| Bone Apart: Trumpet:
Instrumental Album TROMBONE TC SOLO Spartan Press
All fifty tunes are well known - and here they are expertly arranged by an exper...(+)
All fifty tunes are well known - and here they are expertly arranged by an experienced player and teacher. This book is not a tutor but designed to help with various aspects of trombone playing (eg intonation and key recognition). The playing of melodies is a vital and therapeutic part of tuition for the student trombonist.Grade: 3 - 5
7.95 GBP - vendu par Musicroom GB | |
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|
| Missa Brevis - Facile De Haske Publications
Concert Band/Harmonie and Opt. Choir - Grade 2 SKU: BT.DHP-1033337-015 Co...(+)
Concert Band/Harmonie and
Opt. Choir - Grade 2
SKU:
BT.DHP-1033337-015
Composed by Jacob De
Haan. Musica Sacra. Hymns
& Chorals. Set (Score &
Parts). Composed 2003. De
Haske Publications #DHP
1033337-015. Published by
De Haske Publications
(BT.DHP-1033337-015).
9x12
inches. Missa
Brevis, written for
choir and wind band, was
commissioned by the
Conseil Départemental
pour la Musique et la
Culture de Haute-Alsace
(Dir.: Philippe
Pfisterer) in Guebwiller
(France), in celebration
of the millennium of Pope
Leon IX’sbirth in
Éguisheim (France). The
composer conducted the
first performance on June
23, 2002. It was
performed live for the
French television channel
France 2. The mass
movements Kyrie,
Gloria, Credo, Sanctus,
Benedictus, and
Agnus Deiare very
suitable for the Catholic
as well as the Protestant
liturgy. For this mass,
various ways for
performing in diverse
variable strengths are
possible. An instrumental
performance is possible
if the brass represents
the choir parts. In
thisoption, it is
desirable for the brass
to be positioned
separately from the rest
of the band (on a
gallery, for example), so
that the idea of two
choirs is approached. In
a performance with a
large choir, the brass
can work very well as a
support. Inthat case, the
dynamics of the brass
should be adapted
somewhat, since these are
actually intended for an
instrumental performance.
You can also leave out
the brass entirely for
the benefit of the choir.
For the accompaniment of
smaller choirs, youcan
opt for a small ensemble
from the band. This can
also be a quartet, put
together as desired. For
the performance of this
mass, the obvious choice
is one of the above
options. However, as an
alternative, a
performance with a
combination of
theseoptions
(vocally/instrumentally)
is also possible not just
from an artistic point of
view (variation), but
also from a practical
starting point for
example in the case that
the choir has rehearsed
only two movements. With
a full strength,
theconductor can vary the
instrumentation to his or
her liking. Then the
brass can also play a
role in the accompaniment
(instead of supporting
the choir). The following
combinations are
possible: 1. clarinet
choir (from Eb Clarinet
to BassClarinet) 2.
clarinet choir +
saxophones 3. brass
(flugelhorns, horns,
euphoniums, bass
section) 4. brass (2
trumpets / 2
trombones) 5. double
reeds (optional + flute,
optional + string
bass) 6. tutti 7.
all winds 8.
allbrass In a
performance by brass band
and choir, it is usually
advisable to leave out
option 1 (choir + brass +
band). The choir sings
self-reliantly,
accompanied by a full
brass band. In an
instrumental performance,
you can consider a
combinedquartet (two
cornets and two
trombones) + brass
band. Choral parts
available
separately.
Mis
sa Brevis, geschreven
voor koor en blaasorkest,
werd gecomponeerd in
opdracht van de Conseil
Départemental pour la
Musique et la Culture de
Haute-Alsace (dir.
Philippe Pfisterer) in
Guebwiller (Frankrijk),
ter gelegenheid van het
duizendstegeboortejaar
van paus Leo IX. In zijn
geboorteplaats,
Éguisheim (Elzas,
Frankrijk), vond op 23
juni 2002 de première
van deze mis plaats onder
leiding van de componist.
Het betrof een
live-registratie voor de
Franse televisiezender
France 2. Demisdelen
Kyrie, Gloria, Credo,
Sanctus, Benedictus
en Agnus Dei
lenen zich uitstekend
voor zowel de katholieke
als de protestantse
liturgie. Er zijn voor
deze mis diverse
uitvoeringsmogelijkheden
mogelijk, aangezien er
sprake is van
eenvariabele bezetting.
