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| Jesus Guridi: Viejo Zortzico For Harp Harp - Intermediate Unión Musical Ediciones
Composed by Jesus Guridi (1886-1961). Music Sales America. Exam Material. Book O...(+)
Composed by Jesus Guridi (1886-1961). Music Sales America. Exam Material. Book Only. 8 pages. Union Musical Ediciones #MUSUME19549. Published by Union Musical Ediciones
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| Sonata For Harpsichord Harp Theodore Presser Co.
Chamber Music harp SKU: PR.110406720 Composed by Samuel Adler. Classical....(+)
Chamber Music harp SKU: PR.110406720 Composed by Samuel Adler. Classical. Softcover. With Standard notation. Duration 14 minutes. Theodore Presser Company #110-40672. Published by Theodore Presser Company (PR.110406720). UPC: 680160001316. I have always been fond of writing works for specific people or organizations. It has been my good fortune during most of my creative career to be asked to compose for many extraordinary performers. The Sonata for Harpsichord Solo is such a case in point: it was written in 1982 for Barbara Harbach, a superb performer, close friend, and collaborator on many musical projects. The Sonata was premiered on March 2, 1984, in a recital given by Dr. Harbach at Nazareth College in Rochester, New York. During my formative years as a composer, one seldom heard of the harpsichord as a modern instrument, though while I attended undergraduate school at Boston University, some of us banded together to construct a small harpsichord from one of the first do-it-yourself kits which began to appear in the late '40s. It was also during this time that I heard the Sonatina for Violin and Harpsichord by my teacher Walter Piston and consequently specified that the accompanying instrument for my second violin sonata could either be a piano or a harpsichord. It was not until recently, however, that my interest in the harpsichord as a solo instrument for new music was aroused. This was because of the emergence of so many young virtuosi, such as Barbara Harbach, who are interested in the performance of new music besides the great harpsichord music of the Classical, Baroque, and pre-Baroque eras. The keyboard music of Domenico Scarlatti has always intrigued and fascinated me. The brevity, excitement, and clarity of this sparkling music is charming as well as exhilarating. It is this type of Baroque sonata that inspired the conception and form of my harpsichord sonata. The entire work is loosely based on the musical translation of Barabara Harbach's name, especially the conflict of the B (B-flat) and H (B-natural in German notation). This secondo rub or dissonance especially pervades the first movement, which is in a modified sonata form, pitting jagged and tense melodic elements against most lyrical and smooth lines. This second movement is a song-like melody accompanied by rolled chords which may be played on the lute stop of the instrument if this sonata is performed on a two-manual harpsichord. The final movement is an ever-driving joyous toccata which brings the work to an exciting close with a coda made up of accelerating repeated chords. --Samuel Adler. $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Wolcum Yole Choral SATB SATB, Harp Boosey and Hawkes
SATB and Harp (Piano). By Benjamin Britten. Arranged by Julius Harrison. (SATB)...(+)
SATB and Harp (Piano). By Benjamin Britten. Arranged by Julius Harrison. (SATB). Boosey and Hawkes Sacred Choral. Size 6.8x10.5 inches. 8 pages. Published by Boosey and Hawkes.
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| In Freezing Winter Night Choral SATB SATB, Harp Boosey and Hawkes
((from A Ceremony of Carols) SATB and Harp or Piano, New Edition). Composed by B...(+)
((from A Ceremony of Carols) SATB and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SATB). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481613. Published by Boosey and Hawkes
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| Things I Learned From My Cat Harp [Solo Part] Theodore Presser Co.
(For Solo Harp). By Gary Schocker. For harp. Contemporary. Solo part. Standard n...(+)
(For Solo Harp). By Gary Schocker. For harp. Contemporary. Solo part. Standard notation. Composed July 07 2012. 16 pages. Duration 16 minutes. Published by Theodore Presser Company
$13.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gloria 2 Harps (duet) Carl Fischer
Choral Harp 1, Harp 2, Piano, string quintet, SATB chorus SKU: CF.CM9220 ...(+)
Choral Harp 1, Harp 2, Piano, string quintet, SATB chorus SKU: CF.CM9220 From Missa Brevis. Composed by Jean Perry David Perry. SWS. Performance Score. With Standard notation. 16 pages. Duration 3:30. Carl Fischer Music #CM9220. Published by Carl Fischer Music (CF.CM9220). ISBN 9780825883385. UPC: 798408083380. 6.875 x 10.5 inches. Key: A major. Text: Traditional Latin Text. Traditional Latin Text. This octavo is the Gloria from Dave and Jean Perry's Missa brevis. The traditional Latin text is coupled with an inspired new and joyous arrangement for our times. Choral directors looking for a grander performance, can also use an optional arrangement for 2 harps and strings (vln 1, vln 2 , vla, cello, bass). If you do not have 2 harps, a piano part (different from the piano part in the octavo) is included to cover the harps. The full score and the parts for the 2 harps, the optional substituting piano and strings are available as a free download at www.carlfischer.com. Duration: 3:30. $2.75 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Legend of the Elves by Leconte de Lisle Harp Leduc, Alphonse
Harp SKU: HL.48181024 For Harp. Composed by Henriette Renie. Leduc...(+)
Harp SKU: HL.48181024 For Harp. Composed by Henriette Renie. Leduc. Classical. Softcover. 15 pages. Alphonse Leduc #AL20016. Published by Alphonse Leduc (HL.48181024). UPC: 888680878566. 9x12 inches. French harpist and composer, Henriette Renié (1875-1956) lived in poverty for much of her life. However, this did not stop her from composing significant works for the harp, including Legend of the Elves inspired the poem of the same name by French poet, Leconte de Lisle. Despite being a talented composer, Renié lived at a time where fame and success was socially unacceptable for women. In 1903, she composed her substantial work for harp, Legend of the Elves. As a highly virtuosic work, this Renié piece displays use of cadenza passages, exploitation of tonality, complex rhythms and variety in performance directions. For advanced harpists, Renié's Legend of the Elves is an exciting and varied addition to the repertoire. $30.15 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| In Freezing Winter Night (from A Ceremony of Carols) Choral 3-part SSA Boosey and Hawkes
(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSS and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481620. Published by Boosey and Hawkes
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| Wolcum Yole (from A Ceremony of Carols) Choral 3-part SSA - Intermediate Boosey and Hawkes
(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). ...(+)
(SSA Chorus, Harp or Piano). By Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481644. Published by Boosey and Hawkes
$2.35 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| As Dew in Aprille (from A Ceremony of Carols) Choral 3-part SSA - Intermediate Boosey and Hawkes
(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). ...(+)
(SSA and Harp or Piano, New Edition). Composed by Benjamin Britten (1913-1976). For Choral (SSA). Boosey and Hawkes Sacred Choral. 12 pages. Boosey and Hawkes #M051481590. Published by Boosey and Hawkes
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| The Sacred Harp Concert band Alfred Publishing
By David Liptak. By David Liptak. For Concert Band. Concert Band. Donald Hunsber...(+)
By David Liptak. By David Liptak. For Concert Band. Concert Band. Donald Hunsberger Wind Library. Level: 5 (Medium Advanced) (grade 5). Conductor Score and Parts. 259 pages. Published by Alfred Publishing.
$125.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Six concertos for harpsichord or organ, volume 2 Edition HH
Harpsichord or organ, strings, basso continuo SKU: HH.HH546-FSC Composed ...(+)
Harpsichord or organ, strings, basso continuo SKU: HH.HH546-FSC Composed by Henry Junior Burgess. Edited by Michael Talbot. Full score. Edition HH Music Publishers #HH546-FSC. Published by Edition HH Music Publishers (HH.HH546-FSC). ISBN 9790708185611. Burgess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-response’ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions. $25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Three Inventions Harpsichord Theodore Presser Co.
