SKU: BT.PWM12155020
Following in the footsteps of Beethoven's late scherzos, these are characterised by expression associated with a fantastic imagination, surprising, sometimes frightening. Each scherzo has its own expressive shadow and its ownforms, but these are most often variants of reprise structure. The outer sections are agitated, restless, anxious, even demonic, while the tranquil middle section symbolises a place of refuge: family, Arcadian, philosophical oremotional. Critical source-edition edited by Jan Ekier and Pawel Kaminski based on manuscripts, copies approved by Chopin himself, and first editions. Its purpose is to present the works of Chopin in authentic form. The miniatureversion of the National Edition does not contain source commentary or performance notes.
SKU: HL.132318
UPC: 884088971526.
Opp. 20, 31, 39, 54.
SKU: HL.14028980
English.
Scherzo (2001) for Marimba, Violin, Viola, Cello and Tuba by Anders Koppel (2001). Scherzo (2001) for Marimba, Violin, Viola, Cello and Tuba by Anders Koppel (2001).
SKU: HL.14028981
Parts for Scherzo (2001) for Marimba, Violin, Viola, Cello and Tuba by Anders Koppel . Parts for Scherzo (2001) for Marimba, Violin, Viola, Cello and Tuba by Anders Koppel.
SKU: BT.WHKP01100
Scherzo (2001) for Marimba, Violin, Viola, Cello and Tuba by Anders Koppel (2001).
SKU: BT.WHKP01098
Parts for Scherzo (2001) for Marimba, Violin, Viola, Cello and Tuba by Anders Koppel .
SKU: DY.DO-1526
ISBN 9782897963064.
Wynwood Walls draws on 9 artworks which lend their titles to the 9 connected sections of the quintet. The music reflects and amplifies my own subjective responses to the artworks.The movements are organised in pairs, circling out from a still centre – No Woman, No Cry. The title for this centrepiece comes from Chris Ofili’s moving portrait of Doreen Lawrence, the mother of a teenager murdered in an unprovoked racist attack. As well as this specific reference, the artist intended the painting to be read as a universal portrayal of melancholy, solace, and grief. The two segments flanking No Woman, No Cry complete the central triptych. Edward Hopper’s Nighthawks explores loneliness and isolation, while Grayson Perry’s #Lamentation is a meditation on remembrance and the transience of life. In contrast to the rest of Wynwood Walls, the music here is dark and introspective.I want my time with you is a giant neon sign designed by Tracey Emin for St. Pancras Station, London. Selfie with Sunflowers is an essay written by Julian Barnes about our over-familiarisation with Van Gogh’s iconic sunflower paintings. The music is sentimental, bordering on schmaltz and kitsch. Sunflower Seeds and Infinity Room are a pair of moto perpetuo scherzos inspired by the minimalist installations of Ai Weiwei and Yayoi Kusama respectively. The opening section, Bathers at Asnières, suggests Seurat’s iconic painting, while the finale, Seurat’s Bathers, evokes Howard Hodgkin’s reworking of the Seurat using a blaze of vivid colours.The title of the quintet is borrowed from the Wynwood art district of Miami – an area characterised by the hundreds of colourful street murals which decorate the walls of old warehouses in the neighbourhood. In performance, the artworks can be projected onto a screen behind the ensemble.Wynwood Walls s'appuient sur 9 œuvres d'art dont les titres prêtent leurs noms aux 9 sections connectées du quintette. La musique reflète et amplifie mes propres réponses subjectives aux œuvres d'art.Les mouvements sont organisés par paires, émergeant d'un centre immobile - No Woman, No Cry. Le titre de cette pièce maîtresse provient du portrait émouvant de Chris Ofili de Doreen Lawrence, la mère d'un adolescent assassiné lors d'une attaque raciste gratuite. En plus de cette référence spécifique, l'artiste a voulu que le tableau soit perçu comme une représentation universelle de la mélancolie, du réconfort et du chagrin. Les deux segments flanquant No Woman, No Cry complètent le triptyque central. Nighthawks d'Edward Hopper explore la solitude et l'isolement, tandis que #Lamentation de Grayson Perry est une méditation sur le souvenir et la fugacité de la vie. Contrairement au reste des Wynwood Walls, la musique ici est sombre et introspective.I want my time with you est un immense panneau néon conçu par Tracey Emin pour la gare de St. Pancras, à Londres. Selfie with Sunflowers est un essai écrit par Julian Barnes sur notre sur-familiarisation avec les peintures emblématiques de tournesols de Van Gogh. La musique est sentimentale, frôlant le kitsch et le sentimentalisme. Sunflower Seeds et Infinity Room sont une paire de scherzos moto perpetuo inspirés des installations minimalistes d'Ai Weiwei et de Yayoi Kusama respectivement. La section d'ouverture, Bathers at Asnières, suggère le tableau emblématique de Seurat, tandis que le finale, Seurat’s Bathers, évoque la réinterprétation de Seurat par Howard Hodgkin en utilisant une explosion de couleurs vives.Le titre du quintette est emprunté au quartier artistique de Wynwood à Miami - une zone caractérisée par les centaines de fresques murales colorées qui ornent les murs des vieux entrepôts du quartier. En performance, les œuvres d'art peuvent être projetées sur un écran derrière l'ensemble.
