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Vous avez sélectionné:
Musik Presse
Partitions à imprimer
30 partitions trouvées
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26
Somewhere In Time
Somewhere In Time
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Piano Facile
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DÉBUTANT
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Allen Comyns
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Musik Presse
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Somewhere In Time
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Jhavilah
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.1269012 By Allen Comyns. By B.A. Robertson and John Barry. Arranged by Musik Presse. 20th Century,Film/TV,Lent,Singer/Son...
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Easy Piano - Level 1 - SKU: A0.1269012 By Allen Comyns. By B.A. Robertson and John Barry. Arranged by Musik Presse. 20th Century,Film/TV,Lent,Singer/Songwriter,Wedding. Score. 2 pages. Jhavilah #861539. Published by Jhavilah (A0.1269012). The haunting and beautiful score for Somewhere in Time was composed by John Barry, an English composer known for his work on eleven James Bond films. The score is often regarded as one of Barry's most rhapsodic and gorgeous romantic compositions. It features lush orchestration and melodic themes that perfectly capture the film's romantic and timeless atmosphere. Despite the film's small budget, Jane Seymour, who was a personal acquaintance of John Barry and his wife, suggested him to the producers of Somewhere in Time. The producers initially couldn't afford him, but eventually, Barry agreed to compose the score for the film. The soundtrack for Somewhere in Time has become highly regarded among film music enthusiasts. It showcases John Barry's talent for creating emotionally resonant and memorable melodies. The score captures the essence of the film's themes of eternal love, grief, and loss. Overall, Somewhere in Time is a beloved film with a captivating story and a beautiful musical score by John Barry. It has gained a dedicated following over the years and continues to be celebrated for its romantic and timeless qualities..
$4.99 ≈
4.46€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledg
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Debussy Inconnu: Album of work
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prlude,Premire Fanfare, and La Mort de Cordlia,Toomai des lphants, Rodrigue et Chimne: Prlude l?acte 1p. Le Martyre de Saint Sbastien: La Passion , and No-ja-li ou Le Palais du Silence
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
34.80€
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
#
Classique
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Claude Debussy/Robert Orledg
#
Debussy Inconnu: Album of work
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. ...
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septime regrettent!!!, Petite Valse,Ftes galantes, and Prlude ?L?Histoire de Tristan?
From Robert Orledge's notes:
My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pellas et Mlisande in 1893?1902 and the ballet Jeux for Diaghilev?s Ballets Russes in 1912?13). Of the rest, many were never started musically (like Siddartha and Orphe-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902?03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908?17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912?13; or Le Martyre de Saint Sbastien and La Bote joujoux by his ?angel of corrections? [?l?ange des Corrections?] Andr Caplet in 1911 and 1919 respectively).
For it has to be admitted that what some scholars call Debussy?s ?compulsive achievement? could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure?s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.
It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ?write a ballet for him that he would sign? on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with Andr Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.
So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy?s lost potential masterpieces from his existing sketches and drafts?then orchestrating them in Debussy?s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
$38.95 ≈
34.80€
Messa a 4 voci
Messa a 4 voci
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Chorale SATB
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INTERMÉDIAIRE
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Contemporain
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Nino Rota
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Messa a 4 voci
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Schott Music - Digital
#
SheetMusicPlus
Mixed choir (SATB) a cappella - intermediate - Digital Download For mixed choir (SATB) a cappella. Composed by Nino Rota (1911-1979). This edition: s...
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Mixed choir (SATB) a cappella - intermediate - Digital Download For mixed choir (SATB) a cappella. Composed by Nino Rota (1911-1979). This edition: score. Chormusik. Downloadable. Duration 12 minutes. Schott Music - Digital #Q46984. Published by Schott Music - Digital
Nino Rota's Mass was composed in Rome in 1962, the very same year when the Second Vatican Council formally opened in 1962, whose fundamental changes regarding the use of liturgical music directly found expression in Rota's work: As a result, the anticipation of Christmas was to be expressed by pure a cappella works without accompaniment in the Advent season.
$7.99 ≈
7.14€
Orpheus Behind the Wire
Orpheus Behind the Wire
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Hans Werner Henze
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Orpheus Behind the Wire
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SSSAAATTTBBB) - SKU: S9.Q9188 Poems by Edward Bond. Composed by Hans Werner Henze. This edition: choral score. Schott Chamber Choir....
