Voir toutes les partitions de Aaron Copland
SKU: FH.VA6
ISBN 978-1-55440-568-8.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.Concertos:Concerto in B flat Major - Hoffmeister, Franz Anton arr. Alison A. Copland- First MovementPremier Solo, op. 77, no. 1 - Dancla, CharlesConcerto in C Major - Schmitt, Joseph arr. Bernhard Pauler- First MovementSonatas:S onata in E Minor, HWV 375 - Handel, George Frideric arr. Harold Birston- Second Movement- Third MovementSolo per alto viola (The Billiard Sonata) - Giardini, Felice arr. Christine Donkin- Second Movement- Third MovementSonata in B flat Major - Stamitz, Carl- First MovementConcert Repertoire:Couplets de folies - Marais, Marin arr. Paul DoktorHebrew Melody No. 1 - Joachim, JosephAir with Variations (The Harmonious Blacksmith) - Handel, George Frideric arr. Watson ForbesOrientale - Granados, Enrique arr. Christine Donkinelegie, op. 44 - Glazunov, AleksandrUnaccompanie d Repertoire:Fantasia No. 1 in E flat Major, TWV 40:14 - Telemann, Georg Philipp- First Movement- Second MovementSuite No. 1 in G Major, BWV 1007 - Bach, Johann Sebastian- First Movement: Prelude- Second Movement: Gigue.
SKU: HL.49045639
ISBN 9781540004796. UPC: 888680710774. 9.5x12.0x0.37 inches.
Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music.My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach's D minor violin partita and the finale of Brahms's Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern.My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl.
SKU: PR.114414290
UPC: 680160594030.
Writt en for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/20 09/03/18/arts/music/18con c.html?_r=1&adxnnl=1&part ner=rssnyt&emc=rss&adxnnl x=1286200920-wRrt7MJ416+F pOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players.This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soul”, so naturally combining passion and lyricism, has always touched me in a special way.As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning…Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes.This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.
SKU: PR.11441429S
UPC: 680160594054. 9.5 x 13 inches.
Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/20 09/03/18/arts/music/18con c.html?_r=1&adxnnl=1&part ner=rssnyt&emc=rss&adxnnl x=1286200920-wRrt7MJ416+F pOYAUe/IOQ For advanced performers.Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players. This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity. The cell’s “soul”, so naturally combining passion and lyricism, has always touched me in a special way. As sometimes happens, naming the piece was the final act in the process of creation. Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events. Of course, the music was written with no such tale (or any tale, for that matter) in mind. But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes. Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell… Love regained, then forever lost… Orpheus’ lyre intoning his sorrowful yearning… Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing. The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes. This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.—Shulamit Ran.
SKU: CF.YAS109
ISBN 9780825889264. UPC: 798408089269. 8.5 x 11 inches. Key: B minor.
Star Lake conjures up images of a serene lake in the central north, early in the morning. Its heartfelt melodies and Americana-style harmonies evoke the music of Copland and Bernstein. What better way to improve the musicianship of your ensemble than to have them play this warm and inviting piece? An effective way for your group to learn phrase-shaping while expressing themselves musically.Star Lake was composed to capture the beauty of Star Lake and its surrounding area in the north woods of Wisconsin. This Americana-style piece should be performed with a rich, connected, and full sound. A solo section offers performers the opportunity to improvise using a D major scale. A sample solo is provided.
About Carl Fischer Young String Orchestra Series
Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: KN.08993S
UPC: 822795089936.
Payin g homage to Aaron Copland and his famous Hoedown from the ballet Rodeo, this lively grade 2 piece will hold the attention of the audience through its entirety. The driving rhythms, catchy melodies, and strong accents speak excitement! Each set includes three copies of the 3rd Violin/Viola T.C. part and an optional part for piano. Duration 2:30. Available in SmartMusic.
SKU: KN.8993
SKU: CF.YAS109F
ISBN 9780825889271. UPC: 798408089276. 8.5 x 11 inches.
Star Lake conjures up images of a serene lake in the central north, early in the morning. Its heartfelt melodies and Americana-style harmonies evoke the music of Copland and Bernstein. What better way to improve the musicianship of your ensemble than to have them play this warm and inviting piece? An effective way for your group to learn phrase-shaping while expressing themselves musically.
SKU: CF.FAS99F
ISBN 9781491143094. UPC: 680160900596.
The music evokes sounds of the expansive southwest. It contains open American sounding harmonies made famous by the likes of Copland, yet it has all of the signature sounds of Sean O'Loughlin's music. Lyrical lines are accompanied and contrasted by angular rhythmic figures.
SKU: CF.BAS81F
ISBN 9781491151631. UPC: 680160909131. 9 x 12 inches.
A lively and exhilarating new piece for beginning string groups, Effervescence lives up to its title but is so much more. It also contains lush harmonies, sweeping melodic gestures reminiscent of the America school of composers like Copland. It is a sophisticated musical presentation, but with limited technical demands, making it easy for young students, but very musically satisfying.Effervesce nce is commonly known as the act of a gas escaping a liquid and the “fizzing” result that occurs. A secondary definition, however, is a show of liveliness or exhilaration. It is this secondary definition that is the inspiration for this piece.The piece begins with a broad, sweeping introduction followed by a statement of the main theme in the first Violins at m. 11. The second Violins perform the melody at m. 19, while the first Violins perform a countermelody which morphs into the main idea of the B-section that follows at m. 27. The Celli and Bass restate the main theme at m. 35, while the upper strings provide a sweeping harmony with a somewhat “Americana” feel. After a restatement of the B-section at m. 43, a subdued section with new material occurs at m. 51. This pushes into a final restatement of the main theme at m. 59 and leads to a vibrant conclusion, followed by a pianissimo afterthought.
About Carl Fischer Beginning String Orchestra Series
Thi s series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.BAS81
ISBN 9781491151266. UPC: 680160908769. 9 x 12 inches. Key: D major.
SKU: CF.FAS73
ISBN 9780825888960. UPC: 798408088965. 8.5 x 11 inches. Key: G major.
Up-and-comin g composer George Sweet is a string educator with years of experience working with developing students. He presents us with a lush and lyrical composition that seemingly flows off the page and into the hearts of students and audiences alike. Sweet's understanding of young students' technical limitations, along with his fresh compositional perspective, make him a unique new voice in the field. We know you are going to love this one!.In the Final Analysis takes its inspiration from various speeches given by both John and Robert Kennedy. The composer was moved by the Kennedys’ idea of a strong, diverse, and cooperative society. John Kennedy’s commencement speech at the American University in 1963 was especially inspirational and the piece takes its title from the following passage:For in the final analysis, our most basic common link is that we all inhabit this small planet. We all breathe the same air. We all cherish our children’s futures. And we are all mortal.The introduction sets the tone of the piece and is reminiscent of the “Americana” feel of composers like Aaron Copland. The main theme enters in Violin 1 at m. 7.Throughout the piece, this material is presented in different situations and moods, reflective of the diverse society spoken of by the Kennedys. A lyrical “B” section appears at m. 23 and later at m. 48 in a slightly different orchestration. The introductory material returns at m. 63 and leads to a vibrant coda which brings the piece to a close.In the Final Analysis was commissioned by Victor Fernandez and the Booker Middle School Orchestra.
