El Misteri Del Foc Score

Sinfonietta N. 3-El Misteri del Foc (Le mystère du feu) est la troisième sinfonietta du compositeur espagnol Ferrer Ferran. Cette œuvre contrastante est constituée de trois mouvements colorés espiègles pétillants dansants et mélodiques. / 1. Calixte III : Alfonso de Borgia futur Calixte III naquit dans la cité de Canals près de Valence en Espagne. Lors d?une rencontre avec Vicente Ferrer (Vincent Ferrier) un dominicain valencien et prédicateur illustre celui-ci lui prédit qu?il serait élu pape et qu?en tant que tel il le canoniserait. Alfonso de Borgia fut élu pape sous le nom de Calixte III et fit inscrire Vicente Ferrer parmi les saints de l?Église.Devenu souverain pontife son grand objectif fut la reconquête de Constantinople tombée aux mains des Turcs. Calixte III appella à une croisade pour libérer la ville. Après une première bataille victorieuse la croisade s?acheva par un échec cuisant. / 2. Els Canals (Canals) : Canals ses paysages colorés ses nombreux canaux et rivières et son sens de la fête nous invite à assister à la Fête de la Saint Antoine à la crémation du bûcher béni la bénédiction des animaux et la Festa dels Parells (La fête des parents). / 3. Foguera i Festa (Le feu et la fête) : Le point d?orgue de la Fête de la Saint Antoine est la mise à feu d?un immense bûcher de vingt mètres de haut dont la construction nécessite chaque année pas moins de 600 tonnes de bois (essentiellement du sapin). Le Feu de la Saint Antoine est accompagné des vivats des habitants qui rendent ainsi hommage à leur saint patron. La Fête de la Saint Antoine compte parmi les fêtes les plus populaires dans la tradition valencienne. Rassemblés autour du bûcher les habitants de Canals célèbrent cette fête avec enthousiasme.

Par MAHLER GUSTAV. Over the years, the need for a new edition of Mahler's Symphony No. 2 became apparent for several reasons. First, many new sources for this work have become accessible since 1970, when Erwin Ratz completed the first critical edition of this symphony, the most significant being Mahler's personal reference score in which he recorded changes to be made (his last entries were made in September 1910). The second reason was the significant strengthening of the editorial standards of the critical edition in recent years. The music is now computer-generated. Previously, changes to the score could be made only by retouching the film of old engravings. Computerization also ensures a concurrence between the score and performance materials. Editorially, the new edition benefits from expanded texts that describe and assess the source materials, document and explain the editors' decisions and provide detailed information on the work's origin, the history of the published scores, performance practices, etc. Over the past five years, Renare Stark-Voit and Gilbert Kaplan, editors of the new edition of Symphony No. 2, have identified, evaluated and analyzed every significant source, and as a result of their work a substantial number of errors has been corrected./ Répertoire / Solistes, Choeur et Orchestre

for Piano Trio Score and Parts-Conceived originally as a work for piano and string orchestra this version of Tango Misterioso for piano trio captures the textural and rhythmic interplay in an effective chamber ensemble configuration.

MusicWorks – Grade 4 The opening of this composition is marked “with unrelenting energy!” by the composer and with good reason. The percussion section along with inventive hemiola rhythmic patterns inthe winds propels this intense segment. The mood shifts completely for the slow Misterioso section which is characterized by layers of instrumental colors and rich brass statements. Rhythmic patterns and interplay betweenall sections of the band help to energize the final segment leading to an exciting and powerful finish. (5:20)

Lamenti (Lamentations) est un chant lent et profondément mélancolique originaire des Marches une région d'Italie centrale. La mélodie originale est accompagnée d?un texte écrit en dialecte :« Mon bien-aimé m?a dit qu?il allait mourir.Pour lui faire plaisir je veux mourir aussi.Trouvez quelqu?un qui chantera et jouera pour moi ;Trouvez quelqu?un qui m?enterrera? »Le thème original est exposé dans les mesures d?ouverture. Il évolue dans un environnement harmonique aux contours indéfinis et vagues. Viennent ensuite trois variations contrastantes et contrastées. Dans la première variation (Allegro con fuoco) le thème a subi des modifications rythmiques etharmoniques. Il se présente désormais sous la forme d?une danse d?abord en 7/8 puis en 6/8. La deuxième variation (Lento Misterioso) s?apparente à une marche funèbre jouée en canon. La troisième et dernière variation (Scherzo Vivace) est vive et brillante.

