SKU: KJ.SO109C
Written in the style of Haydn and Mozart, this composition features the keys of C and G Major, imitative motives and a variety of dynamics. Grade 1 1/2, 2:45.
SKU: LM.P03551
ISBN 9790230335515.
SKU: PE.EP6503
ISBN 9790300714189.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: KJ.SO109F
SKU: CF.CM9734
ISBN 9781491161142. UPC: 680160919734. Key: A minor. English. Basque Carol.
A Basque Carol (also known as Gabriel's Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer's Canterbury Tales: Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .. Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song's lasting popularity. I would also attribute A Basque Carol's continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as his wings as drifted snow, his eyes as flame. I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I've added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino. I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you're a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!.A Basque Carol (also known as Gabriel’s Message) holds a special place in Western music. The carol originates from Basque country around the 13th century, based on the Latin hymn, Angelus ad Virginem (likely of Franciscan origin). The tune quickly spread throughout Europe, finding popularity in Britain where it was even referenced in Chaucer’s Canterbury Tales: “Playing so sweetly that the chamber rang; / and Angelus ad virginem he sang. . .â€.Interestingly, the melody we know and love today is derived from the original Basque version. In my view, this tune is a perfect example of melody-crafting. It is at once hauntingly beautiful, yet warm and joyous. Its contours are complex, dramatic, yet singable. I believe this melodic accessibility is the key to the song’s lasting popularity. I would also attribute A Basque Carol’s continued popularity to its elegant translation into English (by Sabine Baring-Gould, who rediscovered the original Basque tune). Translations often risk sounding unimaginative, coarse, and blunt. This translation is strikingly different. It was graced with an especially poetic translation including lines such as “his wings as drifted snow, his eyes as flame.â€I am very excited to offer a new perspective on this classic carol, joining the tradition of composers preserving and reimagining a priceless medieval melody. My first goal was to create a flowing, richly-textured, even cinematic string accompaniment for the choir. This approach was very much inspired by the dense, string-writing style of English composer Ralph Vaughan Williams. My second goal was to make the arrangement flexible enough to be performed with only choir, only strings, or (best of all) both ensembles combined. To further complement this approach, I’ve added an obligato line for a solo recorder (solo flute or violin work just as well). If you listen carefully, you will hear a quote from my other favorite holiday carol, Jesu Bambino.I hope you enjoy performing A Basque Carol. I especially hope that you sense the ancient magic cast into this tune, hearing the ineffable qualities that have compelled us to sustain it for nearly a millennium. Whether you’re a choir, a string orchestra, or a combined ensemble, this arrangement of A Basque Carol will surely be a haunting and lovely addition to your next holiday program!
SKU: HL.49045369
ISBN 9790001127059. UPC: 841886029682.
This concerto follows the structure of the Italian overture - fast, slow, fast. The first movement is a sonata form without development, based on three themes, rhythmical, oriental, waltz respectively. The second movement is characterized by an initial theme with Chopinesque-contours, followed by a more agitated theme and a choral-theme accompanied by a carillon in the treble register of the piano. The recapitulation includes a cadenza, Variation on the choral-theme. The finale is a rondo with a cheerful refrain twirling as a tarentella. Ist festive and dance-like episodes are combined with the perpetuum mobile of the refrain and its variations and the work is rounded off with a brillant, luminous coda. Naji Hakim.
SKU: HL.49033270
ISBN 9790001136860. 9.25x12.0x0.3 inches.
