be
nonexistent. Therefore,
during the mother's
ardent pleas,
instructions,
admonitions, and even
innuendos, the daughter's
mind wanders and dreams
of dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance. At
the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit -- with
the use of improvised
melodic lines for which
only the gestural
outlines are given -- she
goes into a kind of
rapturous trance. The
daughter, however, seems
unmoved, and she falls
asleep. The mother calms
down, puts her head on
the daughter's shoulder,
and quietly muses, then
also closes her eyes.
--Samuel Adler
 . Nuptial Scene
was commissioned by the
Jerusalem Symphony
Orchestra in cooperation
with the city of
Jerusalem for the
celebration of the fourth
“Testimoniumâ€
, a festival to preserve
Jewish heritage. The
work was written in
September, 1975, and
premiered in Jerusalem in
February, 1976, with the
Jerusalem Symphony, Juan
Pablo Izquierdo
conducting, and Adi
Etzion as
soloist.  It is
dedicated to Recha
Freier, the originator
and prime mover of the
festival.Nuptial Scene is
based on a simple
medieval poem of
prenuptial
instruction. Part of
it is in Catalan and part
in Hebrew. The poem
originated in Catalonia,
where a highly developed
Jewish community existed
until the expulsion of
1492. A mother is
instructing her daughter
in the ways and
strategies of marriage
and rejoicing with a
“new songâ€
for a “new
brideâ€.When I
initially planned the
setting for this lovely
poem, I realized that the
age of the daughter would
be about twelve, for
girls in that historical
period were married at
puberty. This set in
motion a scheme for the
composition, since my
oldest daughter was
thirteen at that time,
and I used her psyche to
give me direction.Â
When a girl of twelve or
thirteen thinks of a
wedding, she is
completely captivated by
its frills — the
dress, the party, the
dancing. In her
imagination, the reality
of a husband or any kind
of domestic
responsibility would be
nonexistent.Â
Therefore, during the
mother’s ardent
pleas, instructions,
admonitions, and even
innuendos, the
daughter’s mind
wanders and dreams of
dancing. Musically,
the rather straight,
somber rhythm and melody
of the song are
interrupted by an
independent, faster dance
speed of the bongos and
by scattered fragments of
an actual medieval
Spanish-Jewish dance.Â
At the point where the
mother speaks of sensuous
marital problems, she
herself becomes excited,
and in a nostalgic,
dreamlike spirit —
with the use of
improvised melodic lines
for which only the
gestural outlines are
given — she goes
into a kind of rapturous
trance. The daughter,
however, seems unmoved,
and she falls asleep.Â
The mother calms down,
puts her head on the
daughter’s
shoulder, and quietly
muses, then also closes
her eyes.—Samuel
Adler . $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Walkin' Up 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 | | |
| Cleofide Carus Verlag
Vocal soli, choir, 2 flutes, 2 oboes, 2 horns, 2 trombones, 2 violins, viola, ba...(+)
Vocal soli, choir, 2
flutes, 2 oboes, 2 horns,
2 trombones, 2 violins,
viola, basso continuo
SKU: CA.5070400
Opera in three
acts. Composed by
Johann Adolf Hasse.
Edited by Zenon Mojzysz.
This edition: Complete
edition, linen cover.
Complete editions /
Selected works: Johann
Adolf Hasse. Selected
Works. German title:
Cleofide. Opera,
singspiel. Full score
(complete edition /
selected edition).
Composed 1731. 432 pages.
Duration 240 minutes.
Carus Verlag #CV
50.704/00. Published by
Carus Verlag
(CA.5070400). ISBN
9790007092283. Language:
Italian. Text: Boccardi,
Michelangelo /
Metastasio, Pietro. Text:
Michelangelo Boccartdi,
Pietro
Metastasio. Hasse's
Cleofide of 1731 can be
regarded as the zenith of
his creative output - not
least of all because he
integrated several of his
greatest arias from
earlier works into this
opera. The theme from
antiquity Alexander's
conquests in India was
perfectly suited to
flatter August the
Strong, a rather
unsuccessful
commander-in-chief, who
at that moment was
occupied with the
reorganization of his
armies. For performance
at the Court of Dresden,
Metastasio's original
libretto was reworked by
Michelangelo Boccardi. As
a result, the title of
the opera was changed
from Alessandro nell'
Indie to Cleofide and
Faustina Bordoni, the
prima donna and wife of
Johann Adolf Hasse,
became the protagonist of
the story. Musically, the
opera reflected the style
of the time. Hasse's
expressive and natural
style was admired and
appreciated by the public
professional musicians
alike. The vocal parts
were tailor-made for the
singers and in performing
this work the outstanding
soloists and the
orchestra could shine.
Hasse always tried to get
the utmost from his
musicians and in the case
of Cleofide he achieved a
100% success. The Carus
edition of Cleofide,
which has been published
as a part of the
Hasse-Werkausgabe, is the
very first printed
edition of this work. It
is based primarily on the
original parts used for
the first performance in
1731 and presents both an
accurate musicological
rendering of the sources
as well as a practical
performance edition. $372.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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