SKU: HL.50578180
SKU: VD.DCD043
ISBN 9790202022054.
SKU: M7.DCD-43
SKU: FH.VCE1
ISBN 978-1-55440-548-0.
This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Reaching beyond the realm of examination preparation, this series offers one comprehensive volume of Orchestral Excerpts to prepare developing cellists for standard orchestral literature and audition requirements. Bowing and fingering suggestions follow established principles of orchestral playing and are provided to assist students in making stylistically informed performance decisions.Level 5:Prelude - Cohen, MaryEtude in D Minor - Noelck, August arr. Francis GrantEtude in E Minor - Kummer, Friedrich AugustSpanish Pizzicato - Legg, PatEtude in C Major, op. 76a, no. 5 - Popper, DavidBusy Bees - Mooney, RickEtude in D Minor - Feuillard, Louis R.Etude in A flat Major - Matz, RudolfPolly Wolly Doodle - American minstrel song arr. Rick MooneyEtude in A Major - Schroeder, CarlLevel 6:Etude in D Major, op. 76a, no. 7 - Popper, DavidLooping the Loop - Cohen, MaryMetal Cellos - Mooney, RickScherzo, op. 31, no. 4 - Lee, SebastianEtude in D Minor - Matz, RudolfEtude in E Minor - Dotzauer, FriedrichMarch, op. 68, no. 2 - Kabalevsky, DmitriVocalise in G Minor - Bordogni, MarcoEtude in F Minor - Kummer, Friedrich AugustLevel 7:Gigue Positions - Legg, PatRide Like the Wind! - Cohen, MaryRussian Song - Mooney, RickDance, op. 68, no. 3 - Kabalevsky, DmitriEtude in G Major - Feuillard, Louis R.Light Bowing, op. 31, no. 15 - Lee, SebastianEtude in F Minor - Matz, RudolfEtude in G Major - Dotzauer, FriedrichEtude in B flat Major, op. 75a, no. 10 - Popper, DavidVocalise in G Major - Bordogni, MarcoEtude in G Minor, op. 57, no. 6 - Kummer, Friedrich AugustLevel 8:Etude in D Major - Matz, RudolfExercise on the Trill, op. 31, no. 20 - Lee, SebastianThe Coyote's Bark - Mooney, RickEtude in D Minor - Dotzauer, FriedrichVocalise in C Major, op. 8, no. 6 - Bordogni, MarcoEtude in D Major, op. 35, no. 2 - Franchomme, Auguste-JosephEtude in D Minor - Grant, FrancisEtude in A flat Major, op. 21, no. 12 - Buechler, FerdinandScherzo, op. 68, no. 5 - Kabalevsky, DmitriChromatic Etude - Schroeder, Carl.