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Mixed choir (SSSAAATTTBBB) - SKU: S9.Q9188 Poems by Edward Bond. Composed by Hans Werner Henze. This edition: choral score. Schott Chamber Choir. Downloadable, Choral score. Duration 17 minutes. Schott Music - Digital #Q9188. Published by Schott Music - Digital (S9.Q9188). German • English.Edward Bond hat für das Programmheft der Stuttgarter Uraufführung des Tanzdramas Orpheus am 17. März 1979 anstelle eines Essays eine Anzahl von Gedichten geschrieben, die als Marginalien zu seinem visionären Ballett-Libretto zu verstehen sind. Für den Chorzyklus hat er noch einige weitere Gedichte hinzugefügt. Ich habe aus beiden Materialien eine Auswahl getroffen und sie im Sommer 1983 während eines langen Lehraufenthaltes in Tanglewood, Mass., in Musik gesetzt, mit Ausnahme von zwei Sätzen, die schon existierten, und von denen 'Epitaph' 1982 in Kindberg, Steiermark, als Teil eines Requiems für den Arbeiterdichter Walter Buchebner durch den ORF-Chor uraufgeführt wurde, während das andere 'Pressed by the weight of...' durch den Chor der Musikhochschule Köln als Zeil einer von AIDA organisierten Solidaritätskundgebung für die argentinischen desaparecidos aufgeführt wurde. - Hans Werner Henze.
$16.99 ≈
15.18€
Jacques Leguerney: String Quartet in D for two violins, viola and cello
Jacques Leguerney: String Quartet in D for two violins, viola and cello
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Contemporain
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Jacques Leguerney
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II. Intermezzo
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Jacques Leguerney: String Quar
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534402 Composed by Jacques Leguerney. 20th Century,Standards. Score and parts. 125 pages. Musik Fabrik Music Publishing #3457403. Published by Musik Fabrik Music Publishing (A0.534402). Jacques Leguerney (1906-1997) composed two string quartets. The Premier Quatuor à cordes was composed in 1925 during Leguerneyâ??s private piano and composition study with French pianist Thérèse Cahen. His second quartet, subject of this publication by Musik Fabrik, was written between November 1947 and September 1948. The four movements are: I. Allegro moderato; II. Intermezzo; III. Scherzando; IV. Presto-Andantino. This work was, in part, Leguerneyâ??s response to the Premier Quatuor à cordes (inédit) by his colleague, Henri Sauguet. Leguerney stated in a personal interview with Patrick Choukroun (18 May 1989) that: â??I wrote it a bit in opposition to Sauguetâ??s Premier Quatuor. It seemed to me that his quartet was without interest: just scratchings! I wanted to express my way of looking at it from the classical viewpoint of the past: it is almost in the spirit of Mozart, except for the harmonic language, of course. In fact, I wanted to fight against everything that has been done to a quartet since Beethovenâ??s last ones.â? The premiere of the Quatuor à cordes en ré mineur was by the Quatuor Pro Arte at the Abbaye de Royaumont. Before this performance, Poulenc sent Leguerney the following note: â??Fortunate man for whom twelve strings are enough to charm people, I wish you good luck and respectfully embrace you.â? (Handwritten letter, Reims, 4 September 1959). Leguerney was appointed artistic director of the Lumen recording company in 1951, and remained in this position until 1959. He produced four recordings of his music, including the Quatuor Pro Arteâ??s recording of the Quatuor à cordes en ré mineur (1947-1948) (Lumen, LD 2.440, 1958). This disc won the Grand Prix du Disque de lâ??Académie Charles Cros on 13 March 1959. The Pro Arteâ??s members were Suzanne Plazonich, Violin I; Chantal Beylier, Violin II; Nicole Gendreau, Viola; and Micheline Burtin, Cello. Francis Poulenc wrote to Leguerney concerning this recording: â??It is very good Leguerney. Of course, frivolous as I am and shall always remain, it is the 2nd movement that I prefer. Between us, I am like you: I prefer the scherzos after the andantes; that way one is not forced to write a Finale allegro. Yours pleases me very much, in fact, so to my ears it is III-IV-I-II, in the order of pleasure.â? (Manuscript letter, Bagnols, 14 October 1959) The radio station France I broadcast the Quatuor with on 11 July 1959 on the program Schola of the series Concert de musique contemporaine, again with the Quatuor Pro Arte. An archive recording of this broadcast exists on magnetic tape. Critic Claude Rostand wrote: â??Jacques Leguerney does not seem to have looked for special innovations either in form or language. His basic thought seems especially to have written a quartet, that is to say on one hand to have used the four voices with elegance and originality, clarity and homogeneity (four-part writing seems to always have come naturally to him, even at the piano), and on the other hand to exploit all of the supple cushioning that can result from the caress of a bow on a string.â? Critic Emile Vuillermoz wrote: â??His only ambition is to expresses clear and affectionate melodic ideas, in a highly distinguished, elegant and refined language, meaning an homage, in the beginning of our century, to the trios of the greatest stylists of our time. In fact, it is from the vocabulary of Fauré, Debussy and Ravel that he takes his grammar and syntax and that with which he carries out with his this harmonic writing that is both supple and sparse, that is so congenial to the association of four string instruments. This quartet, whose first movement is of a rare perfection, is a delicate enchantment.â? The Musik Fabrik edition of the Quatuor à cordes en ré mineur is taken from a photocopy of the composerâ??s manuscript of the full score. We also had access to the quartet parts found in Leg.
