Format : Sheet music
SKU: M7.ART-42090
ISBN 9783866420908.
Mit 'My Piano Dreams' ist Autor Jens Rupp eine wunderschöne Fortsetzung seines Spielbuches 'Klavierträume' gelungen. Seine 16 zauberhaften Stücke sind von romantischer, aber auch eingängiger, moderner Klaviermusik geprägt. Die bei einigen Stücken verwendeten Synkopen machen die Musik lebendig und rhythmisch. So erinnern einige Stücke an Filmmusik mit vielfältigen Stimmungen. Mal romantisch, leicht melancholisch, dann wieder beruhigend und liebevoll, bis hin zu jazzig-heiteren Klangfarben. Die Stücke sind leicht arrangiert, werden im Verlauf des Buches aber immer anspruchsvoller. Auch die Tonarten sind einfach gehalten. So eignen sich die Stücke hervorragend für Vorspiele aller Art. 'My Piano Dreams' bildet einen nahtlosen Übergang zu Jens Rupps 'Shades of Piano' oder auch Stücken wie 'River Flows In You' von Yiruma, die dann mit Leichtigkeit gespielt werden können. Unabhängig davon sind die Stücke für alle Pianistinnen und Pianisten geeignet, die musikalischen Erfolg mit Spaß kombinieren möchten. 'My Piano Dreams' - immer wieder eine Einladung zum Träumen.
SKU: AP.36-A888801
ISBN 9798888529911. UPC: 659359989490. English.
The ballet La Bayadère (The Temple Dancer or The Temple Maiden) was created in 1877 for famed French choreographer Marius Petipa to music by Ludwig Minkus (1826-1917). In four act and seven tableaux, the ballet tells the story of the bayadère Nikiya and the warrior Solor, lovers who are beset by jealous rivals, arranged marriages beyond their control, murder, an opium-fueled hallucination of the afterlife, and a vengeful god that destroys the temple and everybody in it as revenge for Nikiya's murder. It was first performed on February 4, 1877, by the Imperial Ballet in St. Petersburg, Russia. It was hailed as a success and masterpiece immediately after the premiere, particularly The Kingdom of the Shades scene in Act II, an excerpt which remains a major standalone work for the ballet repertoire. Modern performances of La Bayadère are almost always derived from a 1941 version sated for the Kirov/Mariinsky Ballet by Vladimir Ponomarev and Vakhtang Chabukiani, which incorporates additional music by Minkus, Drigo, and Pugni. Act II takes place after Nikiya is killed by a concealed venomous snake. A depressed Solor smokes opium, resulting in a vision of Nikiya's spirit dwelling in the Kingdom of the Shades, a nirvana in the Himalayas. The two lovers reconcile among the shades of other bayadères in a Pas de deux, then Solor is awakened just in time for his arranged marriage to another woman. This orchestration of Act II has been completed by William McDermott. Instrumentation: 2.2.2.2: 4.2.3.0: Timp.Perc(2): Harp: Str (4-4-3-3-3 in set).
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: GI.G-8815
UPC: 785147881506. English, Latin. Text Source: Romans 11:29, Latin Vulgate. Scripture: Romans 11:29.
I composed this setting in my last weeks of study at Westminster Choir College. The Latin text (Sine paenitentia enim sunt dona et vocatio Dei) translates roughly to “Truly, without regret are the gifts and callings of God.†This piece serves not only as an outward affirmation for all to embrace and use their God-given talents, but also as an inward mantra for myself, as I move into an uncertain period in my life after completing my undergraduate studies. Many of the colors and textures found within this piece were influenced by my experience singing with the Westminster Williamson Voices for two years. While the “sine paenitentia†text may allow shades of doubt to creep in, all uncertainty and fear is dispelled upon singing “sunt dona et vocatio Dei.†—Cortlandt Matthews Here is an amazing performance by The Westminster Williamson Voices at the Choral Insititute at Oxford. Ryan Manni, Conductor.
SKU: HL.4008965
UPC: 196288282143.
“Golden Hour” is a slow work that describes the magical moment of the golden hour before sunset, when the world melts into warm shades of colour. The setting sun bathes everything in a soft, golden light and nature shines in its most beautiful splendour and time seems to stand still. But darkness also slowly falls and the day takes its quiet farewell.
SKU: FG.55009-539-7
ISBN 979-0-55009-539-7.
One of the finest Finnish chamber works of recent years involving a clarinet is Mikko Heinio's Treno della notte for clarinet, cello and piano (2000). The composer says of his work: I wanted to write a long, fairly fast-moving composition proceeding without a break in which the moods are at least to some extent dream-like, nocturnal. May 'Treno della notte', the term for a night train in Italian, be a tribute to my much-admired Federico Fellini and Marcello Mastroianni, who in the film Citta della donne (City of Women) falls asleep on a train and is led by a representative of the stronger sex along the most fantastic paths. During a journey lasting a good 17 minutes the listener has time to proceed through 12 connected carriages: the composition has five calm, melodic sequences and four rhythmically dashing dances. It begins with an Introduzione, has a Transitio in the middle and ends with a Coda. In addition to its nocturnal shades, the Heinio work is of sizzling virtuosity, hot Latin rhythms and glowing, sustained melody. The clarinettist plays both a normal B flat instrument and a bass clarinet, thus enriching the timbral scale even further. Heinio does not expect the clarinettist to improvise or to master novel techniques, but otherwise the clarinet part is as challenging as many a concerto.
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: HL.4008966
UPC: 196288282150.
SKU: FG.55011-753-2
ISBN 9790550117532.
Jyrki Linjama composed Sonata da chiesa I for piano as a commission from the Carinthischer Sommer festival in Austria and premiered by Juho Pohjonen at Ossiach Abbey in summer 2010. The title alludes to the sonata tradition of the Baroque at its weightiest and most solemn. The polyphonic church sonata with its strict adherence to form for a long time occupied an important role in the liturgy (as distinct from the sonata da camera). Linjama’s modern application of this tradition articulates features of the liturgy: breathing, bells, shades of darkness and light. The closed Miserere of the opening movement opens out in the middle movements to let in light, which the angelic song of the last movement once again encloses in translucent twilight. Each of the four movements uses a medieval melody as its material.Have a look inside by clicking “sample. Duration: c. 14’.
SKU: FG.55011-899-7
ISBN 9790550118997.
Paavo Korpijaakko's (b. 1977) guitar sonata Kimberley was composed in 2006 and dedicated to Petri Kumela. It is Korpijaakko's fist piece for the guitar, and the composers gives credit to the commissioner, who untiringly and long-sufferingly solved the challenges posed by the musical ideas and conjured forth timbral shades. Including a tribute to Debussy, a playful scherzo and some shameless flirting with a flamenco the four movement sonata arrives at a spectacular conclusion.Duration: 21'Korpijaakko studied at the Tampere Conservatory 1997â2007, majoring in composition from 2001 onwards. For most of the time he was a pupil of Jouni Kaipainen, but he was also taught by Juhani Nuorvala and Hannu Pohjannoro. Korpijaakko stresses the importance of harmony, resonant material and harmonic hierarchy, by which he means harmony as a fundamental progressive element of the piece. His aim in handling his motifs is to use his material sparingly. In this respect he specifically wants to be a kindred spirit to Beethoven. Everything that will later appear in the work must be derived from the core thematic and harmonic elements â or whatever one likes to call them. Most important is, however, to create a steady stream of interesting music.