Een instrumentale
uitvoering behoort
uitdrukkelijk tot de
mogelijkheden, indien het
scherp koper de
koorpartijen
vertegenwoordigt. In deze
optie is het wenselijk
dat het scherp koper zich
separaat opstelt van de
rest van hetorkest
(bijvoorbeeld op een
galerij), zodat het idee
van dubbelkorigheid wordt
benaderd. Bij een
uitvoering voor groot
koor werkt het scherp
koper zeer goed als
ondersteuning. In dat
geval kan de dynamiek van
het koper iets worden
aangepast,aangezien deze
in eerste instantie
bedoeld is voor een
instrumentale versie. Ook
kan men ervoor kiezen het
scherp koper helemaal weg
te laten ten gunste van
het koor. Bij begeleiding
van kleinere koren kan
men kiezen voor een klein
ensemble uit hetorkest.
Dit kan ook een naar wens
samengesteld kwartet
zijn. Voor de uitvoering
van deze mis ligt het
voor de hand een van deze
opties te kiezen. Als
alternatief is echter ook
een uitvoering mogelijk
met een combinatie van
deze opties
(vocaal/instrumentaal)
niet slechts vanuit een
artistiek motief
(afwisseling), maar ook
vanuit een praktisch
motief, voor het geval
dat het koor bijvoorbeeld
slechts twee delen heeft
ingestudeerd. Bij een
volledige bezetting kan
de dirigent
deinstrumentatie naar
believen afwisselen.
Hierbij kan ook het
scherp koper in de
begeleiding een rol
krijgen (in plaats van
ondersteuning van het
koor). Zo zijn de
volgende combinaties
mogelijk: 1.
clarinet choir (van
Es-klarinet tot
basklarinet) 2.
clarinet choir +
saxofoons 3. zacht
koper (bugels, hoorns,
euphoniums, bassen)
4. scherp koper (2
trompetten / 2
trombones) 5.
dubbelrieten (eventueel +
fluit, eventueel +
contrabas) 6.
tutti 7. alle
hout 8. alle
koper In een
uitvoering voor brassband
en koor is het in de
meeste gevallen aan te
bevelen de optie voor
scherp koper weg te
laten. Het koor zingt
zelfstandig, begeleid
door een volledige
brassband. In een
instrumentale uitvoering
kunt u denken aan
eencombinatiekwartet
(twee cornetten en twee
trombones) +
brassband.Koorpartijen
apart
verkrijgbaar.
M
issa Brevis,
geschrieben für Chor und
Blasorchester entstand im
Auftrag des Conseil
Départemental pour la
Musique et la Culture de
Haute-Alsace (Dir.:
Philippe Pfisterer) in
Guebwiller (Frankreich),
anlässlich des
tausendjährigen
Jubiläumsder Geburt von
Papst Leo IX in
Éguisheim. Der Komponist
dirigierte die
Uraufführung am 23. Juni
2002. Sie wurde live vom
französischen Fernsehen
France 2 übertragen. Die
Messesätze Kyrie,
Gloria, Credo, Sanctus,
Benedictus und
Agnus Deieignen
sich ausgezeichnet sowohl
für die katholische als
auch die protestantische
Liturgie. Diese Messe
kann in diversen
variablen Spielstärken
aufgeführt werden. Eine
Instrumentalaufführung
ist möglich, wenn das
Blech die Chorstimme
übernimmt.Um der Idee
von zwei Chören in
dieser Variante
möglichst gerecht zu
werden, empfiehlt es
sich, das Blechregister
getrennt vom Rest des
Blasorchesters
aufzustellen
(beispielsweise auf einer
Galerie). In einer
Aufführung mit einem
großen Chor kann
dasBlechregister sehr gut
als Unterstützung
dienen. In diesem Fall
sollten die
Dynamikangaben der
Blechbläser etwas
angepasst werden, da sie
ja eigentlich für eine
Instrumentalaufführung
gedacht sind. Man kann
zugunsten des Chors auch
völlig auf dasBlech
verzichten. Zur
Begleitung kleinerer
Chöre können Sie ein
kleines Ensemble aus dem
Blasorchester wählen.
Dies könnte auch ein
Quartett in beliebiger
Zusammensetzung sein.
Für die Aufführung
dieser Messe bietet sich
eine der oben
genanntenVarianten an.
Eine Kombination dieser
Wahlmöglichkeiten
(vokal/instrumental) ist
jedoch auch möglich und
das nicht nur vom
künstlerischen
Standpunkt aus betrachtet
(zur Abwechslung),
sondern auch aus
praktischen Erwägungen
beispielsweise, wennder
Chor nur zwei Sätze
einstudiert hat. In
voller Besetzung kann der
Dirigent die
Instrumentierung nach
Belieben variieren. Dann
können die Blechbläser
auch eine Rolle in der
Begleitung übernehmen
(anstatt den Chor zu
unterstützen). Die
folgendenKombinationen
sind möglich: 1.