$38.95 ≈
34.80€
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: Shining Space:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95 ≈
34.80€
Carson Cooman: Sonata for Brass Choir, score and complete parts
Carson Cooman: Sonata for Brass Choir, score and complete parts
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Quatuor de Cuivres : 2 trompettes, trombone, tuba
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AVANCÉ
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Carson Cooman
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Carson Cooman: Sonata for Bras
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Musik Fabrik Music Publishing
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SheetMusicPlus
Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533694 Composed by Carson Cooman. 20th Century,Contemporary,Standards. Score and parts. 63...
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Brass Ensemble Horn,Trombone,Trumpet,Tuba - Level 5 - SKU: A0.533694 Composed by Carson Cooman. 20th Century,Contemporary,Standards. Score and parts. 63 pages. Musik Fabrik Music Publishing #3038639. Published by Musik Fabrik Music Publishing (A0.533694). Sonata for Brass Choir (1999) was written for and is dedicated to Michael Stewart and theChicago Brass Choir with funding from the Broeker Fund for New Music. The work is inthree movements.The first movement, Fanfare and Tuckets, contains elements of a traditional fanfare as well asa few harmonic surprises.The second movement, Arioso, is pervaded throughout by a descending ostinato figuration inthe horns and occasionally in the trombones. Melodies and melodic fragments emerge in theother instruments deriving themselves from the ostinato pattern.The third movement, Dance, contains elements of the dance form known as the furiant(distinguished by its metrical pattern consisting of alternating bars of 3/4 and 3/8 time). Adriving pulse is explored throughout as the work presses on to its conclusion.Score for: C trumpet2 Bb trumpets3 F horns2 trombones Tuba
$25.95 ≈
23.18€
Carson Cooman: Tundra Canticle (2003) for bassoon and contrabass
Carson Cooman: Tundra Canticle (2003) for bassoon and contrabass
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Carson Cooman
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Carson Cooman: Tundra Canticle
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Bassoon,Double Bass,Instrumental Duet - Level 4 - SKU: A0.533639 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and ...
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Instrumental Duet Bassoon,Double Bass,Instrumental Duet - Level 4 - SKU: A0.533639 Composed by Carson Cooman. Concert,Contemporary,Standards. Score and parts. 5 pages. Musik Fabrik Music Publishing #3034053. Published by Musik Fabrik Music Publishing (A0.533639). Tundra Canticle (2003) for bassoon and contrabass was written for and is dedicated to Brad andDoug Balliett. The work takes its inspiration from the frozen tundra of the Northern regions.The work is cast in three sections. An opening section alternates dramatic statements with lyricphrases. The second, slower section further develops this lyric texture, building to a climax. Thethird section brings back the opening material and presses on to a coda. One score for two players: two copies should be printed.
$11.95 ≈
10.68€
Paul Wehage: Distant Strophes for string quartet
Paul Wehage: Distant Strophes for string quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Paul Wehage
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Paul Wehage: Distant Strophes
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Musik Fabrik Music Publishing
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534374 Composed by Paul Wehage. Concert,Contemporary,Standards. Score and parts. 12...