SKU: SU.00220551
This CD Sheet Music™ collection makes available over 200 works for flute with piano accompaniment by over 80 composers from the Baroque, Classical and Romantic periods. Works include: Adam (Hongroise), Anderson (Three Cadenzas for Mozart's Flute Concerto No. 2), CPE Bach (5 Sonatas), JCF Bach (Sonata Nos. 1&2), JS Bach (Sonatas, BWV 1030-1035), Barrère (Nocturne), Beethoven (6 Themes with Variations), Bizet (Minuet from L'Arlésienne), Blavet (Les Tendres Badinages), Booth (In the Woods at Evensong), Boulenger (D'un matin de Printemp, Briccialdi (Il Carnevale di Venezia, Bergmüller (Chanson), Busoni (Album Leaf), Caix d'Hervelois (La Bagatelle,Musette), Catherine (Arabesque), Daquin (Rigaudon), Debussy (Le Petit Berger, Rêverie, Arabesque No. 2), Donjon (Adagio Nobile, Invocation, Offertoire), Doppler (Fantaisie Pastorale Hongroise), Duvernoy (Intermezzo), Enesco (Cantabile & Presto), Fauré Berceuse, Sicilienne), Foote (3 Pieces for Flute & Piano), Gabriel-Marie (La Cinquantaine), Ganne (Andante & Scherzo), Gluck (Aria from Orphée, Ballet from Armide), Godard (The Idylle), Gossec (Timbourin), Graupner (Sonata Nos. 1&2), Grétry (Air lent), Griffes (Poem), Hahn (Variations on a Theme by Mozart), Handel (Sonata Nos. 1-7, Sonata Nos. 1-3 for Flute & Continuo), Hotteterre (Échos), Hullmandel (Menuet Champêtre), Kirchhoff (Rigaudon), Köhler (Valse Allemande), Krieger (Bourrée), Kuhlau (Divertimento Nos. 1-6, Grand Solo Nos. 1-3), Kuhnau (Gavotte and Bourrée), Latour (Theme in G major), Locatelli (3 Sonatas), Loeillet (Adagio, Gavotte), Lully (20 Pieces for Flute & Keyboard), Maganini (Sérénade), Marais (Les Folies d'Espagne), Marcello (Cantabile, Largo, Massenet (Meditation from Thaïs), Matheson (Sonata Nos. 1-12), Mendelssohn (Scherzo from A Midsummer Night's Dream), Molique (Andante), Moszkowski (Spanish Dances), Mouquet (La Flute de Pan), Mozart (Concerto Nos. 1&2, Sonata Nos. 1-6), Müthel Sonata in D), Offenbach (Barcarolle from The Tales of Hoffmann), Pergolesi (Aria), Pessard )Andalouse), Popp (Birdsong), Quantz (Sonata Nos. 1-6, Concerto in G), Rameau (La Livri), Reger (Burleske, Menuet and Gigue, Romance), Reinecke (Concerto for Flute in D, Sonata in E), Rheinberger (Rhapsodie), Rietz (Sonata), Rimsky-Korsakov (Flight of the Bumblebee), Sacchini (Andantino galante from Dardanus), Saint-Saëns (Romance, Odelette), A. Scarlatti (Minuet), Schers (Sarabande), Schubert (Introduction & Variations on a Theme), Schumann (Humming Song), Tafanel (Andante, Pastoral and Scherzettino, Telemann (Dolce, The Trusty Music Maker, Tosti (Good Bye), Verdi (La Traviata), Vivaldi (Sonata in C), Weber (Adagio), and more. Also includes composer biographies and relevant articles from the 1911 edition of Grove's Dictionary of Music and Musicians 2000+ pages
Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac.
SKU: HL.49007263
ISBN 9790001078047. German.
Im 2. Band werden mit Kapiteln uber Zungentechnik, Verzierung, Artikulation und Chromatik die in Band 1 erworbenen Grundlagen erweitert. Spezielle Bindeubungen verhelfen zur Steigerung der Ausdauer und Hohe. Wie jazzige Stucke zu blasen sind, wird in einem besonderen Kapitel behandelt. Die Schule ist sowohl fur den Einzel- als auch fur den Gruppenunterricht geeignet.
SKU: BT.AMP-173-140
9x12 inches. English-German-French-Dutch.
