Voir toutes les partitions de Chicago
SKU: HL.14004250
ISBN 9780711982949. 9.0x12.0x0.22 inches.
This volume reflects two aspects of Lord Berners' work. Firstly his solo piano pieces from the period of the First World War, and secondly the applied music for films, plays or ballets of his later years. His genuine gifts were immediately recognised by Stravinsky and Casella, although from 1934 moved towards writing and painting. The quality of his music makes him a colourful figure in British music.
SKU: HL.132479
UPC: 884088973131.
SKU: BT.PWM9314
A collection of 8 easy pieces aimed to make the youngest students of the art of piano playing sensitive to the way of bringing out a single sound and chords, as well as teaching the melody.
SKU: HL.49044450
ISBN 9790001198639. 9.0x12.0x0.124 inches.
This work is part of a cycle of five short pieces for a single instrument and piano, focused on the five ages in the cosmogony of Ancient Mexican civilisation. The peoples of the Mexican highlands believe that time follows specific cycles and that the world was created following the pattern of 'trial and error'. The creation of the world is divided into several periods which are termed 'suns' (we are currently living in the fifth phase named 'Ollin'). Each period will be brought to an end through a natural catastrophe.Solei-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl).The element of fire is reflected in the musical soundscape of this work, constructed from rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space. An intimate dialogue develops between violin and piano on the basis of extremely simple figures. Interconnecting lines and dense musical material are thrown against each other in a play of contrasting registers and blended tonal colouring, creating a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry PecouSoleil-Feu refers to the first attempt to create a world out of a rain of fire (nahui quiahuitl) as described in the cosmogony of Ancient Mexican civilisation. The element of fire is reflected in the musical soundscape of this work; rampant, rhythmic motifs, fragmented splinters, spinning upswings and impacts reverberating through space create a mysterious and disturbing mythological universe coloured by its ontological pessimism. Thierry Pecou.
SKU: HL.50601598
8.0x11.75 inches.
The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996.In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from thecomposer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development,recapitulatio n and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with soniceffects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova).
SKU: HH.HH597-SOL
ISBN 9790708213123.
Afte r the positive reviews of Animal Jazz, the composer was encouraged to write a sequel of pieces that would provide more of a challenge to the player, using diverse key signatures, a wider use of the piano keyboard range and more complex rhythms. Diving into musical genres from around the world I've come up with this colourful and eclectic collection, where you can find influences from blues, jump jive, ragtime, latin, disco, funk and classical music. In Who’s Harry, we’re transported to Africa with an afrobeat groove, reportedly invented by Tony Allen, the Nigerian drummer with Fela Kuti·s band. Jump Jive Jellyfish, as the title suggests, has a lively jump jive feel. The well-known Cuban dance style of Cha-cha-cha is gracefully danced by the Chickens, while our Penguins are enjoying a parade with a ragtime flavour. In Brazil, the Alpacas are holidaying and dancing to a jazz-style samba.
SKU: HL.49047459
UPC: 842819123026. 9.0x12.0x0.256 inches.
After an early mini piece for this instrumentation, Bunte Blätter (Coloured Leaves) is my first real piece for two pianos. It has become a collection of highly diverse and multifaceted pieces and forms, ranging from Walzer (Waltz) to Danse macabre, from Fanfare to Zirkusparade (Circus Parade). The fact that the interpreters of the world premiere, Arthur and Lucas Jussen, are siblings, may and should be felt in the teasingly affectionate Fangspiel (Game of Tag) in which the two pianists sometimes deliberately “play past” each other. The collection is completed by Rätsel (Riddle) for Peter Sloterdijk's 75th birthday, a small, sphinx-like piece for the librettist of my Babylon opera. - Jörg Widmann.
SKU: BT.DHP-1196075-015
Who doesn’t know the Italian tenor Andrea Bocelli and his signature song ‘Con te Partirò’ that made him world famous? This colourful version is accessible for smaller, mixed-ability ensembles, and provides an enjoyable part for all players. This arrangement will bring colour to your concert and is great fun to play! Wie kent niet de Italiaanse tenor Andrea Bocelli en zijn song ‘Con te Partirò’, waarmee hij over de hele wereld beroemd werd? Deze kleurrijke versie is speelbaar voor kleinere ensembles van gemengd niveau en heeft wat moois te bieden voor alle spelers. Dit arrangement brengt kleur in uw concert en is heerlijk om te spelen! Wer kennt nicht den italienischen Tenor Andrea Bocelli und seine Erkennungsmelodie Con te partirò“, die ihn weltberühmt machte? Diese lebendige Version eignet sich gut für kleinere Ensembles mit gemischtem Schwierigkeitsgrad und bietet für alle Mitspieler schöne Stimmen. Dieses Arrangement bringt Farbe in Ihr Konzert und macht viel Spaß! Qui ne connaît pas le ténor italien Andrea Bocelli et la chanson « Con te partirò » (« Avec toi je partirai »), qui a établi sa renommée mondiale ? Destinée de petits ensembles de niveaux variables, cette version étincelante comprend des parties intéressantes pour tous les musiciens. Un arrangement très agréable jouer qui apportera des couleurs vos concerts !
SKU: BT.DHP-1196075-215
SKU: HL.49002518
ISBN 9790220120466. UPC: 073999913347. 9.0x12.0x1.015 inches. English.