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String Quartet Cello,String Quartet,Viola,Violin - Level 5 - SKU: A0.534374 Composed by Paul Wehage. Concert,Contemporary,Standards. Score and parts. 122 pages. Musik Fabrik Music Publishing #3396151. Published by Musik Fabrik Music Publishing (A0.534374). 1. Remembering the sounding bellsII. Interrupted RicacaresIII. En croisant le diable boiteuxIV. ...L'inflexion des voix chères qui se sont tues. (Paul Verlaine)V. Appels et Invocations Distant Strophes for String Quartet is dedicated to the American Cellist Stephen Evans. The work is written in five movements and is based on a series of poetic images.The first movement, Remembering the Sounding Bells..., uses bell-like sonorities and tonal fragments whichare developed between the four instruments of the quartet The second movement Interrupted Ricacares beginswith a compact, accelerating atonal motif which alternates with contrapuntal passages which evoke motet and ricacare forms.En Croisant le Diable Boîteux (Upon meeting the limping Devil) takes its inspiration from the novel by Lesage. This movement is a lively bi-tonal scherzo in classical ABA form which exploits off-the-string bowings and doublestops. The fourth movement, ...L'inflexion des voix chères qui se sont tues (the sounding of dear voices which have been silence) is a line from Paul Verlaine’s : Mon rêve familier (Poèmes saturniens/ melancholia VI 1866). A slowly unfolding dirge-like theme is passed through the four instruments in an expressive lament. The final movement, Appels et invocations, is inspired by a strophe in Charles Baudelaire’s le Serpent qui Danse in Les Fleurs du Mal which speaks of preparing for a voyage, real orimagined, which is expressed here in the angular, robust theme in unison which opens the work.
$38.95 ≈
34.80€
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, percussion parts + harp and contrabass par
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, percussion parts + harp and contrabass par
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Small Ensemble - Level 4 - SKU: A0.540713 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 36 pages. Musik Fabrik Music Publishing #62...
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Small Ensemble - Level 4 - SKU: A0.540713 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 36 pages. Musik Fabrik Music Publishing #62099. Published by Musik Fabrik Music Publishing (A0.540713). The composer writes : This work was premièred on April 27, 2003 at the Eglise Saint-Roch in Paris with the prestigious Orchestre de la Musique de L’Armée de L’Air, under the direction of my friend and colleague, Claude Picheraureau. I have always been fascinated by the beauty of the Cosmos, which has inspired many of my works. Feelings of infinite movement can be expressed musically and it seemed to me that one of the ways to do this was to end this work on a repeated phrase played in a long perdendosi, to give the impression that one is hearing the echoes of the finished phrase as the instruments stop playing. I had just started to write this work when I received a note for the Paris Observatory which gave me the news that the astronomical community had decided to name a newly discovered asteroid for Jean-Pierre Luminet. When I wrote to Jean-Pierre to congratulate him on this honour, reminding him with the Petit Prince that not everyone has their own star, I asked him if he would accept that I name this work for concert band with the full name of his asteroid: 5523 Luminet 1991 PH8. Jean-Pierre accepted my proposition by return letter : ..., not only do I not have any objection, but I would be very honoured. To be in the celestial spheres in the form of a rock and also in the form of music, what more could one ask for? The work is scored for : Piccolo 2 Flûtes/2 Flutes 2 Hautbois/2 Oboes Cor Anglais/English Horn 2 Bassons/2 Bassoons Contrebasson/Contrabassoon Petite Clarinette en Mib/Eb Clarinet 1ers Clarinettes en Sib/1st Bb Clarinets : 2mes Clarinettes en Sib/2nd Bb Clarinets Clarinette Basse/Bass Clarinet 1er Saxophone Alto en Mib/1st Eb Alto Saxophone 2me Saxophone Alto en Mib/2nd Eb Alto Saxophone Saxophone Ténor en Sib/Bb Tenor Saxophone Saxophone Baryton en Mib/Eb Baritone Saxophone 4 Cors en fa/4 F Horns 2 trompettes en Sib/2 Bb Trumpets 2 cornets en Sib/2 Bb Cornets 2 Trombones Ténors/2 Tenor Trombones Trombone Basse/Bass Trombone Euphonium Tuba en Ut/Tuba in C Contrebasse à cordes/String Bass Harpe/Harp Timbales/Tympani Percussion I : Marimba Cloches en Tube/Tubular Bells &wRt Grosse Caisse/Bass Drum = G.C Tambour/Field Drum = Tamb. Percussion II : Jeu de timbres/Glockenspeil = JdT Caisse Claire/Snare Drum = c. cl. Percussion III : Gong 3 cymbales suspendues (aigu, medium, grave)/3 suspended cymbales (high, medium, low) = CSa, CSm, CSg 3 Tamtams (aigu, medium, grave/high, medium, low) = TTA, TTM, TTG Duration : aprox 12 minutes. This item contains the percussion, harp, and contrabass parts. The parts are available in three sets (wind parts/brass part/percussion + harp and double bass) and each individual part is also available The fullscore is available as a seperate item..