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full...(+)
Chamber Music Harpsichord SKU: PR.110418390 Composed by Eric Ewazen. Full score. 11 pages. Duration 10 minutes. Theodore Presser Company #110-41839. Published by Theodore Presser Company (PR.110418390). ISBN 9781491134603. UPC: 680160685158. Eric Ewazen’s THREE INVENTIONS were inspired by Bach’s Two-part Inventions, yet they sound thoroughly like Ewazen. Composed for harpsichord (with a piano adaptation following later), Ewazen’s inventions maintain a pure “one note per hand” texture until their final chord, with strong-but-free imitative counterpoint between the two voices. While Ewazen may be best known for his wind music, he is a pianist himself, and composers’ works for their own instrument are a direct insight into how they write for their own performances. The piano adaptation of THREE INVENTIONS is also available as a separate publication. THREE INVENTIONS was written for my dear friend Maria Rojas, who premiered the work on a faculty recital at Juilliard. Maria is both a pianist and a harpsichordist, and I first met her when she gave a demonstration of the harpsichord for the students in my theory classes.I’ve always been captivated by Bach’s series of Two-Part and Three-Part Inventions. With the Two-Part Inventions, I’m amazed how Bach could create such wonderful intricacy and counterpoint with only two voices. I consequently modeled my inventions after the counterpoint of Bach, involving the traditional contrapuntal devices he used: imitation, development, harmonic and modal shifts, fragmentation, and sequence, essentially creating a dialog between two completely equal voices conversing with each other!Bach wrote 15 Two-Part Inventions (as well as 15 Three-Part Inventions, not to mention the 48 preludes and fugues in The Well-Tempered Clavier!), and that’s just the start of his voluminous repertoire for the keyboard! I was happy just to write three!!!Each of my inventions has a distinctive mood. The first is in a relaxed, yet cheerful C Major tonality (as a nod to Bach’s Invention No. 1 in C Major); the second is heartfelt and lyrical; and the third invention (involving a Gigue rhythm in the compound meter of 12/8) is energetic, and full of life and spontaneity. The third is primarily in a minor tonality, resulting in a feeling of drama, bringing the THREE INVENTIONS to an exciting finale. $14.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Six concertos for harpsichord or organ, volume 2 Edition HH
Harpsichord or organ, strings, basso continuo SKU: HH.HH546-IPT Composed ...(+)
Harpsichord or organ, strings, basso continuo SKU: HH.HH546-IPT Composed by Henry Junior Burgess. Edited by Michael Talbot. Instrumental parts. Edition HH Music Publishers #HH546-IPT. Published by Edition HH Music Publishers (HH.HH546-IPT). Burgess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-response’ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions. $68.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Six concertos for harpsichord or organ, volume 1 Edition HH
Harpsichord or organ, strings, basso continuo SKU: HH.HH545-FSC Composed ...(+)
Harpsichord or organ, strings, basso continuo SKU: HH.HH545-FSC Composed by Henry Junior Burgess. Edited by Michael Talbot. Full score. Edition HH Music Publishers #HH545-FSC. Published by Edition HH Music Publishers (HH.HH545-FSC). ISBN 9790708185604. Burgess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-response’ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions. $25.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Six concertos for harpsichord or organ, volume 1 Edition HH
Harpsichord or organ, strings, basso continuo SKU: HH.HH545-IPT Composed ...(+)
Harpsichord or organ, strings, basso continuo SKU: HH.HH545-IPT Composed by Henry Junior Burgess. Edited by Michael Talbot. Instrumental parts. Edition HH Music Publishers #HH545-IPT. Published by Edition HH Music Publishers (HH.HH545-IPT). Burgess’s concertos display unity in larger matters and variety in smaller ones, aiming to achieve coherence without monotony. Their greatest originality, and a major part of their attractiveness, arises from the fact that they draw their inspiration from three different sources. Particularly in the fast movements not in binary form, they adopt the structure and much of the style of equivalent movements by Vivaldi. But they also follow Handelian precedent in their copious use of the ‘call-and-response’ device, where soloist and orchestra exchange a series of phrases, and in their striving for gravitas and pathos. To these influences can be added their frequent allusions to English song and dance traditions. $68.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| A Baroque-Style Christmas Piano solo - Intermediate/advanced Alfred Publishing
10 Arrangements Inspired by Baroque Compositions. Arranged by Faye Lopez. Pia...(+)
10 Arrangements Inspired by
Baroque Compositions.
Arranged by Faye Lopez.
Piano Collection; Piano
Supplemental; Worship
Resources. Sacred Performer
Collections. Christmas;
Hymn; Sacred; Winter. Book.
40 pages. Alfred Music #00-
47771. Published by Alfred
Music
$12.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,” at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe” and the “premier oboist of Europe.”Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six” Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.”Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…” Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.”Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour” through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution” came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sambuca Sonata Theodore Presser Co.
Chamber Music Flute, Piano, Viola SKU: PR.11440719S Composed by Nathan Cu...(+)
Chamber Music Flute, Piano, Viola SKU: PR.11440719S Composed by Nathan Currier. Set of Score and Parts. With Standard notation. 44 pages. Duration 11 minutes, 30 seconds. Theodore Presser Company #114-40719S. Published by Theodore Presser Company (PR.11440719S). UPC: 680160011087. 8.5 x 11 inches. Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary. $34.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto Violin Theodore Presser Co.
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, ...(+)
Orchestra Bass Trombone, Bassoon 1, Bassoon 2, Celesta, Clarinet 1, Clarinet 2, Contrabass, English Horn, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Oboe 1, Oboe 2, Percussion, Piccolo, Timpani, Trombone, Trumpet 1, Trumpet 2, Viola, Violin 1 and more. SKU: PR.41641366L For Violin and Orchestra. Composed by Behzad Ranjbaran. Contemporary. Large Score. With Standard notation. Composed 1994. 144 pages. Duration 31 minutes. Theodore Presser Company #416-41366L. Published by Theodore Presser Company (PR.41641366L). UPC: 680160585755. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violins open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movements primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violinas open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movementas primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notion of writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures. The notes of the violin's open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes: 1 st movement: A-D-A 2nd movement: D-G-D 3rd movement: E-A-E The overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement's primary theme. While the movements share similar musical materials, each one is defined by distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgiving ferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes from the previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. From my early years studying violin at the Tehran Music Conservatory, I was captivated by the sound of the kamancheh, an ancient Persian bowed instrument considered one of the ancestors to the modern violin. I was pleased when the National Endowment for the Arts awarded me a grant to write a violin concerto as it provided me with an occasion to rekindle my fascination with the kamancheh. The notionof writing a violin concerto that would incorporate the power and brilliance of a modern instrument with the delicate and lyrical character of an ancient one was simply irresistible. Moreover, the inspiration from the kamancheh also informed my use of Persian modes, melodic, and rhythmic figures.The notes of the violin’s open strings (G, D, A, E) also influenced many of the melodic and harmonic elements of my violin concerto. The opening tutti is mostly based on intervals of a perfect 4th and 5th. The primary material for each movement incorporates notes of two of the open strings of the violin, creating a three-note melodic motif as the basis of themes:1 st movement: A-D-A2nd movement: D-G-D3rd movement: E-A-EThe overall structure of the concerto is organic and cyclical, as themes are shared between the three movements. For example, the main musical idea of the third movement is a transformation of the first movement’s primary theme. While the movements share similar musical materials, each one is definedby distinguishing characters. The first movement is conflicted; alternating between sections of unabashed lyricism and unforgivingferocity. The second movement is haunting, mysterious, and expressive with long melodic lines that vary continuously. It moves through different moods and characters including a reimagining of a traditional Persian wedding tune played by the orchestra (m. 98). The third movement is festive in character and features much brilliant passagework for the solo violin. At the climax of this movement, themes fromthe previous movements re-emerge simultaneously with greater intensity, propelling the concerto to an energetic finale. The Concerto was composed in 1994 and is dedicated to Joshua Bell. $180.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Adventurer's Dream - Intermediate/advanced Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 4 SKU: CF.CAS98 Composed by Bud Woodruff. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 16+4+16+10+10+10+2+16 pages. Duration 2 minutes, 54 seconds. Carl Fischer Music #CAS98. Published by Carl Fischer Music (CF.CAS98). ISBN 9781491146583. UPC: 680160904082. 