Format : Score
SKU: CF.CAS146F
ISBN 9781491160855. UPC: 680160919451.
Retrospect looks to the past through two themes in an ABA form. The first lyrical theme is performed over an unrelenting and often dissonant pizzicato accompaniment that persists through the entirety of the first A section. The B section slows down for a more somber reflection and is more pensive and ruminative in character. After a short development where both themes are explored, the final A section returns triumphantly, first led by the violas. After a violin solo, the A section is restated in a more heroic and prevailing tone with arpeggiated viola and cello accompaniment. With contrasting styles and syncopated accompaniments, this piece is excellent for developing student shifting skills, tone, independent playing, and intonation.Retrospect looks to the past through two themes in an ABA form. The first lyrical theme is performed over an unrelenting and often dissonant pizzicato accompaniment that persists through the entirety of the first A section. The B section slows down for a more somber reflection and is more pensive and ruminative in character. After a short development where both themes are explored, the final A section returns triumphantly, first led by the violas. After a violin solo, the A section is restated in a more heroic and prevailing tone with arpeggiated viola and cello accompaniment. With contrasting styles and syncopated accompaniments, this piece is excellent for developing student shifting skills, tone, independent playing, and intonation.
About Carl Fischer Concert String Orchestra Series
This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: CF.CAS146
ISBN 9781491160633. UPC: 680160919222.
SKU: HL.50586611
Piano compositions by Saul Cosentino from the years 1963 to 2009. He became famous as composer and pianist of the Tango Nuevo era. However, his pieces illustrate many other musical aspects and very effective modern romantic piano music. De Argentijnse componist en pianist Saul Cosentino wordt beschouwd als een van de beste componisten en uitvoerders van de moderne tango. RetroSpective bevat 14 composities voor piano die hij schreef van 1963-2009.Klavierkompositionen aus den Jahren 1963 bis 2009 des argentinischen Tango-Komponisten und Pianisten Saul Cosentino, der als einer der besten Komponisten und Interpreten des modernen Tango gilt. Die wirkungsvollen, mittelschweren Stucke in diesem Buch zeigen jedoch noch viel mehr Facetten. Il volume raccoglie le composizioni pianistiche di Saul Cosentino che vanno dal 1963 al 2009. Cosentino ha acquisito fama come compositore e pianista dell'epoca Tango Nuevo. I suoi pezzi presentano anche altre caratteristiche musicali: musica pianistica moderno-romantica di grande efficacia, difficolta media.
SKU: HL.50605487
ISBN 9781705190517. UPC: 196288126546.
The title of the chamber piece Self-Quotations already carries the danger of sentimental retrospect. Of course, Jeney rejects this possibility: he summarizes the confrontation with his own career so far not in a large-format composition intended to be representative, but in a chamber work written for five instruments. Self-control and the tension that comes with it is also manifested in the fact how he highlights the self-quotations from their original environment, completely transforms them, and, as ifthey were just found objects, is preoccupied with what he can do with them. Distancing oneself from erupting emotions is associated with playfulness in the Self-Quotations. The playfulness in Jeney's work can be grasped in a variety of compositional processes, allof which call attention to the fact that in this retrospective work the composer was primarily concerned with how to construct a composition from as few and simple musical elements as possible. (Anna Dalos).
SKU: HL.132439
ISBN 9788322407936. UPC: 884088972738.
SKU: FG.55011-465-4
ISBN 9790550114654.
Through Green Glass is made up of four contrasting movements osasta (Allegro intenso-Pesante-Sostenuto-Energico), which are played attacca. The sharp cuts at the movement divider transfer the listener suddenly to a new atmosphere and sound texture. Only the final movement, Energico, grows organically into its own being, directly from the tranquil Sostenuto movement. Reoccuring rhythm ostinato 13/8 (8/8 + 5/8) is embedded in the genes of all movements. After the climax of the finale, a kind of synthesis is apparent: the heavy chords of Pesante movement make a reappearance; the final bars of the work are indeed a citation from the beginning of the work. Though the guitar is not Mikko Heinio's own instrument, this work was born with a guitar on the composer's lap. This lends to the texture being idiomatic, very natural to the guitar, not letting the performer get off easy, though. The fast changes in texture, multiple playing techniques and snappy rhythmic drive with fast arpeggios call for iron-handed guitarist. The title of the work was given after the work was finished. In retrospect the composer says of the title: [the mental image is] green like the nature, fragile and clear as glass, as light filtered by certain frequences of chromium oxide.
SKU: BT.EMBZK128
English.
The work was composed to the poems by the Hungarian contemporary poet Dezs Tandori. It was premiered on June 1. 1984 in London, performed by BBC Singers, conducted by John Poole. The eight movements are arranged in three inner cycles. Because of thecomplex divisi situations and the double choir stting the work requires sixteen singers for each voice range; hence the number of singers required is 4 x 16 = 64.