$19.95 ≈
17.82€
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, score
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, score
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.540710 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 39 pages. Musik Fabrik Music Publishing #6209...
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Concert Band - Level 4 - SKU: A0.540710 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 39 pages. Musik Fabrik Music Publishing #62093. Published by Musik Fabrik Music Publishing (A0.540710). The composer writes : This work was premièred on April 27, 2003 at the Eglise Saint-Roch in Paris with the prestigious Orchestre de la Musique de L’Armée de L’Air, under the direction of my friend and colleague, Claude Picheraureau. I have always been fascinated by the beauty of the Cosmos, which has inspired many of my works. Feelings of infinite movement can be expressed musically and it seemed to me that one of the ways to do this was to end this work on a repeated phrase played in a long perdendosi, to give the impression that one is hearing the echoes of the finished phrase as the instruments stop playing. I had just started to write this work when I received a note for the Paris Observatory which gave me the news that the astronomical community had decided to name a newly discovered asteroid for Jean-Pierre Luminet. When I wrote to Jean-Pierre to congratulate him on this honour, reminding him with the Petit Prince that not everyone has their own star, I asked him if he would accept that I name this work for concert band with the full name of his asteroid: 5523 Luminet 1991 PH8. Jean-Pierre accepted my proposition by return letter : ..., not only do I not have any objection, but I would be very honoured. To be in the celestial spheres in the form of a rock and also in the form of music, what more could one ask for? The work is scored for : Piccolo 2 Flûtes/2 Flutes 2 Hautbois/2 Oboes Cor Anglais/English Horn 2 Bassons/2 Bassoons Contrebasson/Contrabassoon Petite Clarinette en Mib/Eb Clarinet 1ers Clarinettes en Sib/1st Bb Clarinets : 2mes Clarinettes en Sib/2nd Bb Clarinets Clarinette Basse/Bass Clarinet 1er Saxophone Alto en Mib/1st Eb Alto Saxophone 2me Saxophone Alto en Mib/2nd Eb Alto Saxophone Saxophone Ténor en Sib/Bb Tenor Saxophone Saxophone Baryton en Mib/Eb Baritone Saxophone 4 Cors en fa/4 F Horns 2 trompettes en Sib/2 Bb Trumpets 2 cornets en Sib/2 Bb Cornets 2 Trombones Ténors/2 Tenor Trombones Trombone Basse/Bass Trombone Euphonium Tuba en Ut/Tuba in C Contrebasse à cordes/String Bass Harpe/Harp Timbales/Tympani Percussion I : Marimba Cloches en Tube/Tubular Bells &wRt Grosse Caisse/Bass Drum = G.C Tambour/Field Drum = Tamb. Percussion II : Jeu de timbres/Glockenspeil = JdT Caisse Claire/Snare Drum = c. cl. Percussion III : Gong 3 cymbales suspendues (aigu, medium, grave)/3 suspended cymbales (high, medium, low) = CSa, CSm, CSg 3 Tamtams (aigu, medium, grave/high, medium, low) = TTA, TTM, TTG Duration : aprox 12 minutes. This item is the full score. The parts are available in three sets (wind parts/brass part/percussion + harp and double bass) and each individual part is also available.
$19.95 ≈
17.82€
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, woodwind parts
Thérèse Brenet: (5523) Luminet 1991 PH8 for concert band, woodwind parts
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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New Age
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Contemporain
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.540712 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 92 pages. Musik Fabrik Music Publishing #6209...