9 x 12 inches. Key: G major. Composer Bud Woodruff takes his musical inspiration for Adventurer's Dream from a rooster named Wally. Mr. Woodruff turns this charming four-note crow into the main thematic material for this piece that is reminiscent of classic movie scores. The principal theme to this piece has an interesting history . We had a very young rooster named Wally . He had a quite rhythmic four-pitched crow, which was very unique and consistent . As he aged, his crow settled into pitches and the opening melodic figure of this piece is the very pitches and rhythm of Wally’s crow . However, Wally had a touch of a glissando between the last two pitches, which I chose to eliminate, for musicality’s sake . Wally's crow is spun out in different ways and used one way or another in all the sections of the piece . Wally was a very energetic, if not egotistical, young bird, and the piece should be performed accordingly, in a dashing, swashbuckling, heroic style, which Wally would appreciate greatly and agree that it was very appropriate!Rehearsal suggestions:The most difficult thing to accomplish in this work will be deciding if you want the repeated eight-note figure on the string or off the string . I don’t care as long as it sounds staccato . On the string, it needs to be played at or by the camber point; off the string, that point will change depending upon your tempo, but the stroke itself should remain consistent .Although the basses never have the melody, they are a critically important section and can make or break this piece . Their part counters the others and fills in rhythmic gaps in a number of places . It needs to be played aggressively and metronomically; they are the glue that makes the piece work . The cellos need to sing for all they are worth at m . 63 and do so with joy in their hands . Their theme needs to be very lyrical and smooth . The countermelody at m . 79 should be understated, yet not buried while being intertwined with the cellos’ theme . It harkens back to the main theme and needs a dreamy quality to it .The piece was written as a string orchestra piece . The optional harp part was added later and is not necessary for an effective performance of the piece . However, it does add some extra variety and color to the piece, and reinforces the basses when they fill in those rhythmic gaps to which I referred earlier .A very special thanks goes to harpist Jane Minnis for the great and insightful suggestions for this part .Thank you for playing this piece . I trust you will enjoy it as much as I do . About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartet No. 3 String Quartet: 2 violins, viola, cello Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed by Dan Welcher. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Full score. With Standard notation. Composed 2007. WRT11142. 52 pages. Duration 24 minutes. Theodore Presser Company #164-00272S. Published by Theodore Presser Company (PR.16400272S). UPC: 680160588442. 8.5 x 11 inches. My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet. $38.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 3 String Quartet: 2 violins, viola, cello Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed by Dan Welcher. Spiral and Saddle. Premiere: Cassatt Quartet, Northeastern Illinois University, Chicago, IL. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. WRT11142. 52+16+16+16+16 pages. Duration 24 minutes. Theodore Presser Company #164-00272. Published by Theodore Presser Company (PR.164002720). UPC: 680160573042. 8.5 x 11 inches. My third quartet is laid out in a three-movement structure, with each movement based on an early, middle, and late work of the great American impressionist painter Mary Cassatt. Although the movements are separate, with full-stop endings, the music is connected by a common scale-form, derived from the name MARY CASSATT, and by a recurring theme that introduces all three movements. I see this theme as Mary's Theme, a personality that stays intact while undergoing gradual change. I The Bacchante (1876) [Pennsylvania Academy of Fine Arts, Philadelphia, Pennsylvania] The painting shows a young girl of Italian or Spanish origin, playing a small pair of cymbals. Since Cassatt was trying very hard to fit in at the French Academy at the time, she painted a lot of these subjects, which were considered typical and universal. The style of the painting doesn't yet show Cassatt's originality, except perhaps for certain details in the face. Accordingly the music for this movement is Spanish/Italian, in a similar period-style but using the musical signature described above. The music begins with Mary's Theme, ruminative and slow, then abruptly changes to an alla Spagnola-type fast 3/4 - 6/8 meter. It evokes the Spanish-influenced music of Ravel and Falla. Midway through, there's an accompanied recitative for the viola, which figures large in this particular movement, then back to a truncated recapitulation of the fast music. The overall feeling is of a well-made, rather conventional movement in a contemporary Spanish/Italian style. Cassatt's painting, too, is rather conventional. II At the Opera (1880) [Museum of Fine Arts, Boston, Massachusetts] This painting is one of Cassatt's most well known works, and it hangs in the Museum of Fine Arts in Boston. The painting shows a woman alone in a box at the opera house, completely dressed (including gloves) and looking through opera glasses at someone or something that is NOT on the stage. Across the auditorium from her, but exactly at eye level, is a gentleman with opera glasses intently watching her - though it is not him that she's looking at. It's an intriguing picture. This movement is far less conventional than the first movement, as the painting is far less conventional. The music begins with a rapid, Shostakovich-type mini-overture lasting less than a minute, based on Mary's Theme. My conjecture is that the woman in the painting has arrived late to the opera, busily stumbling into her box. What happens next is a kind of collage, a kind of surrealistic overlaying of two different elements: the foreground music, at first is a direct quotation of Soldier's Chorus from Gounod's FAUST (an opera Cassatt would certainly have heard in the brand-new Paris Opera House at that time), played by Violin II, Viola, and Cello. This music is played sul ponticello in the melody and col legno in the marching accompaniment. On top of this, the first violin hovers at first on a high harmonic, then descends into a slow melody, completely separate from the Gounod. It's as if the woman in the painting is hearing the opera onstage but is not really interested in it. Then the cello joins the first violin in a kind of love-duet (just the two of them, at first). This music isn't at all Gounod-derived; it's entirely from the same scale patterns as the first movement and derives from Mary's Theme and its scale. The music stays in a kind of dichotomy feeling, usually three-against-one, until the end of the movement, when another Gounod melody, Valentin's aria Avant de quitter ce lieux reappears in a kind of coda for all four players. It ends atmospherically and emotionally disconnected, however. The overall feeling is a kind of schizophrenic, opera-inspired dream. III Young Woman in Green, Outdoors in the Sun (1909) [Worcester Art Museum, Massachusetts] The painting, one of Cassatt's last, is very simple: just a figure, looking sideways out of the picture. The colors are pastel and yet bold - and the woman is likewise very self-assured and not in the least demure. It is eight minutes long, and is all about melody - three melodies, to be exact (Young Woman, Green, and Sunlight). No angst, no choppy rhythms, just ever-unfolding melody and lush harmonies. I quote one other French composer here, too: Debussy's song Green, from Ariettes Oubliees. 1909 would have been Debussy's heyday in Paris, and it makes perfect sense musically as well as visually to do this. Mary Cassatt lived her last several years in near-total blindness, and as she lost visual acuity, her work became less sharply defined - something akin to late water lilies of Monet, who suffered similar vision loss. My idea of making this movement entirely melodic was compounded by having each of the three melodies appear twice, once in a pure form, and the second time in a more diffuse setting. This makes an interesting two ways form: A-B-C-A1-B1-C1. String Quartet No.3 (Cassatt) is dedicated, with great affection and respect, to the Cassatt String Quartet, whose members have dedicated themselves in large measure to the furthering of the contemporary repertoire for quartet. $53.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| As Dew in Aprille (from A Ceremony of Carols) Choral SATB Boosey and Hawkes
Choral (SATB Choir) SKU: HL.48022495 SATB and Harp or Piano, New Editi...(+)
Choral (SATB Choir) SKU: HL.48022495 SATB and Harp or Piano, New Edition. Composed by Benjamin Britten. Boosey & Hawkes Sacred Choral. Classical. Octavo. 12 pages. Boosey & Hawkes #M051481583. Published by Boosey & Hawkes (HL.48022495). ISBN 9781476871486. UPC: 884088669676. 6.75x10.5 inches. Texts: Latin and English
Publisher: Boosey & Hawkes
Difficulty level: 3
The Ceremony of Carols is one of Britten's best-known and most-performed works. It is a brilliantly conceived and dramatic concert work which sees the voices process to their places singing unaccompanied plainsong and, at the end, processing out again to the same chant. These movements can also be accompanied but strictly only if the voices do not process. The final Alleluia can be repeated as many times as necessary to get the singers to and from their destination.The carols are for three-part children's voices (though, of course they can be sung by female adults as well) and they form a two-part work around a central Interlude for harp which is based on the plainsong from the Procession. Variety is the key word here as all the carols have such individual identities. The forthright Wolcum Yole!, the deliciously lyrical There is no Rose, the swinging Balulalow, the fiery and dramatic This little Babe all contribute to a work which is a feast of discovery throughout. Lovely solos and duos add further colour and the harp part, an inspired choice of accompaniment, enriches, colours and surrounds the voices with its pictorial musical imagery. If anything shows Britten's genius for writing for voices it must be this work.