The Jagdquartett (Hunt Quartet), which Jorg Widmann wrote as his third string quartet in 2003, following the Choralquartett, also begins with a visible gesture. After a short signal cry from the performers, the piece starts by quoting Robert Schumann's Papillons op. 2, and for its full duration retains this gesture, these starting sounds. The degrees of recognizability do change continuously, to be sure, in the furious, racing organism of the score. The contours change into forms on another level, yet now and then the begining material returns clearly to the fore, initiated anew by a cry from the performers, and is then digested or mutated as a rhythmic study into a field of harmonic experimentation. On rare occasions, there are moments of pause - as though the musicians were testing the atmosphere, as though they were sensing the weather, so as ultimately to continue playing the quartet across the fields an forests of notes. A hunt after joyful performance, a chase, the whip cracking, after the thing to be shot, the sound, its performer, perhaps the composer himself? - A last shout, morendo, dal niente... - The victim is not the audience, at any rate.When comparing the output of string quartets from the 18th century to thetime of Schumann, it appears to have dropped considerably. Schumann composed only three complete quartets, all of them in the so-called 'chamber music year' 1842. Jorg Widmann, who counts Robert Schumann among his greatest inspirations, finished a series of five string quartets in 2005, at the same age as Schumann. The quartets in the cycle form in themselves the characters of the movements of the classical quartet. Jagdquartett represents the fast middle movement, the scherzo. Widmann's work appears rough and wild in the style of Schumann's alter ego Florestan. His hunt begins in the tempo of 'allegro vivace assai' with the final theme of Schumann's Papillons which often appears or is cited in many of Schumann's compositions. Widmann eventually dismantles the thematic material of his fierce quartet, thus skeletonising his prey.
SKU: FG.55011-861-4
Žibuoklė Martinaitytė Osmosis (2015) is scored for three trumpets and three tenor trombones. The instruments of the 12-minute-work are in osmotic relationships: various degrees of assimilation happen through the subtle variances of rhythmic or melodic contours that often create unified textures where the entire brass ensemble is functioning as one huge organism, breathing in and out simultaneously and playing identical patterns. At times the well functioning homogenous sound machine breaks down and then starts anew with changing harmonic relationships between the instruments.This product consists of a full score and a set of parts (3 trumpets in Bb & 3 tenor trombones).The works of New York -based Lithuanian composer Zibuoklė Martinaitytė (b. 1973) have been lauded as breathtaking and profoundly moving. Her stimulating music bristles with energy and tension and revolves often around the subject of beauty, which she calls both a guiding principle and an aesthetic measure for sonic quality.
SKU: PE.EP14547
ISBN 9790014137090. German.
Hard Boiled Variations by Arnulf Herrmann is a 41-minute work for ensemble and dance. Two aspects are at the centre of it: on the one hand, the piece addresses different facets of acceleration or the different ways of creating the impression of acceleration, and on the other hand, the play of proximity and distance or sharpness and blurriness. The reference to visual perception and the visual arts is quite intentional---comparable to the gradual receding from a canvas, the details fade with increasing distance (or acceleration) and the overriding contours come to the fore until finally only the overall impression of the picture remains recognisable.
The piece was premiered on 6 May 2022 at the Wittener Tage für Neue Kammermusik by Ensemble Modern and CocoonDance under the direction of Elena Schwarz.
The full score (EP 14547) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. This product is printed on demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: HL.233283
12.0x9.0x0.486 inches.
Nunataks are mountains that rise up out of icefields and glaciers. The jagged contours of nuntaks contrast sharply with the smooth whiteness that surrounds them. As the ice melts and the sea rises, these solitary peaks stand as start reminders of human isolation and vulnerability. - John Luther Adams.
SKU: HL.14023221
ISBN 9788759867822. International (more than one language).
Version for Soprano and Chamber Ensemble. Aftonland (1957) for soprano and chamber orchestra, the work to give Nordheim his breakthrough in the Northern countries, is written on the basis of four poems by the Swedish Nobel prize-winner, the writer Par Lagerkvist. The original version is for soprano accompanied by five strings, harp, celesta and percussion. The second version (1965) is for soprano and chamber orchestra with 22 strings. The work is dedicated to the memory of the composer's father, Erling Nordheim. Transition, transformation and existential wonder, as evoked by these lines in the second movement, resonate, sympathetically, seemed to be etched into the very musical fabric as well. Nordheim's free-tonal language with its dissonant intervals is employed effectively to punctuate Aftonland's powerful expressivity. Beyond the contours and importance of the lines, however, the instrumentation too probes broad expressive registers and is highly foregrounded in its own right.