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Concert Band - Level 4 - SKU: A0.540712 Composed by Therese Brenet. Contemporary,New Age. Score and parts. 92 pages. Musik Fabrik Music Publishing #62097. Published by Musik Fabrik Music Publishing (A0.540712). The composer writes : This work was premièred on April 27, 2003 at the Eglise Saint-Roch in Paris with the prestigious Orchestre de la Musique de L’Armée de L’Air, under the direction of my friend and colleague, Claude Picheraureau. I have always been fascinated by the beauty of the Cosmos, which has inspired many of my works. Feelings of infinite movement can be expressed musically and it seemed to me that one of the ways to do this was to end this work on a repeated phrase played in a long perdendosi, to give the impression that one is hearing the echoes of the finished phrase as the instruments stop playing. I had just started to write this work when I received a note for the Paris Observatory which gave me the news that the astronomical community had decided to name a newly discovered asteroid for Jean-Pierre Luminet. When I wrote to Jean-Pierre to congratulate him on this honour, reminding him with the Petit Prince that not everyone has their own star, I asked him if he would accept that I name this work for concert band with the full name of his asteroid: 5523 Luminet 1991 PH8. Jean-Pierre accepted my proposition by return letter : ..., not only do I not have any objection, but I would be very honoured. To be in the celestial spheres in the form of a rock and also in the form of music, what more could one ask for? The work is scored for : Piccolo 2 Flûtes/2 Flutes 2 Hautbois/2 Oboes Cor Anglais/English Horn 2 Bassons/2 Bassoons Contrebasson/Contrabassoon Petite Clarinette en Mib/Eb Clarinet 1ers Clarinettes en Sib/1st Bb Clarinets : 2mes Clarinettes en Sib/2nd Bb Clarinets Clarinette Basse/Bass Clarinet 1er Saxophone Alto en Mib/1st Eb Alto Saxophone 2me Saxophone Alto en Mib/2nd Eb Alto Saxophone Saxophone Ténor en Sib/Bb Tenor Saxophone Saxophone Baryton en Mib/Eb Baritone Saxophone 4 Cors en fa/4 F Horns 2 trompettes en Sib/2 Bb Trumpets 2 cornets en Sib/2 Bb Cornets 2 Trombones Ténors/2 Tenor Trombones Trombone Basse/Bass Trombone Euphonium Tuba en Ut/Tuba in C Contrebasse à cordes/String Bass Harpe/Harp Timbales/Tympani Percussion I : Marimba Cloches en Tube/Tubular Bells &wRt Grosse Caisse/Bass Drum = G.C Tambour/Field Drum = Tamb. Percussion II : Jeu de timbres/Glockenspeil = JdT Caisse Claire/Snare Drum = c. cl. Percussion III : Gong 3 cymbales suspendues (aigu, medium, grave)/3 suspended cymbales (high, medium, low) = CSa, CSm, CSg 3 Tamtams (aigu, medium, grave/high, medium, low) = TTA, TTM, TTG Duration : aprox 12 minutes. This item contains all of the woodwind parts The parts are available in three sets (wind parts/brass part/percussion + harp and double bass) and each individual part is also available. The full score is available as a seperate item.
$59.95 ≈
53.56€
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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Americana Symphony "Varia
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'Connor Musik Int...
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Full Orchestra - Level 5 - SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'Connor Musik International #6209395. Published by Mark O'Connor Musik International (A0.861960). Americana Symphony Variations on Appalachia Waltz (wind parts – symphony orchestra) MO164B-IWind Parts (score and parts available)Music by Mark O’Connor164 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
71.47€
Americana Symphony "Variations on Appalachia Waltz" (string parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (string parts – symphony orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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Americana Symphony "Varia
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861963 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 163 pages. Mark O'Connor Musik Int...
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Full Orchestra - Level 5 - SKU: A0.861963 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 163 pages. Mark O'Connor Musik International #6209407. Published by Mark O'Connor Musik International (A0.861963). Americana Symphony Variations on Appalachia Waltz (string parts – symphony orchestra) MO164U-ZString Parts (score and parts available)Music by Mark O’Connor163 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American. Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
71.47€
Americana Symphony "Variations on Appalachia Waltz" (brass parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (brass parts – symphony orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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Americana Symphony "Varia
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861961 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 162 pages. Mark O'Connor Musik Int...