The challenges here are in creating a real equality between voice parts, fielding a confident pair of soloists, and making the most of the wonderfully colourful poems Britten has chosen to set. Pronunciation is not really an issue, but when I recorded this work with the Finzi Singers I decided to follow the example of Sacred and Profane and use authentic medieval pronunciation for which an expert coach was necessary. It brings an added element of colour to a familiar aural experience.
Duration: 22 minutes
Paul Spicer, Lichfield, 2011. $1.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Ruders Listening Earth Score Book Orchestra Wilhelm Hansen
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. ...(+)
Orchestra SKU: HL.14027993 Composed by Poul Ruders. Music Sales America. Classical. Score. Composed 2006. 164 pages. Edition Wilhelm Hansen #WH30602. Published by Edition Wilhelm Hansen (HL.14027993). ISBN 9788759811832. English. Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra, conducted by David Robertson, 29th November 2002.
3 Flutes, 1st and 2nd also Alto Flutes in G, 3rd also Piccolo 3 Oboes, 3rd also Cor Anglais in F 3 Clarinets in Bb, 3rd also Bass Clarinet in Bb 3 Bassoons, 3rd also Contra Bassoon
4 Horn in F 3 Trumpets in Bb 3 Trombones 1 Tuba
Timpani
4 Percussion, four players Player 1 - Vibraphone, Glockenspiel, Water Chime, Bell Tree, Japanese Wood Blocks, Cymbal (Suspended), TamTam (Medium) Player 2 - Triangle, Tubular Bells, Crotales, Marimba, Chinese Cymbal Player 3 - TamTam (Large), Java Gong(Large, very low), Bell Lyra (Handheld), Sizzle Cymbal Player 4 - Bass Drum, Glockenspiel, Xylophone
1 Harp
1 Piano, also Celesta
Strings - 16/14/12/10/8
All transposing instruments are notated in their relevant transpositions. Any accidental apply only to the note that it immediately precedes, except tied notes. Naturals appear occasionally 'for safety'.
'LISTENING EARTH' is a symphonic drama, a one- movement composition in four parts based on the work by two writers, Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English, a classical scholar, essayist, poet and politician, but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon. The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems, nature, paintings, I was immediately convinced when I carne across the Addison hymn, that here was exactly what I wanted to use as my major source of inspiration for this piece, commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety, but have chosen the following 3 excerpts, all acting as mottos for the first three sections of the piece, thus turning the piece into a straightforward tonepoem in the classical. $131.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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| Hymns And Sacred Songs Harp [Sheet music]
Cette collection de la harpe celtique est remplie de 47 chansons favorites recor...(+)
Cette collection de la harpe celtique est remplie de 47 chansons favorites record de foi et d'inspiration. Ces chansons selon sont une ressource précieuse pour les nombreuses variétés de fonctions religieuses. Début avancée aux joueurs de harpe intermédiaire apprécieront le large éventail des airs, y compris le Celtic, gospel, hymnes, spirituals et morceaux de source d'inspiration populaire. / Harpe (Folk Ou Celtique) / 56 pages / niveau : Intermédiaire / Partition - Format: 11 X 8,5
27.97 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Sylvia Woods: Gecko
Tails: Harp Solo:
Instrumental Album Harp [Sheet music + CD]
Gecko Tails. This suite of five original, whimsical compositions by Sylvia Woods...(+)
Gecko Tails. This suite of five original, whimsical compositions by Sylvia Woods was inspired by the cute little geckos that live in most of the houses of Hawaii. With their suction-cup toes, these symbols of good luck climb the walls and dance across the ceiling. Includes: Sticky Toes, View from the Ceiling, Dancing in the Waterfalls, Tropical Dreams, and The Gecko Stroll. The pieces are for intermediate harp players, and fingerings are included. There are no lever changes in the middle of any of the pieces. The book is 32 pages. The enclosed companion CD included the entire 12-minute suite. Playable on lever harps and pedal harps.
12.25 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Jesus Guridi: Viejo
Zortzico For Harp: Harp:
Instrumental Album Español Harp [Sheet music] - Intermediate/advanced Unin Musical Ediciones
Jesus Guridi (1886-1961) was a Spanish composer and organist who championed the...(+)
Jesus Guridi (1886-1961) was a Spanish composer and organist who championed the continued use and preservation of Basque folk music. He is best remembered for his superb orchestral works such as Basque Melodies which were often transcribed for the Piano.Guridi wrote 7 pieces for the Harp of which Viejo Zortzico is certainly the most popular today. Composed in 1949 and premiered in 1950 it wasn’t published until 1960. Simply entitled Old Zortzico it is inspired by the traditional Basque dance of the same name a popular reel in 5/8 time.
11.99 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Barbe Aurelie - La Foret
Fantastique Vol.2 - Duos
Et Trios Pour Harpes Français 2 Harps (duet) Billaudot
The fantastic forest, a book in two illustrated books, offers 10 educational pie...(+)
The fantastic forest, a book in two illustrated books, offers 10 educational pieces for semi-collective courses. They are written for 2 or 3 undergraduate harpist students. These pieces use the sound resources of the instrument and its modes of play (xylo sounds, pinches, fingernails, slipped, whistled sounds, zincing ...) and also call on the voice (poem, spoken voice, sung). Each collection offers a piece of graphic writing, which will give great freedom to students, they will be already improvisers and creators of their own music. The themes in these pieces are inspired by nature and animals - real or imaginary - universal themes that every child experiences through his experience. Each piece is readable, attractive and meaningful so that everyone can take ownership. Students and teachers can give free rein to their imagination to propose stagings during public performances. 7. The Fairy Line 8. The twin camels 9. The horse and the unicorn 10. The explorers
17.40 EUR - Sold by Woodbrass Pre-shipment lead time: In Stock | |
| Frederick Swann: Blessed
Be The God And Father:
SATB: Vocal Score Choral SATB [Vocal Score] Hinshaw Music Inc.