Like few other theatre worksThe Magic Flute, A Midsummer Night's DreamTippett's first opera creates a wholly other place, one where human actions can be seen as in a tilted mirror. Since this is indeed an opera, the place, or dreamspace, is conjured by music: by luminescent music that, in its flowing abundance, radiant harmonies and evocative wind colourings, represents the natural world within which the characters have to integrate themselves. The central couple, those whose marriage is at first subverted and then gloriously celebrated, are Mark and Jenifer: he a young man of the earth and the senses, she a young woman of lofty spirituality. Each is only half a person, and before they can be united they have to be made whole, have to find within themselves an understanding of the other. Overseeing their mythic initiation and psychic healing are two Ancients, votaries of a temple on a wooded hilltop.As in the Mozart precedent, which the composer certainly had in mind, there is also a more workaday couple, Jack and Bella. The other principals are Jenifer's businessman father King Fisher, who wants to stop the wedding for reasons of his own, and an Erda-like seer. There is also a dancer, Strephon, leading the exuberant ballet in which the orchestra completes the story of enlightenment and passion. It is ultimately a victory of love and, before love, self-knowledge.(Paul Griffiths).
SKU: HL.49016720
ISBN 9790001144209. UPC: 884088991258. 9.0x12.0x0.056 inches. German.
Football (resp. soccer) has been fascinating for many contemporary composers - maybe because of the unpredictable dramaturgy within a match, the complexity of different combinations, contrasts or complements between different strategies, the soloist-like position of extraordinary players - in short, there are numerous connections to musical ideas.Zeitlupen (Slow-motion replays) reflects football on different layers. The cycle consists of three interlocking parts: four poems from Gottfried Blumenstein's 11 Haikus vom Fussballfeld form the musical core, to which three pantomime-actions with piano accompaniment, showing characteristic situations, are added. (This idea is based on a kind of a slow-motion-soccer, using a balloon instead of a football, that I used to play with my brother in our room, when the weather not allowed to go outside for a match on the playground nearby. The similarity towards far-eastern meditational techniques of these pantomimes also forms a connection to the haiku form of the poems.) The piece is completed by two recitations recalling famous teams and the best and (maybe) worst from german football history: the world champions from 1954 and the team of the unbearable put-up game against Austria during the world championship of 1982. This part also refers to a well-known poem by Peter Handke, Die Aufstellung des 1. FC Nurnberg vom 27. 1. 1968.Behind that, playing with numbers has been important for the structure. The form of the haiku (5-7-5 syllables), a symmetric all-interval-series and many other elements are taken from the number of 12 (eleven players and their coach). Gesture and sound-colours of the piano part are economical but precise; towards the ending percussive sounds dominate it. Directly illustrative moments - like the rhythm of cheers call in Nr. IV - are rather exceptional. The altogether form follows the labyrinthical structure of Pierre Boulez' Le marteau sans maitre, written around the famous year of 1954...Benjamin Schweitzer.
SKU: HL.48024675
ISBN 9781540058515. UPC: 888680952495.
Creat ed in 2004 for the radio production Orlando furioso of the WDR, 'Orlando-Lieder' tries to give new and colourful form to the old narrative style of an invented time of troubadours. Tenderness is juxtaposed to passion, harmony to brusqueness. The voice of the countertenor symbolizes the objective observation of what is happening in the novel by one of the balladeers travelling the courts of the world and informing us about the adventures of people, their strange encounters and their great emotions.Mezzo-Soprano and Piano. Contents: Lied der Sehnsucht * Lied der Wehmut * Der Hippogryph * Hexensabbat * Orlandos Traum * Logistillas Schloss * Amors Pfeil * Insel der Dufte * Lied der Augen * Eis * Liebesschmerz * Lied vom Meer * Lied vom Mond * Untrostlich * Erwachen.
SKU: HL.48024355
ISBN 9783793141785.
Ursu la Mamlock, who emigrated from Germany in 1939, composed 2000 Notes, her most important work for piano solo, in New York. Here she studied and taught composition until she returned to her native city of Berlin in 2006. In 2015 Yu Fujiwara arranged 2000 Notes for three percussionists (xylophone, glockenspiel, vibraphone, and marimbaphone). Ursula Mamlok was unable to attend the world premiere in Basel in January 2016 but heard a performance in Villingen-Schwenningen on 12 April and, delighted with the new tone colours, authorized this arrangement. This is the last composition prior to her death in May 2016 which could be newly entered in her catalogue of works as an arrangement. Rich in contrast, this short, concise piece is typical of her style and a valuable addition to the canon of percussion works.
SKU: HL.50600663
8.25x11.75x0.123 inches.
“The competition 'Jugen musiziert' 1994 (Youth Making Music) provided the occasion for the composition of the 'Märchengestalten' (Fairytale Figures.) The Youth Music School in Hameln, to which I owe my initial musical training and many formative experiences, asked me if I could contribute a contemporary work for a trio of pupils. Thus this cycle was written, beginning with the fairy and the idea of tracing this word with musical letters. The fairytale-like atmosphere is particularly created by the melody consisting of harmonics on the violoncello. This procedure applies symbolically to the entire cycle: writing a melodic, comprehensible kind of music for young interpreters which nonetheless contain acoustic attractiveness and wit. The plodding gestures of the gnome are part of this, as is a quotation that the witch locates in the world of fairytales. The three movements for the entire trio are complemented by two duets: the prince and the princess. Thus there arises an alteration of instrumental colours that also opens up various possibilities for performances, for each movement can be played on its own as well. When my family opera 'Ronja Räubertochter' was premiered at the Deutschen Oper am Rhein Düsseldorf-Duisburg in February 2015, it was clear how intensively children and youths could react to contemporary sounds. This resulted in my desire to offer them, with the 'Märchengestalten,' a score for them to play themselves.†–Jörn Arnecke All text in German.