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Full Orchestra - Level 5 - SKU: A0.861961 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 162 pages. Mark O'Connor Musik International #6209399. Published by Mark O'Connor Musik International (A0.861961). Americana Symphony Variations on Appalachia Waltz (brass parts – symphony orchestra) MO164J-PBrass Parts (score and parts available)Music by Mark O’Connor162 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
71.47€
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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Americana Symphony "Varia
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'Connor Musik Inte...
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Full Orchestra - Level 5 - SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'Connor Musik International #6209401. Published by Mark O'Connor Musik International (A0.861962). Americana Symphony Variations on Appalachia Waltz (percussion parts – symphony orchestra) MO164Q-TPercussion Parts (score and parts available)Music by Mark O’Connor99 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$50.00 ≈
44.67€
Americana Symphony "Variations on Appalachia Waltz" (score – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (score – symphony orchestra)
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Orchestre
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AVANCÉ
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Mark O'Connor
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Americana Symphony "Varia
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.861959 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 93 pages. Mark O'Connor Musik Inte...
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Full Orchestra - Level 5 - SKU: A0.861959 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 93 pages. Mark O'Connor Musik International #6209393. Published by Mark O'Connor Musik International (A0.861959). Americana Symphony Variations on Appalachia Waltz (score – symphony orchestra) MO164AScore (parts available)Music by Mark O’Connor86 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$40.00 ≈
35.73€
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
Gregory Sullivan Isaacs: Henry Faust for tenor and piano
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Voix Tenor, Piano
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AVANCÉ
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Contemporain
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Gregory Sullivan Isaacs
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Gregory Sullivan Isaacs: Henry
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Musik Fabrik Music Publishing
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SheetMusicPlus
Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fa...
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Tenor Voice,Vocal Solo - Level 5 - SKU: A0.534399 Composed by Gregory Sullivan Isaacs. 20th Century,Opera,Romantic Period,Standards. 126 pages. Musik Fabrik Music Publishing #3424583. Published by Musik Fabrik Music Publishing (A0.534399). Described as a « tour de force« during the operaâ??s initial run of performances â??Henry Faustâ? by Gregory Sullivan Isaacs is a three-act, one character opera based on Goëtheâ??s play as translated by Anna Swanwich (1859) with a libretto by the composer. It was premièred at the Circle Theatre in Chicago on April 11, 1993 with the Composer as Faust and Kevin Hinton, pianistâ??Henry Faustâ? started out as a thought about the â??essenceâ? of opera. Isaacs thought that one singer, one piano, and a black box theater were all that was really needed to achieve â??opera-nessâ?. Goetheâ??s play, â??Faust,â? immediately came to mind. The tale of the professor who makes a deal with the devil for infinite knowledge and the restoration of youth, only to betray himself by lust, seemed perfect. The three-act opera is for tenor and piano and in a Goethe-era English translation by Anna Swanwick. She was the leading translator of Goethe of her day and one of the first advocates for womenâ??s rights. Every word Faust sings is a line from the play.The opera is set in a miserable single-occupancy hotel room furnished with an iron cot, a beat-up dresser and a tattered arm chair. Faust, disheveled and in his pajamas, lives out the drama. The ensuing events, the feverish creations of an addled brain, are all real to Faust. He sees and interacts with the other two characters â?? the devil and Gretchen â?? and flies to hell to dance at the Witches Sabbath. Both the tenor and piano parts are equally demanding and require artists of the first order. The tenor part covers a great range â?? both vocally and dramatically. The piano part requires a virtuoso and musically expresses all of the imaginary characters.SOME SELECTED HENRY FAUST REVIEWS â??You can add Henry Faust to that short list of successful single-singer operas (Schoenbergâ??s Ewartung and Poulencâ??s La Voix Humaine) ... it proved to be a moving experience. Isaacsâ?? music, cast in traditional forms, such as fugue, passacaglia, rondo and variation, is always accessible... often strikingly beautiful, as in the Ländler that closes act two.â? THE DETROIT FREE PRESS (John Guinn) - Detroitâ??Written in what Isaacs calls â??refreshed tonality,â?? this lush, supplely intense music serves the drama well ... from the despairing agitato of Faust's opening agonies to the lyrical frenzy of his first glimpse of Gretchen to a hushed declaration of love as tender as we could wish... Isaacs' tour de force certainly has a future.â? THE CHICAGO READER (Larry Bommer) - Chicagoâ??...the first (full evening) operatic monodrama ever promises to give Goethe's thrice-told tale a fresh contemporary slantâ?¦ a theater piece that uses opera as its language... a prototype of a new kind of small theater piece, eminently practical at a time of reduced opera company budgets... (Isaacs) brings solid professional credits ... an experienced conductor as well as composer/performer.â? THE CHICAGO TRIBUNE (John von Rhein) â?? Chicago
$65.95 ≈
58.92€
Jan Freidlin: Fjord Reflections for harp
Jan Freidlin: Fjord Reflections for harp
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Harpe
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INTERMÉDIAIRE/AVANCÉ
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Jan
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Jan Freidlin: Fjord Reflection
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Musik Fabrik Music Publishing
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SheetMusicPlus
Harp - Level 4 - SKU: A0.534066 Composed by Jan. 20th Century,Concert,Contemporary,Standards. Score. 7 pages. Musik Fabrik Music Publishing #3107617. Pu...