Roland C30 Digital Harpsichord including stool. Experience the elegance of baroq...(+)
Roland C30 Digital Harpsichord including stool. Experience the elegance of baroque music.While producing authentically exquisite centuries-old harpsichord sounds and drawing inspiration from 21st century ingenuity the Roland Classic Series C30 Digital Harpsichord uses digital technology to enhance playability and expressiveness. Whether you are a virtuoso or a novice the C30 makes it possible for you to spend as much quality time as you want with the harpsichord. Taking up little space the styling of the C30 is modelled on the virginals. With an authentic wooden cabinet and a high-quality mahogany finish the traditional and simple styling will beright at home in a classic or modern interior. The period styling is enhanced by stained glass on the stand and the decorative panel on the keyboard lid. The C30 can easily switch between the built-in French and Flemish types of harpsichord. Both of these have four dispositions— 8’ I (back eight) 8’ II (front eight) 4’ (upper octave) and lute (buff mute) — and each disposition has its own dedicated selection button. You can play with a single disposition or layer more than one. The C30 also has an excellent fortepiano sound and has two admirable sampled organ options - 8' flute (ideal for solo accompaniment) and 8'+4' Principal which is ideal for use with a choir. The digital C30 doesn’t need tuning and you can simply switch the pitch from a=440 to baroque (415 Hz) and French baroque (392 Hz). If for ensemble playing you need to match the C30 to other instruments fine pitch adjustments can be made. You can easily take the C30 with you to group rehearsals and live performances. Even if the temperature and humidity vary you can be sure that the pitch will remain accurate. Time-consuming maintenance is a thing of the past. Now you can just turn on and play. As well as equal temperament you can select Werckmeister Kirnberger Vallotti and Meantone tuning
3.99 GBP - Sold by Musicroom UK | |
| Lalita-Nartya - Poeme
Choregraphique Français Harp Billaudot
Lalita-Nartya a été écrite sur la suggestion d'Eglantine Bisserier, danseuse ...(+)
Lalita-Nartya a été écrite sur la suggestion d'Eglantine Bisserier, danseuse odissi (danse classique de l'est de l'Inde). Cette pièce était destinée à l'accompagner sur une chorégraphie en partie préexistante. Ce sont donc des exigences chorégraphiquesqui ont commandé quelques-unes de ses caractéristiques essentielles, notamment sa structure rhapsodique et ses fréquents changements de rythme et de climat. Le défi de l'écriture consistait à donner une unité formelle à la pièce sans contrarier le parcours chorégraphique déjà partiellement constitué. Quant au langage harmonique, il a été, logiquement, construit à partir de modes karnatiques, mais sans rechercher le pittoresque pour autant.Le titre, Lalita, (tout à la fois ' celle qui joue ', ' l'amoureuse ' ou ' la très belle '), est en même temps une évocation de la déesse Gaudi (dont Lalita est l'un des noms dans la religion hindoue) et un hommage à la grâce de la danseuse qui a inspiré la pièce (nrtya désigne tout ce qui se rapporte à la danse). Il signifie ainsi à la fois : ' la danse de la plus belle ', et ' le jeu de la déesse '.L'introduction expose dans la douceur un rythme pointé caractéristique qui unifiera toute la pièce, puis une brève anticipation du motif principal. Après un glissando affirmant la gamme, la danse commence par exposer plusieurs brefs motifsthématiques aux profils distincts, mais unifiés par la cellule rythmique originelle, et dont l'enchaînement propose divers contrastes agogiques ou dynamiques adaptésà la chorégraphie (le motif principal, déjà anticipé dans l'introduction, reviendra comme un leitmotiv tout au long de l'oeuvre). Survient une rupture dans le discours (mes. 65), qui introduit en fait une séquence un peu plus modérée, mais dontl'animation progressive mène à un climax construit sur le premier motif (mes. 88 et suivantes). Un decrescendo amène alors une dernière séquence (mes. 103 et suivantes), qui exploite une nouvelle fois le premier motif avant de mener, aprèsun dernier crescendo, jusqu'à une coda contemplative et éthérée.Laurent COULOMB / Grande Harpe Seule
8.10 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: On order | |
| Piano Inspiration, Book 1 Piano solo - Intermediate ABRSM Publishing
ABRSM Grades 4-6. This special collection of intermediate piano repertoire has b...(+)
ABRSM Grades 4-6. This special collection of intermediate piano repertoire has been lovingly curated by internationally renowned pianist, Isata Kanneh-Mason. Inspired by her musical journey from childhood prodigy to accomplished performer, and drawing on her championship of female composers and composers of colour, Isata has handpicked a wonderfully diverse melange of music for players to explore. Alongside well-known classical masterpieces, Isata presents stunning pieces by Florence Price, Amy Beach and Eleanor Alberga, as well as a beautifully evocative new work by Natalie Klouda and her very own Waltz. Carefully edited and fingered, Piano Inspiration 1 is ideal both for recreational playing and those seeking own-choice repertoire for ABRSM Performance Grades (Grades 4?6).
? 16 pieces for intermediate players, each holding special significance to Isata
? A wonderful array of styles, composers and traditions that span four centuries of piano music
? Original works by Isata Kanneh-Mason and Natalie Klouda, specially composed for this collection
? Ideal for own-choice repertoire selection in ABRSM Performance Grades (Grades 4?6)
Pianist Isata Kanneh-Mason is in great demand in the UK and internationally as a soloist and chamber musician. She offers eclectic and interesting repertoire and has performed at many of the world?s finest concert venues, including the Royal Albert Hall for her BBC Proms solo debut in 2023. As a Decca recording artist, she entered the UK classical charts at No. 1 with her 2019 album Romance, and has since released Summertime, featuring twentieth-century American repertoire; Muse, a duo album with her brother Sheku; and Childhood Tales, which showcases music inspired by a nostalgia for youth. Isata is recipient of the coveted Leonard Bernstein Award and the Opus Klassik Award for best young artist.
12.95 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Passport To Play Guitar
Vol. 1 (PELLS TIM /
FRANKE JENS) Guitar notes and tablatures [Sheet music + Audio access] Schott
Learn the Guitar in a creative new way. Par PELLS TIM / FRANKE JENS. Learn the G...(+)
Learn the Guitar in a creative new way. Par PELLS TIM / FRANKE JENS. Learn the Guitar in a creative new way: Playing music that makes you feel good, right from the outset.
Passport to Play Guitar is a tutor series which is focused on learning to play the guitar through listening, reading and playing together, and is suitable for both classical and acoustic guitarists. The sheet music includes TAB alongside the standard notation.
The books use music drawn from styles and cultures from all around the world, including Blues and Jazz from North America; Folk and Traditional music from Europe, Africa and Latin America; and pieces inspired by the people and places that the authors have encountered on their travels.