Klarinettenchor (von
Klarinette in Es bis
Bassklarinette) 2.
Klarinettenchor +
Saxophone 3. Blech
(Flügelhorn, Horn,
Euphonium,
Bassregister) 4.
Blech (2 Trompeten / 2
Posaunen) 5.
Doppelrohrblattinstrument
e (wahlweise + Flöte,
wahlweise +
Kontrabass) 6.
Tutti 7. Alle
Holzbläser 8.
Alle Blechbläser
In einer Aufführung
mit Brass Band und Chor
ist es gewöhnlich
ratsam, nicht die erste
Option (Chor + Blech +
Blasorchester) zu
wählen. Der Chor singt
unabhängig, begleitet
von einer vollständigen
Brass Band. In einer
Instrumentalaufführung
könnenSie sich für ein
kombiniertes Quartett
(zwei Kornette und zwei
Posaunen) + Brass Band
entscheiden. Chorstimmen
separat
erhältlich.
Mi
ssa Brevis est une
messe pour Orchestre
d’Harmonie et Choeur
composée la demande du
Conseil Départemental
pour la Musique et la
Culture de Haute-Alsace
(Dir. : Philippe
Pfisterer) de Guebwiller
en France, l’occasion
des célébrations
dumillénaire de la
naissance du Pape Léon
IX Éguisheim. La
création mondiale a eu
lieu le 23 juin 2002 sous
la direction du
compositeur, et a été
diffusée en direct sur
la chaîne de
télévision nationale
France 2. Les
différentes parties de
cettemesse (Kyrie,
Gloria, Credo,
Sanctus,
Benedictus et
Agnus Dei)
conviennent autant la
liturgie catholique qu’
la liturgie protestante.
Missa Brevis peut
être interprétée dans
différentes combinaisons
instrumentales. Ellepeut
être jouée dans une
version purement
instrumentale, où les
cuivres prennent en
charge la partie vocale.
En tel cas, il est
conseillé de placer les
cuivres l’écart de la
formation (sur une
estrade, par exemple) de
façon reproduire
l’idée dedeux groupes
indépendants. Dans le
cadre d’une
interprétation avec un
grand Choeur, les cuivres
jouent un rôle de
soutien. Leurs nuances
doivent alors être
adaptées dans la mesure
où elles ont été
écrites, l’origine,
pour une version
instrumentale.Il est
également possible de ne
pas faire intervenir les
cuivres et de
privilégier le Choeur.
Pour accompagner de
petits ensembles vocaux,
il faut opter pour une
formation instrumentale
réduite voire même un
Quatuor (instrumentation
au choix).
Pourl’interprétation
de cette messe l’un des
choix proposés ci-dessus
s’impose. Il existe
néanmoins une
alternative qui consiste
interpréter cette oeuvre
en combinant ces options
(vocales /
instrumentales). Cela
peut être bénéfique
tant d’un point devue
artistique (variante) que
pratique dans le cas où
le Choeur n’a
travaillé que deux
mouvements de la messe.
Si le chef dispose de
deux formations
complètes (Choeur et
Orchestre d’Harmonie),
il peut varier
l’instrumentation selon
ses préférences. ce
moment-l , il peut
confier un rôle
d’accompagnement et non
de soutien aux cuivres de
sa formation. Les
combinaisons suivantes
peuvent être formées
: 1. Choeur de
Clarinettes (de la
Clarinette Mib la
Clarinette
Basse) 2. Choeur de
Clarinettes +
Saxophones 3.
Cuivres (Bugles, Cors,
Barytons / Euphoniums,
Basses) 4. Cuivres
(2 Trompettes / 2
Trombones) 5.
Instruments anches
doubles (Fl te et
Contrebasse cordes
optionnelles) 6.
Tutti 7. Tous les
Bois 8. Tous les
Cuivres Dans le
cadre d’une
interprétation par un
Brass Band accompagné
d’un Choeur, il est
préférable de supprimer
l’option 1 (Choeur +
Cuivres + Orchestre
d’Harmonie) car le
Choeur étant autonome.
Dans une version
instrumentale pour
Cuivres, il estpossible
de former la combinaison
suivante : Quatuor (2
Cornets / 2 Trombones) et
Brass Band.Partitions
pour chœur disponibles
séparément.
Part
i per coro disponibili a
parte. $327.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505309
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. 2x 55.053/21
flutes 1 and 2, 1x
55.053/22 oboe 1, 1x
55.053/23 oboe 2, 2x
55.053/24 flutes 1 and 2,
2x 55.053/31 trumpet, 3x
55.053/32 trombone, 1x
55.053/41 timpani, 1x
55.053/42 harp, 2x
55.053/43 carillion.
