Format : Study Score / Miniature
SKU: HL.14043547
8.25x11.75x0.05 inches.
Judith Weir 'S Sundew For Violin And Cello. Score. ' The Bog-Based Sundew Plant Isn'T As Pleasant As The Name Suggests. It Produces Beads Of Fluid, Resembling Dew, But In Fact A Sticky Deposit In Which Visiting Insects Become Trapped. The Plant Closes In On The Insect And Digests It For The Extra Nutrition It Needs In An Acidic Habitat. Each Of The 36 Bars Can Be Understood As A Time-Lapse Study Of Parts Of This Process. Often One Instrument Encloses And Digests The Music Of The Other. Occasionally One Player Tries To Struggle Free; At Other Times Both Exist Motionless, Stuck To Each Other. In The Final Bars, A Lucky Insect (The Violin) Escapes From The Goo And Flies Off IntoThe Ether. ' Judith Weir.
SKU: HL.49000734
ISBN 9783795715731. German.
SKU: CF.BAS84F
ISBN 9781491159309. UPC: 680160917884.
Lauren Bernofsky wants young string players to love playing music, from the very beginning of their studies. Therefore, she likes writing early-level pieces that are fun, yet pedagogically helpful. On a Swing is played on only open strings, so students can focus on their bow holds and bowing without having to think about left-hand fingers. The piece gets its harmonic and rhythmic interest from the piano part. This work is dedicated to Sandy Mutchler, who fondly remembers her dear friend, the strings pedagogue Linda Luebke. The title and feel of the piece reflect the times they spent together on a porch swing. The back-and-forth motion of the swing is imitated in the up-and-down bows. Students should think of a relaxed, swinging motion with their bodies as they play this piece.Lauren Bernofsky wants young string players to love playing music, from the very beginning of their studies. Therefore, she likes writing early-level pieces that are fun, yet pedagogically helpful. “On a Swing†is played on only open strings, so students can focus on their bow holds and bowing without having to think about left-hand fingers. The piece gets its harmonic and rhythmic interest from the piano part. This work is dedicated to Sandy Mutchler, who fondly remembers her dear friend, the strings pedagogue Linda Luebke. The title and feel of the piece reflect the times they spent together on a porch swing. The back-and-forth motion of the swing is imitated in the up-and-down bows. Students should think of a relaxed, swinging motion with their bodies as they play this piece.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
SKU: CF.BAS84
ISBN 9781491159132. UPC: 680160917716.
SKU: PR.16400222S
UPC: 680160037841.
This work follows my Quartet No. 1 by five years. In terms of style and aesthetic aim, however, it seems light years away. Where the first work, a 28-minute, four-movement piece, took aim at cosmic conflicts and heroic resolutions, the present work is intended as a kind of divertissment. Harbor Music lasts a mere eleven minutes, is cast in a single movement with six sections, and should leave both performers and listeners with a feeling of good humor and affection. The title comes from my experience as a guest in the magnificent city of Sydney, Australia. One of its most attractive features is its unique system of ferry boats: the city is laid out around a large, multi-channeled harbor, with destinations more easily approached by water than by land. Consequently, inhabitants of Sydney get around on small, people-friendly boats that come and go from the central docks at Circular Quay. During a week's visit in 1991, I must have boarded these boats at least a dozen times, always bound for a new location - the resort town of Manley, or the Zoo at Taronga Park, or the shopping district at Darling Harbour. In casting about for a form for my second string quartet, a kind of loose rondo came to mind. Each new destination would be approached from the same starting-out point (although there are subtle variations in the repeating theme; it's always in a new key, and the texture is never the same). The result, I hope, is a sense of constant new information presented with introductory frames of a more familiar nature. The embarkation theme, which begins the piece, is a sort of bi-tonal fanfare in which the violins are in G major and the viola and cello are in B-flat major. It is bold, eager, and forward-looking. The first voyage maintains this bi-tonality, beginning as a 9/8 due for second violin and viola in a kind of rocking motion -much as a boat produces when reaching the deeper water in the harbor. A sweet, nostalgic theme emerges over this rocking accompaniment. This music is developed somewhat, then transforms quickly into a much faster and lighter episode, filled with rising and falling scales (again, in differing keys). A scherzando interlude in short notes and changing meters provides contrast, and the episode ends with a reprise of the scales. The second embarkation follows, this time in A major/C major. It leads quickly into a very warm and slow theme, in wide-leaping intervals for the viola. This section is interrupted twice by solo cadenzas for the cello, suggesting distant boat-horns in major thirds. The end of the episode becomes a transition, with boat-horns leading into the final appearance of the embarkation music, this time in trills and tremolos instead of sharply accented chords. The nostalgic theme of the first episode makes a final appearance, serving now as a coda. The rocking motion continues, in a lullaby fashion, leaving us drowsy and satisfied on our homeward journey. Harbor Music was written for the Cavani Quartet, and is dedicated to Richard J. Bogomolny. Commissioned by his employees at First National Supermarkets as a gift, it represents a thank you from many of the people (including this composer) who have benefitted from his vision and generosity. An ardent advocate of chamber music (and a cellist himself), Mr. Bogomolny has for many years been Chairman of the Board of Chamber Music America. -- Dan Welcher.