Dedicated to Gemeinde Pregarten-Les sons enchanteurs d?une fanfare provenant des hauteurs résonnent dans la vallée. Un promeneur fait une halte pour contempler la beauté de la montagne. Mais ce splendide paysage appelle aussi à la prudence ; beaucoup de randonneurs se sont perdus sur ces chemins de montagne.Misterioso : par une nuit claire les étoiles semblent à portée de main. Seuls le vent et les murmures de la nature rompent le silence.Andante : un nouveau jour se lève. Le promeneur trouve la force et le courage de regagner la vallée.

Metalla was commissioned by the 'Kreisverband Altenkirchen' of Germany and dedicated to Ottomar Jung. The composer himself conducted the premiere of the piece which was performed by the 'Jugendorchester Kreisverband Altenkirchen' on 25 March 1999.The region of Altenkirchen is known for its iron mines which find musical expression in the dark mood of the introduction (andante misterioso). This effect is accomplished with overlapping seventh intervals orchestral crescendos a succession of broad chords and the presentation of most themes in the middle register of the band.The dynamic section (allegro energico) that follows the introduction is characterized by concise figures inthe brass and a second motif a kind of rippling motion depicting the Sieg River an important element in the landscape of the Altenkirchen region.The work closes with a final theme that returns a number of times albeit in different guises. After a brief repeat of the seventh intervals from the beginning a last radiant chord signals the end of the piece.

Bien que la structure de cette fantaisie s?apparente à celle d?un concerto le pianiste n?est absolument pas réduit à un rôle d?accompagnateur mais participe pleinement au développement de l?œuvre. Fantasy for Marimba est divisé en quatre mouvements qui s?enchaînent sans interruption : Allegro - Andante misterioso - Tempo rubato - Allegro energico.

