SKU: TM.14133SC
Act II, scene 3 #7 (before Finale). Score pages 179-204. See #02172 for shorter version.
SKU: HL.4006288
ISBN 9781540070890. UPC: 888680978877.
SKU: HL.50493457
PER PIANOFORTE.
SKU: HL.49041054
ISBN 9790001123525. 9.0x12.0x0.156 inches.
Throughout his career the Austrian composer and musicologist Hans Gal (1890–1987) wrote a number of operas, orchestral works, concertos and vocal pieces, and during the latter part of his life he concentrated particularly on chamber music. In addition he published books and essays on composers such as Brahms, Schubert and Verdi. Forced to emigrate from Germany in 1933, Gal finally settled in Edinburgh, where he taught at the University, and continued to compose for the rest of his long life.His Oboe Sonata is a valuable addition to the repertoire. The three movements, like all Gal’s works, are rooted in the late Romantic period.
SKU: TM.04645SC
Chorus I = S/A; Chorus II = T/B.
SKU: TM.14056SET
Includes: Ninfe! Elfi! Silfi!; La selve dorme; Erriam Sotto; Alto la! - Chi va la? Sul fil d'un soffio etesin. Nannette's aria. Act III Scene 2. Sc pg 373-387.
SKU: TM.02161SET
Key of Ab. VS combines S and Mez into one part.
SKU: TM.02794SET
Pg 464-492. For Complete Act IV = #02794 +#03850 +#11603 +#14580.
SKU: TM.04360SC
Act IV. No. 12 Duet. Includes: Arriago, a parli ad un core.
SKU: LM.25518
ISBN 9790230955188.
SKU: CA.327960
ISBN 9790007167967. Key: E major. Language: Italian/German. Text: Boito, Arrigo. Text by Arrigo Boito.
SKU: FL.FX073795
Instruments:Cla rinet Quartet: 3 Bb Clarinets 1 Bass Clarinet; Difficuly Level: Grade 4.
SKU: HL.50580852
SKU: AP.40417
UPC: 038081453392. English. Traditional German student song; sung by American college students.
An old silly song, this tune should be performed with the feeling of a rowdy party! Every section has great parts that will provide plenty of learning opportunities. Correlates to Orchestra Expressions Book 2.
About Orchestra Expressions
SKU: BT.MUSMS0285
Spanish.
Cual quiera que sea su nivel, Ud encontrará en este libro material para ampliar su cultura musical y para disfrutar tocando las más grandes melodías de la música clásica en su guitarra.
Todos los grandes compositores que han dejado huella en la historia de la música (Mozart, Bach, Beethoven, Tchaïkovski, Verdi, Brahms, Wagner, Vivaldi...) están presentes en nuestro libro a través desus mejores obras. Melodías conocidas de todos, los mayores “éxitos&rdqu o; de la música clásica que uno podrá presumir saber tocar a la guitarra... que ésta sea acústicaoelé ;ctrica.
Transcritas en solfeo y cifra y con las posturas que le vienen mejor al toque a la guitarra, dichas maravillosas melodías están grabadas en el CD adjunto, en unas versiones variadas ymodernas (con uno o más efectos: chorus, distorsión, delay...). Tendrá también a su disposición un playback completo para tocar cada una de ellas “en situación”.. . ¡Unamaravilla!
SKU: BT.PWM5447
''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka].
SKU: TM.04006VS
SKU: CU.EA2938