SKU: HL.49046988
ISBN 9781705174333. UPC: 842819115281. 8.25x11.75x0.695 inches.
SYNOPSIS Aribert Reimann's 'Trilogie lyrique' is based on three plays by Maurice Maeterlinck: In L'Intruse, a family is sitting at the table with their blind grandfather. They are waiting for the doctor to arrive and tend to his daughter who is lying ill in bed after having given birth: her new-born son has not yet made a single sound. The old man senses that something is wrong due to the uneasy atmosphere in the room. Who is sitting in our midst? he asks. He is the only one who cansee the presence of death. Interieur: Once again a family is gathered round the table in the evening, but this time we observe the action from outside, looking through the window with the grandfather and a stranger: no sound can be heard. Outside the house, the stranger reports that the eldest daughter has drowned and that he has pulled her out of the river. Although the corpse is already being carried through the village to the family, the grandfather cannot bring himself to destroy this idyll. La Mort de Tintagiles: The young Tintagiles is told a story about a mysterious castle and the aged queen who has all potential heirsto the throne murdered. His siblings sense that Tintagiles has been summoned to the castle to be murdered, but nobody openly expresses this fact. It is the sinister messengers of death from the interludes, now visible as the queens servants, who ful?l her demand and snatch the sleeping boy from his sisters'arms. Commentary 'In comparison with his Medea for example with its stormy outbreaks of emotion and violence, Reimann's score is worked in an impressive refinement of sound. It begins with rumbling, hesitating and expressive music in the first section, demanding highly ingenious sound effects from the lower strings including tapping and faltering glissandos in its noisy expression of mortal fear. Inthe second part, the woodwind formation plays at times almost in chamber music fashion and is then suddenly painfully shrill. The third part luxuriates and rages in its rich, full orchestration. The manner in which Reimann displays his mastery in textural shading, the invention of sounds welling up and fading away, the rhythmic and melodic capacity of suffering and the music's inner violence are all utterly compelling.'(Wolfgang Schreiber, Opernwelt, November 2017).
SKU: CF.BAS87
ISBN 9781491162590. UPC: 680160921348. Key: D major.
Mix it up for a fun first winter concert! This mash-up of familiar holiday tunes uses only notes from the D major scale with frequent stepwise motion and no shifting in the bass. With unison quarter note and half note rhythms and simple 3-part harmony, this arrangement will help beginners play with confidence and success. Melodies include Joy to the World, Jingle Bells, Deck the Halls, Good King Wenceslas, and Jolly Old St. Nicholas. Add extra sparkle with optional piano and percussion.
SKU: FG.55011-372-5
ISBN 9790550113725.