Audio files
14.98 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: In Stock | |
| Aulos I (Piano) Piano solo EMB (Editio Musica Budapest)
Aulos to a certain degree continues Orbán's easy piano pieces for children, whi...(+)
Aulos to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z. 14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Piano
23.16 EUR - Sold by LMI-partitions (Seller in french langage) Pre-shipment lead time: 3-10 days - In Stock Supplier | |
| Pepin Camille -
Nighthawks - Harpe Jobert
Creation 04/11/2018 - Cologne (Germany), Philharmonie - Anaïs Gaudemard (har...(+)
Creation 04/11/2018 - Cologne (Germany), Philharmonie - Anaïs Gaudemard (harp) Sponsor Calouste Gulbenkian Foundation and Philharmonie de Paris Dedication to Anaïs Gaudemard Notice Nighthawks is a work for solo harp. When Anaïs Gaudemard [1] asked me to write this work, she wanted to integrate it into a program on the theme of birds. I immediately thought of the work Nighthawks (1942) - or Night Birds - by the American realist painter Edward Hopper (1882-1967). Inspired by this work, I designed the piece in one piece as a trip to the heart of this painting. Hopper projects there a snapshot of American daily life. The scene takes place at a late hour of the night and several atmospheres emerge from it. Indeed, the eye is at the same time attracted by this dark, deserted, and immaculate street of an American downtown; intrigued by the frozen situation of the four characters inside a brightly colored diner; and hypnotized by the glare of the huge bar window. Contrasting with the darkness of the street, the light from this neon-lit window is striking. It thus separates the two atmospheres of the painting. The view of the spectator through it is from outside to inside the bar. The absence of an exit door gives the impression that the characters are isolated and their solitude is further reinforced by this glass which surrounds the illuminated stage - as if they were under a bell . Inside the diner, a man seen from behind is eating; a couple stand side by side (the man smokes; the woman is dressed in red); a server is busy. We don't know anything about them. What are they doing at such a late hour? Where is the exit? What are they discussing? Do they know each other? I wanted to musically conceive this scene from the viewer's point of view, as if we were caught up, sucked into the very interior of the painting. The introduction - Mysterious, dark - sounds the twelve strokes of midnight and plunges us into the darkness of this typically American street. From this nocturnal atmosphere is born a strange song - almost padded with xylophonic sounds - as if we could not hear it distinctly through the luminous glass which separates the street and the bar. Caught up in this bright light, we pass through the window and gradually return inside the diner by means of a hypnotic loop repeated tirelessly, as if we were entering a state of trance - Hypnotic. It is the underlying tension of this frozen situation of the characters that I wanted to represent in the central passage - Rhythmic and pulsed. Then, we come out of this feeling of hypnosis by passing through the bar window again and rediscover the nocturnal atmosphere of this deserted and immaculate street - Hypnotic - Mysterious. Camille Pepin [1] Creator and dedicatee of the piece Hurry What a simply beautiful work here! Camille Pépin, born in 1990, had a career marked by dance and composition. But we discover here quite simply an artist, who invites us to the contemplation of a work of the painter Edward Hopper. Having worked on composition and orchestration with Thierry Perrine as well as with Thierry Escaich, Guillaume Connesson and Marc-André Dalbavie, she has forged an original language which allows her here to bewitch us both by her music and by contemplation of the painting. We can judge by the interpretation of this piece on YouTube that we will listen to while looking at the painting. Of course, you can also listen to the work as it is: it is sufficient. But with the painting ... Daniel blackstone Music Education n ° 128 (Jan-Feb 2020)
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| Lejet E. - De Lumiere Et
De Cieux Embrases - Harpe Lemoine, Henry
Dédicace : Constance Luzzati Notice J'ai été amenée à composer cette OEuv...(+)
Dédicace : Constance Luzzati Notice J'ai été amenée à composer cette OEuvre pour harpe solo, non seulement du fait de mon attirance envers un instrument aussi riche de possibilités sonores, mais aussi grâce à ma rencontre avec Constance Luzzati, dont le jeu m'a fascinée. Ce sont tout d'abord certains tableaux visionnaires de Turner qui ont porté mon inspiration : les sons de harpe ne sont-ils pas évocateurs de lumière, de couleur et d'espace ? Mais je souhaitais pour ces pages de musique un titre concret, que la peinture ne parvenait pas à me fournir. J'ai alors songé à Baudelaire, et retenu le fragment d'un vers issu des Fleurs du Mal. Quelques mots donc, De lumière et de cieux embrasés, m'ont accompagnée dans la composition de cette pièce. Sans doute seront-ils également susceptibles d'en guider l'écoute. Au niveau sonore, j'ai beaucoup travaillé sur la résonance, et me suis appliquée à utiliser une palette de timbres aussi diversifiée que possible. Dans cette composition, sur un fond scintillant, mouvant et ondoyant, des gestes caractéristiques s'inscrivent, et se reproduisent par intermittence dans un ordre aléatoire. Au fur et à mesure du déroulement de la pièce, ils se transforment et créent en s'entrecroisant une agitation toujours grandissante, qui évolue vers l'idée d'embrasement. Edith Lejet Presse OEuvre destinée à la postérité des belles pièces de répertoire pour la harpe seule. Très bien écrit pour la harpe, le langage intéressant musicalement et instrumentalement donne un vrai plaisir du jeu et de l'écoute. Abordable techniquement pour le niveau DEM des conservatoires. Le titre est inspiré de Beaudelaire Le Voyage. L'OEuvre a été créée en janvier 2011 à l'Auditorium du musée de Strasbourg par la dédicataire, Constance Luzzati. Association Internationale des Harpistes, Bulletin Hiver 2012
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| Barcarolle for Piano in
F-sharp major Op. 60
(CHOPIN FREDERIC) Piano solo [Sheet music] Barenreiter
Par CHOPIN FREDERIC. In 1845/46 Chopin composed his bel canto inspired Barcaro...(+)
Par CHOPIN FREDERIC. In 1845/46 Chopin composed his bel canto inspired Barcarolle in F-sharp major op. 60, which became a model for subsequent generations of composers.
In his evaluation of the divergent and partly even contradictory sources due to the different engraving models (Stichvorlagen) for the first editions published almost simultaneously in Paris, London, and Leipzig the editor obtains new results and readings, especially regarding problematic passages.
Chopins pedal indications from the other sources, which differ from the main source, are added in small print. Information on this is provided in the Critical Commentary, which also documents the numerous variants of the sources and editorial decisions. An informative preface (Ger/Eng) discusses the genesis of the work and Chopins specific understanding of the final shape of his works.
Hardy Rittner supplements Chopins fingering from a historically informed perspective. He gives in-depth advice on central questions of performance practice (including cantilena style, rubato and pedal use) and discusses different interpretational approaches (Ger/Eng).
Practical page turns (with fold-out page) and a reader-friendly engraving round off this new edition./ Répertoire / Piano
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| Intermediate Level Duos
(Flex Ensemble) Ensemble Mixte EMB (Editio Musica Budapest)
Aulos I to a certain degree continues Orbán's easy piano pieces for children, w...(+)
Aulos I to a certain degree continues Orbán's easy piano pieces for children, which he composed for Ágnes Lakos's piano tutor and which Editio Musica Budapest published in a separate volume entitled Enchanted Forest in 2011 (Z14742). Yet on this occasion the composer took on something which was both significantly different and more than his earlier pieces for children. On the one hand, he did not compose for beginners but for more advanced students who have studied piano for at least three years. On the other, he did not set developing the technique of piano playing as an aim, rather a systematic presentation of different polyphonic genres and compositional procedures (imitation, fugue, stretto, inversion, augmentation and diminution, double counterpoint, latent polyphony, double and triple fugue, cantus firmus technique, etc.). Orbán introduces his students to the mysteries of polyphony in a direct and practical manner, and thus actually makes them familiar with the art of composition.The educational use of the series is significantly increased by the fact that before each piece the composer presents and clarifies with demonstrative illustrations the polyphonic procedure he introduces. Orbán's explanations are not text-book-like at all, but are deliberately personal and subjective, full of lessons and individual associations taken from his practice as a composer. They were written in the same spirit as the works themselves - while they perfectly fulfil their educational purpose they are equally individual, witty and inspired pieces of music that are a joy to play. / Ensemble Mixte
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| Pepin Camille - Lyrae -
Quatuor A Cordes, Harpe &
Percussions Jobert
Creation 07/10/2017 - Aix-en-Provence, Hotel Meynier d'Oppède - Academy of t...(+)
Creation 07/10/2017 - Aix-en-Provence, Hotel Meynier d'Oppède - Academy of the Festival d'Aix Sponsor Academy of the Festival d'Aix and ProQuartet Notice Lyrae is a work for string quartet, harp and percussion (bass drum, marimba, vibraphone and tamtam). It is inspired by one of the most fascinating stars in the constellation Lyra. It is actually a double star, each of whose entities exerts cosmic forces on the other. Attracting and repelling each other, they create a sort of halo, of stellar mist around them. Shrouded in very energetic cosmic dust, they can however eclipse each other. So I designed the piece in one piece, like a real pas de deux of the couple of stars. Taking turns leading the dance, they move and radiate in space, thus illuminating the sky with their beams of distinct strength. An introduction presents a dark space, as mysterious as it is threatening. The material rumbles, disintegrates, and gradually turns into luminous and sparkling dust. A more lyrical episode emerges from this hazy stellar haze, before regaining the initial agonizing darkness. The whole point of this work was to musically represent these two facets of Lyrae - not as different entities, but as two intertwined worlds which are linked and merge into each other without ever clashing. Camille Pepin
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| Operaria Sopran 2 Soprano voice [Sheet music + CD] Breitkopf & Hrtel
lyric. The OperAria repertoire collection for all voice genres that was successf...(+)
lyric. The OperAria repertoire collection for all voice genres that was successfully launched last year has produced lyrical soprano progeny: From Adele to Zerbinetta, from Pamina to Mimi and Ellen Orford - the first two (of altogether four) soprano volumes contain a representative sampling of important arias from the multifaceted lyrical repertoire. Classical audition arias can be found there, just as vocal gems from opera rarities and arias of classical modernity, each one obviously reliably and carefully edited. Accessorizing one's own lyrical voice, the singer will find a wealth of material such as: information on the composer, the librettist, the work, the vocal range, on questions concerning versions and scoring as well as on the storyline, along with instructive tips from a singer's viewpoint provided by experienced voice teachers and a Phonetics Text Assistant on CD-ROM with diverse possibilities of use. OperAria is the ideal vocal coach for all voice types. Edited by Peter Anton Ling, the books address all singers and are conceived above all for training and auditions. In addition, through their careful selection, they offer valuable inspiration for opera recitals. / Date parution : 2019-09-06/ Recueil / Soprano Lyrique
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| El Mcmeen: Sacred Music
For Fingerstyle Guitar:
Guitar: Instrumental
Tutor Grossman's Guitar Workshop
The body of sacred music takes many forms and except for the area of Gospel mus...(+)
The body of sacred music takes many forms and except for the area of Gospel music has not been routinely explored by fingerstyle guitarists. Yet there are techniques available to the fingerstyle player that can be used tocreate evocative and beautiful arrangements of religious music. In this DVD lesson El McMeen demonstrates the use of various techniques including harp style arpeggios and alternating bass lines as well as the open string tuningof CGDGAD to make the power and beauty of this music accessible and exciting to the fingerstyle player. Includes a 24 page tab/music PDF booklet containing all the music and examples found within the lesson. Thoroughlypractical interesting and a wonderful learning tool El McMeen’s arrangements and playing bring a unique sensitivity to this music that encourages and inspires guitar students.