When writing his tuba concerto, Philip Sparke wanted to create a work which explored the many aspects of the instrument’s technical and vocal qualities but without resorting to caricature. The result is a concerto in two joined movements, which can both be programmed individually, that contains both many lyrical lines together with stunning virtuosic passages. An outstanding concerto that tuba players and brass band audiences alike will enjoy and applaud.De technische en lyrische eigenschappen van het instrument komen in deze compositie optimaal tot hun recht. De componist wilde er namelijk zeker van zijn dat het werk écht een concerto voor tuba zou worden en dat de muziek zou passenbij het instrument in de solistenrol. De solostem in het tweedelige Tuba Concerto bestrijkt bijna drieënhalf octaaf. Beide delen kunnen afzonderlijk worden geprogrammeerd: een langzaam deel en een scherzo.Philip Sparke schuf mit seinem Tuba Concerto ganz bewusst ein Stück, das der Tuba als Soloinstrument voll und ganz gerecht wird. Aus diesem Grund deckt die Solostimme fast dreieinhalb Oktaven ab und nutzt die technischen und klanglichen Qualitäten des Instruments voll und ganz aus. Das Konzert besteht aus zwei zusammenhängenden Sätzen, die beide einzeln aufgeführt werden können: einem langsamen Satz und einem Scherzo. Noten für eine Aufführung mit Tuba und Klavier sind ebenfalls erhältlich.Tuba Concerto est une œuvre de commande pour le facteur allemand Miraphone, spécialisé dans les cuivres. Philip Sparke a composé et dédié cette pièce Markus Theinert, un ami de longue date, qui en a assuré la création le 30 avril 2006 Sigmaringen en Allemagne accompagné par le Brass Band Oberschwaben-Allgäu.L’idée d’un concerto pour tuba a été longuement discutée entre le soliste et le compositeur dont le souci était de créer un véritable concerto développant un matériau parfaitement adapté au rôle solistique de l’instrument, sans tomber dans la caricature. Ainsi, la partie soliste couvre trois octaves et demie et exploite pleinement les qualitéstechniques et expressives de l’instrument.Tuba Concerto est une composition en deux mouvements joints qui peuvent également être joués séparément. Le premier mouvement débute lentement puis s’accélère progressivement. La cadence annonce la réexposition du matériel thématique initial. Le second mouvement, écrit en forme de scherzo, semble plus résolu mais chemine vers plus de légèreté. La reprise du matériel thématique initial offre une conclusion efficace et puissante.Ce concerto est également disponible dans une version pour Tuba solo et Brass Band (AMP 173-030) et Tuba solo et Piano (AMP 187-401).
SKU: PR.114406980
UPC: 680160010806.
Shulamit Ran’s second string quartet, subtitled “Vistas,†occupies a large canvas that is cast in a traditional fourmovement mold, where the outer movements present, explore, and later return to the work’s principal musical materials, surrounding a slow movement and scherzo-type third movement with a trio. In addition to tempo-based titles, the individual movements have subtitles that are evocative of each movement’s character, as follows: I. Concentric: from the inside out II. Stasis III. Flashes IV. Vistas.My second string quartet, “Vistasâ€, is a work cast in a traditional four-movement formal mold, with the outer movements, presenting and later returning to the work’s principal musical materials, surrounding a slow movement and a scherzo-type third movement.While the four movements’ “proper†names -- Maestoso con forza, Lento, Scherzo impetuoso, and Introduzione; Maestoso e grande – give some indication of the general character of the individual movements, I have also subtitled, less formally, each movement as follows: 1) Concentric: from the inside out 2) Stasis 3) Flashes 4) Vista. The images evoked by these titles tell one, I think, a bit more about the inner workings of the quartet.In the first movement, a prominently presented opening pitch (E) reveals itself, as the movement unfolds, to be a center of gravity from which ever-growing cycles of activity gradually evolve. While various important themes come into being as the movement progresses, their impact on the listener has, I believe, a great deal to do with their juxtaposition and relationship to the initial central point of gravity.Stasis is, as the name implies, a movement where activity seems, at times, almost suspended. Being also, as Webster’s Dictionary reminds us, “a state of static balance and equilibrium among opposing tendencies or forces,†it develops various materials, including ones from the first movement, without bringing them to points of resolution.Flashes is short and very fast, evoking in my mind the quick shimmer of fireflies, a “sudden burst of lightâ€, but also a “brief timeâ€. Perhaps, even, a “smileâ€?Finally, the last movement, Vista, is not only “a view or outlookâ€, but also “a comprehensive mental view of a series of remembered or anticipated events.â€Â After a brief recall of the opening of the second movement, this movement brings back all the important themes of the first movement in their original order. But just as going back can never really mean going back in time, the movement is much more than recapitulatory. By cutting through previously transitory passages and presenting the main ideas in a fashion more direct yet more evolved, it also sheds new light on earlier events, offering a retrospective, synoptic view of the first movement as it brings to culmination the work as a whole. “Vistas†was commissioned by C. Geraldine Freund for the Taneyev String Quartet of what was then Leningrad. It was the first commission given in this country to a Soviet chamber ensemble since the 1985 cultural exchange accord between the Soviet Union and the United States.
SKU: BT.AMP-173-010