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Harp - Level 4 - SKU: A0.534066 Composed by Jan. 20th Century,Concert,Contemporary,Standards. Score. 7 pages. Musik Fabrik Music Publishing #3107617. Published by Musik Fabrik Music Publishing (A0.534066). A descriptive work which expresses the sparkling water along the fjords of Norway.
$11.95 ≈
10.68€
Paul Wehage: Hommage à Duras for alto saxophone
Paul Wehage: Hommage à Duras for alto saxophone
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Saxophone Alto
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INTERMÉDIAIRE/AVANCÉ
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Paul Wehage
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Paul Wehage: Hommage à
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Musik Fabrik Music Publishing
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SheetMusicPlus
Alto Saxophone Solo - Level 4 - SKU: A0.534370 Composed by Paul Wehage. Concert,Contemporary,Standards. Individual part. 6 pages. Musik Fabrik Music Pub...
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Alto Saxophone Solo - Level 4 - SKU: A0.534370 Composed by Paul Wehage. Concert,Contemporary,Standards. Individual part. 6 pages. Musik Fabrik Music Publishing #3395443. Published by Musik Fabrik Music Publishing (A0.534370). In July of 2005, Claire Deluca, a French Actress well known for her association with Marguerite Duras asked Paul Wehage to write music for a work entitled Nevers, an adaptation of the scenario and notes for the film Hiroshima Mon Amour. The work was first presented at the Marché de La Poésie at the Cinema Harlequin in Paris and formally premièred at the 10th Hommage à Marguerite Duras in the Hall of Les Roches Noires in Trouville, France on October 3, 2005. This present version is a reworking of that material and is dedicated to Claire Deluca.In Nevers, a woman tells a stranger about her love of a German soldier in occupied France, his subsequent death and finally being punished by having her head shaved during the Liberation of France.The music seeks to express the strong emotions that the woman expresses: love, erotic desire, grief and finally acceptance, but through a veil of memory which Duras sees as being constantly disappearing, almost before each moment is finished. The work should be played as if from another time, almost as if the music only existed as thought rather than sound. Although the emotions are violent, the expressive effects should always be interiorized.
$11.95 ≈
10.68€
Thérèse Brenet: Six Poèmes for orchestra with principal piano, score and solo part
Thérèse Brenet: Six Poèmes for orchestra with principal piano, score and solo part
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Therese Brenet
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Thérèse Brenet:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.533513 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 66 pages. Musik Fabrik Music Publishing #...
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Full Orchestra - Level 4 - SKU: A0.533513 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 66 pages. Musik Fabrik Music Publishing #3006617. Published by Musik Fabrik Music Publishing (A0.533513). I. Dans l’harmonie de la force et de l’amour 3’30â€II. Scintillement 1’35â€III. Un immense chant d’espérance 3’10â€IV. Andante 2’05â€V. Un élan de violence 1’00â€VI. Les cycles infinis de la beauté et de la grâce 3’10â€durée totale/total duration : 14’30â€In this work, the author expresses her aim of mediation, of mysticalthought and sometimes even cosmic thought, through a her searchfor contrasting orchestral couleurs, which offer to a composer aseemingly infinite and boundless choice.orchestration: 2(pic)222/4330/timp/2perc/glock/cel/hp/stringsparts on rental from the publisher
$25.95 ≈
23.18€
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