Orchestral Excerpts for Flute with Piano Accompaniment has transformed the literature and become the standard excerpt book since its release in 1995. The original collection presents excerpts as you'll see them on auditions and orchestra stands, enhanced with Baxtresser's insightful commentaries on preparing each excerpt. Prefatory essays and piano accompaniments add further resources to best prepare for auditions and life as an orchestra player. Orchestral Excerpts for Flute, Volume 2 with Piano Accompaniment provides all the same features for thorough preparation of another 56 excerpts drawn from 27 works including Tchaikowsky ballets, Strauss tone poems, John Williams film scores, and a wealth of essential repertoire from Bach through Stravinsky. DedicationA Letter to my Dear Flutist FriendsNotes for the PianistTo the PianistsWith My AppreciationWhy This New Book?Learning and Studying Excerpts TodayHow to Use This BookFlute Parts – The Music You Will UseLearning to Take a Successful AuditionPersonal PreparationThe Audition – To Win or to LearnPlaying in an OrchestraPlaying in Opera and Ballet OrchestrasAcknowledgmentsAbout Jeanne BaxtresserAbout the Collaborative EditorsBACHJOHANN SEBASTIANMass in B MinorBWV 232Part IVNo. 24Benedictusbars 1-12BARTOKBELAConcerto for OrchestraMvt. Ibars 1-35Mvt. IVbars 1-25Mvt. IVpickup to bar 136 through 151Mvt. Vbars 26-148BEETHOVENLUDWIG VANSymphony No. 7 in A MajorOp. 92Mvt. Ibars 38-88Mvt. IIbars 131-183BERLIOZHECTORSymphonie FantastiqueOp. 14Mvt. I2 bars before [2] through [3]Mvt. I4th bar of [5] through 3rd bar of [6]Mvt. III1½ bars before [37] through 5th bar of [38]GOUNODCHARLESPetite SymphonieMvt. IIbars 1-29Mvt. IIbars 60-89MAHLERGUSTAVSymphony No. 9Mvt. I2 bars before Misterioso through 3rd bar of Nicht mehr so langsamMvt. Ibeat 4 of Sehr zögernd through 3rd bar after Wieder a tempoSymphony No. 10Mvt. Vbars 27-45MOZARTWOLFGANG AMADEUSThe Magic FluteK. 620Act INo. 8Finalebars 1-24 of “Wie stark ist nicht dein Zauberton!”Act IINo. 21Finalebars 1-10PISTONWALTERThe Incredible Flutist“The Flutist,” Lento after [E] through end of soloRIMSKY-KORSAKOVNICOLAIScheherazadeMvt. II3 before [Q] through 13th of [Q]Mvt. IIIpickups to 8 before [B] to 1 before [B]Mvt. IIIpickups to [M] through [N]Mvt. IV4th bar of [T] through Più strettoSCHUMANNROBERTSymphony No. 1“Spring,” Op. 38Mvt. Ibars 14-23Mvt. Ibars 158-193Mvt. IVbars 174-206SHOSTAKOVITCHDMITRISymphony No. 5Op. 47Mvt. I[13][15]Mvt. I[39] through 3rd bar of [41]Mvt. IIpickup to 6 bars before [59]through 8th bar of [60]Symphony No. 6Op. 54Mvt. I[16] through 3rd bar of [18]Mvt. I4 bars before [23] through [26]Mvt. I3 bars before [27] through 7th bar of [27]Symphony No. 15Op. 141Mvt. Ibar 1 through 4 bars after [4]Mvt. I8th bar of [46] through [50]STRAUSSRICHARDDer RosenkavalierOp. 59Act I4 bars before [230] through [233]Act I[251][253]Don JuanOp. 20Bar 1 through [B][K] through 3rd bar of [L]Ein HeldenlebenOp. 406 bars before [14] through [14]3rd bar of [15] through 8th bar of [15]2nd bar before [41] through 11th bar of [41]Symphonia DomesticaOp. 538 bars before [22] through [24]STRAVINSKYIGORThe FirebirdPas de Deux (Firebird and Ivan Tsarevitch)1945 version1 bar before [25] through 4th bar of [33]“Appearance of the Thirteen Enchanted Princesses,” 1910 version4 bars before[52] through 2nd bar of [53]Jeu de CartesVariation IV: [75][79]Symphonies of Wind Instruments2 bars before [6] through [9]3 bars before [14] through 3rd bar of [26][28] to the 3rd bar of [37]TCHAIKOVSKYPETER ILYITCHThe NutcrackerOp. 71Act IIChinese DancecompleteDance of the Mirlitonsbar 1 to [C]Sleeping BeautyOp. 66Act IIINo.25Pas de QuatreSwan LakeOp. 20Act IIINo. 19Pas de Six [32][33]Act IIINo. 19[35][36]WILLIAMSJOHNHarry Potter and the Prisoner of AzkabanSuite for Orchestra“Hagrid’s Friendly Bird,” bars 127-151Star WarsSuite for OrchestraPrincess Leia’s themepickup to bar 15 through bar 33War HorseDartmoor1912bars 1-15Dartmoor1912pickup to bar 131 through bar 144 / Flûte traversière / Theodore Presser Company

Monk tunes are always creative and a bit out of the ordinary. Also out of the GRP All-Star Big Band book this marvelous orchestration explores a variety of dissonances textures and styles. The tempo is slow and alternates witha swing double time feel. Piano is featured in the beginning and there is solo space for tenor sax as well. Woodwind doubles are required (flutes and soprano saxes).

for Piano and String Orchestra-This piece keeps all players busy with the textural and rhythmic interplay between the strings and piano. Versions for full orchestra and piano trio are also available from the publisher. Duration: c. 8 minutes