22.95 GBP - Sold by Musicroom UK | |
| Ruth Elaine Schram: Carol
Him Sweetly: SATB: Vocal
Score Choral SATB [Vocal Score] Brookfield Press
SATB/opt. Harp-SATB/opt. Harp. With heartfelt words and music this new Ruth Ela...(+)
SATB/opt. Harp-SATB/opt. Harp. With heartfelt words and music this new Ruth Elaine Schram manger lullaby is tender and highly appealing. The use of Silent Night is inspired and fits perfectly while the optional Harp part can be played by organ second piano or electronic keyboard.
12.50 GBP - Sold by Musicroom UK | |
| Claude Debussy: Clair De
Lune: Organ: Instrumental
Work Organ [Sheet music] Edwin Ashdown
Debussyâs beautiful beloved Clair De Lune was written as the third movemen...(+)
Debussyâs beautiful beloved Clair De Lune was written as the third movement of his Suite Bergamasque at the turn of the last century. It was inspired by a poem of contemporary Paul Verlaine and is asignificant example of Debussyâs innovative use of key time and tonal colour. The piece has been arranged for Orchestra though not by Debussy Harp Guitar and many other instrumental combinations.Clair De Lune was composed for Piano in D flat and has here been transposed to C.
8.99 GBP - Sold by Musicroom UK | |
| Rejoice! Christ Is Born!:
SATB: Vocal Score Choral SATB [Vocal Score] Daybreak Music
SATB-Rhythmic...festive and joyful! Mark Brymer's seamless setting of these fami...(+)
SATB-Rhythmic...festive and joyful! Mark Brymer's seamless setting of these familiar carols and Christmas songs is inspired. Adding the (optional) children's choir for O Come Little Children will create a poignant moment forall. Suggested use: Christmas. Instrumental Pak (includes score and parts for Flute Oboe Horn 1 & 2 Trumpet 1 & 2 Trombone/Tuba Percussion Timpani Harp Violin 1 & 2 Viola Cello Bass Piano) and ChoirTrax CD alsoavailable.
8.75 GBP - Sold by Musicroom UK | |
| Blues Harmonica - Bending
and Beyond Harmonica Hal Leonard
The Bending Bible for the 10-Hole Diatonic Harmonica. Learn techniques used by t...(+)
The Bending Bible for the 10-Hole Diatonic Harmonica. Learn techniques used by the blues harmonica greats to build inspired 12-bar solos! Renowned blues harpist Steve Cohen explains and demonstrates topics including: low and mid-register draw bends - high-register blow bends - double-stop bends - overblow bends - warbles and various vibratos - and more. Includes over 100 demo and play-along tracks online for download or streaming. Each track was recorded using a common C harp in 1st, 2nd and 3rd position, and all examples are presented in both harmonica tab and standard notation. / Pédagogie / Tablatures / Harmonica
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| El Mcmeen: Irish Guitar
Encores: Guitar:
Instrumental Tutor Grossman's Guitar Workshop
Irish music offers the fingerstyle guitarist an exciting repertoire of haunting ...(+)
Irish music offers the fingerstyle guitarist an exciting repertoire of haunting melodies and pulsating dance tunes. Irish Guitar Encores presents El McMeen’s unique approach to arranging Celtic melodies in CGDGADtuning. In this DVD lesson McMeen fully explains this open tuning and shows you how to use harp-like arpeggios counterpoint bass-lines melodic picking and alternating bass techniques. Contains a selection of six classicrepertoire pieces and with a 24 page music/tab PDF booklet. Thoroughly practical interesting and a wonderful learning tool El McMeen’s arrangements and playing bring a unique sensitivity to this music thatencourages and inspires guitar students.
22.95 GBP - Sold by Musicroom UK | |
| Per Nørgård: To
Mediterrane
Meditiationer: Piano:
Instrumental Work Piano solo Wilhelm Hansen
To Mediterrane Meditiationer / Two Mediterranean Meditations for Piano solo was ...(+)
To Mediterrane Meditiationer / Two Mediterranean Meditations for Piano solo was composed by Per Nørgård in 1980. Dedicated Ragnhild Toft. 1. Græsk motiv (Greek motif) 2. Medstrømme (Cocurrent) The piano pieces (Two Mediterranean meditations) was inspired by a little town Isternia in the Greek island Tinos. During a stay there I was captured by the timeless peace that emitted from the shimmering white sculptured steps and by the sounds in the narrow streets creating an atmosphere of balanced activity on the background of a meditative silence. The pianopieces are related to the work “Isternia” (1979 for cimbalon solo later rewritten for other instruments); the music seems to possess a certain timeless or rather ´genre-less´ character; this is effected through the use of archetypal melodies and meters changed in a rather ´cubistic´ way. In this respect the work is related to my “Sonora” (for flute and harp) and the duet “Medstrøms og modstrøms” (“Cocurrent & countercurrent”) Per Nørgård
7.50 GBP - Sold by Musicroom UK | |
| Libby Larsen: The
Ballerina And The Clown:
Mixed Choir: Vocal Score [Vocal Score] Oxford University Press
Seven songs for children's chorus (SAA) and harp to texts by Sally M. Gall The B...(+)
Seven songs for children's chorus (SAA) and harp to texts by Sally M. Gall The Ballerina and the Clown develops a completely new story inspired by some of Hans Christian Andersen's charming papercuts which are reproduced in the score. Alternative illustrations by Cecilia Rolando for use in concert programme books are available to download from OUP's website.
10.75 GBP - Sold by Musicroom UK | |
| John Rutter: Visions:
Mixed Choir: Part Oxford University Press
John Rutter's Visions for solo Violin upper-voice choir with Harp and Strings ...(+)
John Rutter's Visions for solo Violin upper-voice choir with Harp and Strings or Organ. This four-movement work is inspired by the idea of 'Jerusalem' both as a Holy City and a utopian ideal of heavenly peace and seraphic bliss. The composer has selected four biblical texts in English and Latin that express different aspects of this vision. This Organ part is for use with the reduced instrumentation.