Images of the sea figure prominently throughout my life and memories: from holidays on the Atlantic coast during my Canadian childhood to my current Baltic home, and the imagined, only later experienced Mediterranean of my ancestral heritage. As an immigrant (son of an immigrant) bound to two northern countries, the sea is emblematic of my twin homelands, from the expanses of water surrounding them to those separating them. A Mari usque ad Mare. The sea is also an enduring image of the unknown, of expanses unexplored, of the raw power of nature and, for too many currently, of terror holding a hope of refuge - or the pain of loss. Such disparate ideas were captured for me in the seascapes of the New York painter MaryBeth Thielhelm, whom I met in 2008 during a residency on the Gulf of Mexico. Her vast, abstract, nearly monochromatic depictions of imaginary seas in wildly varying moods were the catalyst for a concerto where the piano is frequently far from a hero battling a collective, but rather acts as a channel for elemental forces surging up from the orchestra, floating - sometimes barely so - on its constantly shifting surface. There are few themes to speak of, beyond a handful of iconic ideas that periodically cycle upward. Rather, the piano's material is largely an ornamentation of the more primal rhythmic and harmonic impulses from the orchestra below - a poetic interpretation, if you will, of the more immediate experience of facing the vastness of some unknown body of water. The title Nameless Seas is borrowed from one of Thielhelm's exhibitions, as are those of the four movements, which are bridged together into two halves of roughly equal weight - one rhapsodic and free, the other more single-minded and direct, separated only by a short breath. The opening movement, Nocturne, is predominantly calm, if brooding, darkness and light alternating throughout. Lyrical arabesques sparkle over gently lapping cross-currents in the strings and mirrored timpani, the piano's full power only rarely deployed. The waves gradually build, drawing in the full orchestra for a meeting of forces in Land and Sea, a brighter, more warmly lyrical scene that unfolds in series of dreamlike, sometimes even nostalgic visions, which for me carry strong memories of sitting on rocks above surging Atlantic waves. The third movement, Wake, is a fast, perpetual-motion texture of glinting, darting rhythms and sudden shafts of light, with a prominent part for the steel drums, limning the piano's quicksilver figurations. An ecstatic climax crashes into a solo cadenza that grows progressively calmer and more introspective rather than virtuosic. Much of the tension finally releases into Unclaimed Waters, a drifting, meditative seascape in which the piano is progressively engulfed by a series of ever-taller waves, ultimately dissolving into a tolling, rippling continuum of sound. It has been a great privilege to realize such a long-held dream as this piece, and to write it for not one, but two great pianists. Risto-Matti Marin and Angela Hewitt, both of whose friendship and support have been unfailing and humbling, share the dedication. Nameless Seas was commissioned by the PianoEspoo festival and Canada's National Arts Centre, with the premieres in Ottawa and Helsinki led by Hannu Lintu and Olari Elts. Thanks are due also to the Jenny and Antti Wihuri fund, whose generous grant provided me with much-needed time, and Escape to Create in Seaside, Florida, the source to which I returned to do a large part of the work.
SKU: CF.BAS86F
ISBN 9781491162576. UPC: 680160921324. Key: D major.
The definition of an accolade is an award or special honor for a great achievement. This piece for beginning string orchestra showcases newly learned skills, using mostly unison rhythms, stepwise motion, and simple quarter and half note rhythms within the range of the D major scale. Violin II is doubled with viola, and cello doubles bass to build confidence in playing independent parts. Feel the pride of accomplishment in a concert performance to the thunderous accolades of the audience!
SKU: CF.BAS86
ISBN 9781491162569. UPC: 680160921317. Key: D major.
SKU: CF.BAS87F
ISBN 9781491162934. UPC: 680160921683. Key: D major.
SKU: CA.2415200
Language: German.
This study fills significant gaps in our knowledge of the promotion and study of Mozart in Salzburg in the first half of the 19th century. In producing it, numerous sources have been evaluated in detail for the first time. At its heart stands the history of the Dommusikverein und Mozarteum, the institution for fostering Mozart's work in the composer's birthplace, which over the course of the following years established an authoritative status both in Salzburg and further afield. In the research particular emphasis was placed on the relationship between the Verein (Society) and members of the Mozart family, in particular the role of the two Mozart sons in fostering appreciation of Mozart and the development of the Society's unique collection of Mozartiana. In the process new findings have been presented, including information about questionable provenances of original Mozartiana. With its wide-ranging approach, the study fulfils the demands of a valuable reference work for both specialist scholars and for admirers of Mozart.
SKU: HL.49033023
ISBN 9790001130462. UPC: 888680949365. 8.25x11.75 inches. English.
Harry Partch (1901-1974), one of the greatest and most individualistic composers of all time, who created dozens of incredible instruments for the performance of his music, created one of the most amazing bodies of sensually alluring and emotionally powerful music of the 20th century. Closely connected with his name is NEWBAND, an ensemble founded by Dean Drummond, which received custodianship of the original Harry Partch Instrument Collection in 1990 and has since been involved with resurrecting Partch's great works. A Collection of musical compositons based on the spoken and written words of hobos and other characters - the result of my wanderings in the western part for baritone, bass and orchestra.