Stuttgart Urtext Edition:
Handel. Saul Hwv 53
Kartoniert. Sacred vocal
music, Oratorios. Set of
Orchestra Parts. Composed
1739. HWV 53. Duration
165 minutes. Carus Verlag
#CV 55.053/09. Published
by Carus Verlag
(CA.5505309). ISBN
9790007226565. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and parts
available separately -
see item CA.5505300. $260.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505319
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Set of Orchestra Parts.
Composed 1739. HWV 53.
Duration 165 minutes.
Carus Verlag #CV
55.053/19. Published by
Carus Verlag
(CA.5505319). ISBN
9790007145804. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and parts
available separately -
see item CA.5505300. $861.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505312
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Single Part, Violin 2.
Composed 1739. HWV 53. 56
pages. Duration 165
minutes. Carus Verlag #CV
55.053/12. Published by
Carus Verlag
(CA.5505312). ISBN
9790007226589. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and part
available separately -
see item CA.5505300. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505305
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Choral Score. Composed
1739. HWV 53. Duration
165 minutes. Carus Verlag
#CV 55.053/05. Published
by Carus Verlag
(CA.5505305). ISBN
9790007162603. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score available
separately - see item
CA.5505300. $21.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505314
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Single Part, Cello.
Composed 1739. HWV 53. 60
pages. Duration 165
minutes. Carus Verlag #CV
55.053/14. Published by
Carus Verlag
(CA.5505314). ISBN
9790007226602. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and part
available separately -
see item CA.5505300. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505349
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Single Part, Organ.
Composed 1739. HWV 53.
102 pages. Duration 165
minutes. Carus Verlag #CV
55.053/49. Published by
Carus Verlag
(CA.5505349). ISBN
9790007145767. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and part
available separately -
see item CA.5505300. $68.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flute, 2 oboe, 2 bassoon,
2 trumpet, 3 trombone,
timpani, 2 violin, viola,
harp, carillons, organ,
basso continuo SKU:
CA.5505313
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Single Part, Viola.
Composed 1739. HWV 53. 44
pages. Duration 165
minutes. Carus Verlag #CV
55.053/13. Published by
Carus Verlag
(CA.5505313). ISBN
9790007226596. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score and part
available separately -
see item CA.5505300. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| 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 | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpet...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flutes, 2 oboes, 2
bassoons, 2 trumpets, 3
trombones, timpani, 2
violins, viola, harp,
bells, organ, basso
continuo SKU:
CA.5505300
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Full score. Composed
1739. HWV 53. Duration
165 minutes. Carus Verlag
#CV 55.053/00. Published
by Carus Verlag
(CA.5505300). ISBN
9790007167639. Text
language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. $166.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Saul Chorale SATB Carus Verlag
Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpet...(+)
Orchestra SATB vocal
soli, SSATB choir, 2
flutes, 2 oboes, 2
bassoons, 2 trumpets, 3
trombones, timpani, 2
violins, viola, harp,
Carillons, organ, basso
continuo SKU:
CA.5505301
Oratorio. Composed
by George Frideric
Handel. Edited by Felix
Loy. This edition:
urtext. Stuttgart Urtext
Edition: Handel. Saul Hwv
53 Kartoniert. Sacred
vocal music, Oratorios.
Full score. Composed
1739. HWV 53. 304 pages.
Duration 165 minutes.
Carus Verlag #CV
55.053/01. Published by
Carus Verlag
(CA.5505301). ISBN
9790007143367. Language:
English/German. Sau
l, published for the
first time in the version
conducted by Handel
himself. Saul is one of
the most dramatic of
Handel's oratorios. To a
greater extent than
almost any other oratorio
it reveals with its
gripping dramatic power
its proximity to opera of
its time. The score
demands what was at the
time Handel's most varied
orchestra. The normal
opera orchestra of the
day was augmented by
trombones, harp, solo
organ, carillon
(Glockenspiel) and large
kettledrums. The choir
functions for the first
time as a central
participant in dramatic
action, while also
undertaking commentating
functions as in a Greek
tragedy. This new edition
makes use for the first
time of musical material
revealed by the latest
Handel research, based as
its most important source
on the conducting score
from which Handel himself
directed his
performances. Only this
research has shown which
arias, choruses,
recitatives and
instrumental pieces,
after he had made
numerous corrections in
his autograph, Handel
chose for his
performances, and in what
order they were given.
The result has produced,
apart from many changes
of details (e.g.
autograph instructions
concerning the use of the
organ), uncommon ordering
of individual pieces, and
passages with altered
notes. Score available
separately - see item
CA.5505300. $204.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
|
|