12.50 GBP - Sold by Musicroom UK | |
| Chamber Music (PEPIN
CAMILLE) Sextuor [Sheet music] Jobert
Par PEPIN CAMILLE. Lorsque l'on m'a proposé de mettre en musique ce recueil de ...(+)
Par PEPIN CAMILLE. Lorsque l'on m'a proposé de mettre en musique ce recueil de poèmes de James Joyce (1882-1941), j'ai été immédiatement séduite par l'idée. Il s'agissait de mettre en musique ces poèmes en respectant l'ordre original selon lequel ils ont été conçus par James Joyce lui-même lors de la première édition de 1905 [1]. Avec la précieuse aide de Philippe Blanchon [2], j'ai choisi de mettre en musique dix-huit poèmes, conservant ainsi les épisodes incontournables, la trame dramaturgique et l'essence de l'univers Joycien. Ce qui m'a attirée d'emblée, c'est qu'il s'agit d'une véritable histoire : de la naissance de l'amour à la passion déclinante, menant à une éventuelle et tendre amitié entre les deux amants. J'ai donc conçu Chamber Music d'un seul tenant.
Au-delà des nombreuses références à la musique et aux sons de la nature - déjà 'musique' en eux-mêmes - l'oeuvre littéraire appelle à la mise en musique par sa forme. En effet, elle est déjà musicale dans sa construction. Les trois premiers poèmes constituent le prélude exprimant la solitude du poète. Nous assistons dans la première partie - crescendo - à la naissance de l'amour entre les deux amants, menant au poème central et point culminant de l'oeuvre : 'My Dove, my beautiful one'. La seconde partie - diminuendo - raconte la passion déclinante des amants qui nous conduit au finale, écho du premier poème et à la solitude du poète.
Le prélude musical illustre le paysage - tant visuel que sonore - décrit par James Joyce : 'Strings in the earth and air make music sweet', 'There's music along the river', 'The sighs of harps', 'Soft sweet music in the air'.
Inspirées de sonorités traditionnelles irlandaises, les mélodies de la première partie présentent un aspect populaire issu du folklore, comme une ode au monde de la danse - prégnant en Irlande. Ces mélodies modales et mélismatiques semblent improvisées, à la manière du chant gaélique irlandais. Elles se transforment au fur et à mesure en une véritable épopée romantique, expression de la relation passionnelle et charnelle des deux amants : 'Hurry over the dark lands and run upon the sea for seas and land shall not divide us my love and me', 'The odorous winds are weaving a music of sighs'. Ces mélodies extatiques, à la fois tendres et fragiles, tentent d'exprimer cette ivresse, cet état extatique - véritable état de 'transe' qui nous submerge lorsque l'amour envahit notre âme sans que l'on s'en aperçoive.
La deuxième partie reprend ces divers éléments musicaux dans leur cheminement inverse. Passés par le filtre de la mélancolie de l'amour déclinant au fil du temps, ils témoignent de la perte de repères après la séparation avec l'être aimé : 'Lay aside sadness and sing how love that passes is enough', 'Love came to us in time gone by'. Enfin, le finale exprime le retour à la solitude du poète, comme une résonance du début de l'oeuvre : 'The voice of the winter is heard at the door', 'My kiss will give peace now and quiet to your heart'.
Sans cesse en écho les unes des autres, les mélodies s'entremêlent dans un contrepoint lyrique et sensuel. En effet, le titre même du recueil m'a inspiré une oeuvre où chaque instrument serait d'égale importance. Le lyrisme de l'un ne peut exister sans l'autre. Ainsi, le rôle du quintette n'est pas seulement un accompagnement de la voix soliste. Leurs lignes d'amour se mêlent avec volupté les unes aux autres.
Plonger dans l'univers Joycien a impliqué mon immersion totale dans l'oeuvre. Lire ses mots, penser ses images, imaginer ses sonorités, a été un travail passionnant et c'est avec nostalgie que je referme ce recueil aujourd'hui. J'espère cependant avoir su retranscrire son univers poétique au plus proche.
Je profite de cette note pour remercier Philippe Blanchon pour son aide précieuse et Claire Bodin [3] pour sa confiance. C'est à la fois un grand honneur et un plaisir immense de rendre hommage à si grand artiste et de voir ce chef d'oeuvre littéraire naître une seconde fois en musique. / Contemporain / Répertoire / Sextuor
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| Poul Ruders: Listening
Earth - A Symphonic Drama
for Orchestra: Orchestra:
Score Orchestra [Sheet music] Wilhelm Hansen
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchest...(+)
Premiered at the festival 'Magma Berlin 2002' by the Berlin Philharmonic Orchestra conducted by David Robertson 29th November 2002.3 Flutes 1st and 2nd also Alto Flutes in G 3rd also Piccolo3 Oboes 3rd also Cor Anglais in F3 Clarinets in Bb 3rd also Bass Clarinet in Bb3 Bassoons 3rd also Contra Bassoon4 Horn in F3 Trumpets in Bb3 Trombones1 TubaTimpani4 Percussion four playersPlayer 1 - Vibraphone Glockenspiel Water Chime Bell Tree Japanese Wood Blocks Cymbal (Suspended) TamTam (Medium)Player 2 - Triangle Tubular Bells Crotales Marimba Chinese CymbalPlayer 3 - TamTam (Large) Java Gong(Large very low) Bell Lyra (Handheld) Sizzle CymbalPlayer 4 - Bass Drum Glockenspiel Xylophone1 Harp1 Piano also CelestaStrings - 16/14/12/10/8All transposing instruments are notated in their relevant transpositions.Any accidental apply only to the note that it immediately precedes except tied notes.Naturals appear occasionally 'for safety'.'LISTENING EARTH' is a symphonic drama a one- movement composition in four parts based on the work by two writers Joseph Addison (1672-1719) and W.H.Auden (1907-1973). Joseph Addison is not particularly well known; he was English a classical scholar essayist poet and politician but one of his hymns was used by Benjamin Britten. in his setting of a Thomas Tallis canon.The hymn is singularly beautiful and being a composer always inspired by extramusical stimuli such as poems nature paintings I was immediately convinced when I carne across the Addison hymn that here was exactly what I wanted to use as my major source of inspiration for this piece commissioned by and written for The Berlin Philharmonic. I don't refer to the hymn in its entirety but have chosen the following 3 excerpts all acting as mottos for the first three sections of the piece thus turning the piece into a straightforward tonepoem in the classical
102.99 GBP - Sold by Musicroom UK | |
| Sergei Rachmaninov:
Rachmaninov - Piano
Concerto No. 1: Piano:
Instrumental Work Piano solo [Sheet music] Spartan Press
2nd Movement-Transcription of the slow movement of Rachmaninov's First Piano Con...(+)
2nd Movement-Transcription of the slow movement of Rachmaninov's First Piano Concerto op 1. Programme note by Murray McLachlan: Rachmaninov's first concerto in F sharp minor op 1 was composed in 1891 and dedicated to Alexander Siloti. The work was substantially revised in 1917 with textures made much lighter. The revised version is also more concentrated and disciplined with the material eliminating some of the earlier episodic sections entirely from the score. The second movement is an exquisite 74 bar miniature a nostalgic nocturne that is contrapuntally rich. In this soloversion the use of all three pedals and the middle pedal in particular make it possible to project the multifaceted textures the 'colour counter-point' that along with Rachmaninov's chromaticism enhances his considerable melodic gifts. Was Rachmaninov the 'Russian Bach?' Certainly his genius for 'inner voices' 'inner melodies' and counter-melodies make his music an inexhaustible treasure house of possibility for the creatively charged solo pianist. In Rachmaninov's piano writing there is simply no such thing as 'padding' or anonymous accompaniments- every line can be vocally or orchestrally charged making the music glow with richness and inspiration. This transcription was given its world premiere on April 1- Rachmaninov's birthday- in 2017 in New York as part of a recital for the Lezetizky society. Further performances were given on what was an intense US Easter tour in Washington Texas Boston and Vermont. I've also performed the transcription in Canada and the UK.
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