SKU: HL.14029389
SKU: HL.14029388
SKU: CL.032-0393-01
Some wonderful work for flugelhorn along with mar velous ensemble writing are features of this haunt ing rock ballad. A perfect contrasting chart for festival programming.
SKU: PO.ME02
ISBN 9780958346702.
The Partita is cast in three movements. The first derives its impetus from the soloist's opening gambit and the orchestral ritornello heard soon after. Their frequent reappearances enshrine a dorian tonality and embody a structure not unlike a rondo.The Arioso is for solo violin with support from the string orchestra in the main, an extended cantilena redolent of warm memories. Finally, in the rhythm of a jig, various of the concertante elements re-emerge. Woodwind and horns in the middle section and more especially the violin become increasingly prominent until near the end a cadenza for the soloist ponders fragments in retrospect before a final flourish.
SKU: HL.50601004
11.75x8.25x0.3 inches.
“'Across the skies' is characterized by a feeling of free and unforced imagination. At the beginning of the composition the pipa plays in an irregular rhythm through 'sweeping' overtones. At the same time, several string instruments play long, soft tones that result in an echo effect on the overtone chords of the pipa, whilst the other strings strengthen the overtone effect of the pipa. A pale acoustic segment repeatedly appears throughout the entire composition; it consists of diatonic scales and creates an impression of religiosity. The piece concludes with a retrospect of dreams.†(Wenchen Qin).
SKU: CL.032-0393-00
SKU: BR.PB-15163
ISBN 9790004215890. 10 x 12.5 inches.
Richard Strauss composed his second horn concerto about 60 years after his first horn concerto, having recently considered that his actual creativity had come to an end with his opera Capriccio. The late work was just a wrist exercise and not by any means intended for publication during his lifetime, though it does not reveal the depressing circumstances of its genesis during World War II. In the key of E-flat major, with the classic three movements including a rondo finale, the concerto has is a reminiscence of its earlier sister work and seems like a nostalgic retrospect of his youth from an almost 80-year-old Strauss. Hans Pizka, editor of this work's first Urtext edition, has experienced the performance tradition and history of this concerto at first hand, both as a pupil of Gottfried von Freiberg, soloist of the world premiere, and also as the former solo hornist of the Bavarian State Opera in Munich.
SKU: BT.FORFZZ20
Recital Pieces Volume 3 For Treble Recorder And Piano – 10 short pieces, in widely varying styles, edited by John Turner.
Contents:
Waltz for Jock, Op. 243 – John Gardner
Retrospect – Percy Young
A Cornish Carol – David Cox
Lament – Philip Cowlin
Reverie, Op. 113 – Arthur Butterworth
A Song from Norway – Roy Newsome
Pupazzetto – Emma Hancock
Mr. Pitfield’s Pavane – Norman Kay
VenusDancing – Alec Roth
Gigue – David Johnson
SKU: SU.25110030
This reflective work was inspired by HBO's television series The Tudors in which the pope pronounced an apostolic blessing to the people of Vatican City from the Ubis et Orbis. This solemn work reflects the composer's yearning: gratefulness in retrospect to the year of old, and anticipation at the prospect of the new year.String Orchestra Duration: 6’ Composed: 2014 Published by: Johno Muzik Performance materials available on rental:.
SKU: PR.11442131S
UPC: 680160681006.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
SKU: PR.114421310
UPC: 680160680993.
SKU: HL.14028273
The String Quartet No.1 was composed in 1919, actually making it his fourth quartet, but it was the first to be published. It is scored in five movements: Prelude- Pastorale- Scherzo- Elegy- Rondo Retrospectivo.
Cyril Scott (1879-1970) was a British composer, pianist and poet. His most popular works, by which he is largely remembered today, were written in the years preceding the Second World War, however he continued to compose prolifically, in the face of indifference from the outside world, right up until his death at the age of 91. His music is predominantly in the Romantic style, and serves as a tasteful reminder of abygone age.
SKU: FG.55011-689-4
ISBN 9790550116894.
Seppo Pohjola (b. 1965) composed his fifth string quartet, lasting about 20 minutes, in February-March 2018. He was inspired to write it by a visit to the Vincent van Gogh Museum in Amsterdam the previous year, where he was greatly impressed by the vast, comprehensive retrospective and especially the horrifyingly honest self-portraits. The soft opening tones bear an instruction alluding to Schonberg's Verklarte Nacht string sextet: the quiet music must be richly shaded. The notes in the canon-like part writing almost always change at different moments in each instrument, with a longer or shorter delay. The independent lines weave tightly together. The only dynamic is forte for minutes on end in the powerful closing section. Duration c. 20 minutes. Score (A4) and parts (B4).
SKU: PR.UE026108
UPC: 803452006718.