SKU: HL.14022412
ISBN 9788759858646. English-Danish.
MUSICAL GRAFITTI(II)In Musical Grafitti(II), virtuoso drawings for amplified piano, large ensemble and tape with cosmic sounds, von den herrn Asberion Ska-tune (1983-84), Schaathun is particularly concerned about investigating the relationship between various kinds of compositional techniques and their actual influence on the sound image, and therebye on the musical language. Thus is Musical Grafitti about different settings of the same musical gesture, which are presented in the initializing Formula. At the same time Formula serves as a model for the progression of the entire piece on various levels.The computer-program SCHAATON, written especially for this work by Swedish composer Bo Rydberg, governs the relative intervallic relationship in the first extensive piano exposition. In this part of the piece, the computer establishes the chordal focal points of the work, thus rather paradoxically making itself redundant.The brief tape interpolations and the long ending consist of cosmic noise recorded by a satelite. This noise symbolizes the outermost edge of the musical continuum Schaathun is seeking to describe: from white noise to music characterized by an advanced syntax. To compose is to control a defined continuum of sound. In this piece the control is represended by the Formula.The piece may also be read as a big prelude to Luciano Berios points on the curve to find... At one point Schaathun's curve crosses Berios curve, and the contours become directly involved in Berio's instrumentation before passing through and the soloist disappears into the coloured noise into which the piece fades away.(+ Fransk versjon NMI).
SKU: LM.28949
ISBN 9790230989497.
PESSON Gerard : Hymne de bienvenue - FONTCUBERTA Carlos : Bagatelle aux contours de la lune - PESSON Gerard : A coeur battant - Ecossaise - FILIDEI Francesco : Prelude - PESSON Gerard : Songe de Matteo - C'est trop languir - Mikel URQUIZA : Jeu de dames - PESSON Gerard : De grandes esperances - SINGIER Jean-Marc : 3 mains + 1 - PESSON Gerard : Nembutal - CHOUILLET Denis : Nocturne a midi - PESSON Gerard : Berceuse pour Gaspard - Lidern - Poisson dort - DAINOBU Ryo : Suichu-ka - PESSON Gerard : Quintes avides - Stravinskiana - Am Grabe Luigi Nonos - Dalibert valse - SCHOLLHORN Johannes : Tango en blanc et gris et noir - PESSON Gerard : Gym a la noix - Contrapunctus II - CHOUILLET Denis : Guirlande - PESSON Gerard : Le diable dans le beffroi - Auroral Light - Adieu - Fete de l'independance.
SKU: HL.1303101
UPC: 196288173007.
This revised 4th edition of Practice in Music Theory Grade 6 comes complete with detachable Model Answers! The success of its previous editions for the past two decades has prompted the need for more definitive solutions. Based on the ABRSM theory examination syllabus, it is the first of three comprehensive coursebooks leading to Grade 8 and beyond. Students are guided to achieve a high theoretical standard, with competent knowledge in harmony, counterpoint, melodic writing and score analysis. The J Koh's instructional approach is academic and systematic; yet musically conceived with graphical layouts and selective examples. There are 2 parts to this coursebook. Part I - Harmony The principles of harmony are introduced here: 4-part writing, 2-part counterpoint, concepts of traditional chord progression, use of inversions, principles of voice-leading, and the use of non-harmony notes. Harmonic guidelines and rules are clearly explained with relevant examples. Exercises are progressively structured to ensure a strong grasp of the theoretical concepts. Part II - Melodic Composition and Analysis Meloic composition is taught through an analytical approach. The concepts of phrasing, use of motifs, modulations and melodic contour are illustrated with authentic extracts. By taking students through the works of the great masters, their technical skills are sharpened, enhanced with useful tools for the creative compositional process. Skills in score analysis involve the acquisition of sound musical knowledge - the study of forms, genres, history of western music that spans 4 centuries, along with the composersÂ’ works and styles. Appendices II and III provide guidance for basic research needed at this level. The essential and highly recommended reference texts are: Musical Forms and Terms and Understanding Orchestration, The Orchestra and Its Instruments.
