Partitions Numériques de The Other Side"" pour Piano, Voix

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The Other Side""
Non classifié 50

Piano & claviers
Piano seul 36
Orgue 5
Piano, Voix 2

2 Pianos, 4 mains 1

Guitares
Guitare 4
Basse electrique 1

Voix
Chorale SATB 6
Voix haute 2
Voix Soprano, Piano 1
Voix basse, Piano 1

Vents
Saxophone Alto et Piano 4
Flûte traversière et Piano 3
Saxophone Soprano et Piano 2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 1
Saxophone Alto 1

Flûte traversière 1
Flûte, Hautbois (duo) 1
Quatuor de Clarinettes: 4 clarinettes 1
Saxophone et Orgue 1

+ 4 instrumentations

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Cuivres
Trombone et Piano 3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 3
Ensemble de Cors 2
Tuba 2
Quatuor de cuivres: 4 trombones 2

Quatuor de Cuivres: 2 trompettes, Cor, trombone 1
Euphonium, Piano (duo) 1
Ensemble de Trompettes 1
Trombone basse et Piano 1
Trombone 1
Trompette (partie séparée) 1
2 Euphoniums et 2 Tubas 1

+ 7 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 10
Violoncelle 5
Violon et Piano 5
Trio à Cordes: 2 violons, violoncelle 4
Violon, Violoncelle (duo) 3

Alto, Piano 3
Violon 3
Alto et Harpe 1
Trio à Cordes: violon, alto, violoncelle 1
Alto (partie séparée) 1
Alto seul 1

+ 6 instrumentations

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Percussions & orchestre
Orchestre 14
Batterie 4
Orchestre d'harmonie 3
Ensemble Jazz 2
Ensemble de cuivres 2

Orchestre de chambre 2
Orchestre à Cordes 1
Quintette de Cuivres: autres combinaisons 1
Piano et Orchestre 1

+ 4 instrumentations

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Vous avez sélectionné:

The Other Side""

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Piano, Voix

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2 partitions trouvées

Toasting Mother Earth

Toasting Mother Earth #Piano, Voix #AVANCÉ #Ross Fiddes #dependent, fragile offspring #Toasting Mother Earth #Ross Fiddes #SheetMusicPlus

Piano,Vocal,Voice - Level 5 - SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692...(+)

Piano,Vocal,Voice - Level 5 - SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me. Â My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before â€“ he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera â€œAbelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award) Â for â€˜Outstanding Achievement in Newcastle Theatreâ€™ against some 200 other stage productions in Newcastleâ€™s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect. Â His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words. Â To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece. Â And, for further cohesion, I built an ABA (ternary) section early to address certain word structures. Â Mostly, the various sections followed the stanza structure provided by Derek, with some combinations. Â My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on. Â In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist. Â I was absolutely delighted that Anna Fraser again premiered a work of mine â€“ in 2015 she marvellously premiered another major composition of mine, reviewed here: Â http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while â€¦but have we bonded?A world unlike any other world weâ€™ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â Â PoemÂ© 2020 Derek DowdingRoss FiddesJanuary 2023.

$35.00 ≈ 31.37€

Two Scenes from the Lodz Ghetto: 1. At the Clothing Department; 2. To Get a Ration

Two Scenes from the Lodz Ghetto: 1. At the Clothing Department; 2. To Get a Ration #Piano, Voix #AVANCÉ #Stanley M Hoffman #2 #Two Scenes from the Lodz Ghett #stanleymhoffman.com #SheetMusicPlus

Piano,Vocal,Voice - Level 5 - SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189...(+)

Piano,Vocal,Voice - Level 5 - SKU: A0.1435089 Composed by Stanley M Hoffman. 21st Century,Classical,Opera. Score. 48 pages. Stanleymhoffman.com #1015189. Published by stanleymhoffman.com (A0.1435089). Opera Scenes 1. At the Clothing Department (3:00); 2. To Get a Ration (9:00) - vocal soloists & piano or chamber ensemble (cl, bn, tpt, tbn, perc, vln, vc) with live or prerecorded crowd noise - 2021, 2024. The libretto is comprised of the insightful observations of a young Jewish boy—Abraham “Abramek” Koplowicz—who was trapped by the Nazis in the Lodz ghetto and who later died in Auschwitz. The libretto appears before each scene in the scores.This may be a relatively brief piece, but it is a major one for me and posthumously for the author. I am fortunate to be the only person given blanket gratis permission to set the words of Abraham Koplowicz to music. He composed a book of poetry, plays, and artwork while imprisoned in the Lodz Ghetto before perishing later in Auschwitz before he could become a Bar Mitzvah. The contents of that book are quite good, sophisticated for his age. Abraham's late half-brother, Eliezer Grynfeld—who found the book in the 1990s—and I eventually became good friends. The Pope once kissed Eliezer's hand. That is how highly regarded this collection is and, by some stroke of luck or fate, I have got exclusive musical rights to the book until it enters the public domain. In my settings of AT THE CLOTHING DEPARTMENT and TO GET A RATION, I combine the musical language of Schoenberg's A SURVIVOR FROM WARSAW very nearly with the instrumentation of Stravinsky's A SOLDIER'S TALE - only the percussion instruments differ. The musical language of these brief opera scenes is appropriately terse, very much in keeping with the oppressiveness of imprisonment. Please have a look and a listen. Thank you for your consideration. ---Words originally in Polish by Abraham (“Abramek”) Koplowicz (b. 1930, Lodz, Poland, d. 1944, Auschwitz-Birkenau) Translation by Sarah Lawson and Małgorzata Koraszewska Adapted by Stanley M. Hoffman Translation by Sarah Lawson and Małgorzata Koraszewska. © Copyright 1993 by Eliezer Grynfeld. All rights reserved. Used by permission of Eliezer Grynfeld. Adapted by permission of Sarah Lawson and Małgorzata Koraszewska. Libretto by Stanley M. Hoffman. Music by Stanley M. Hoffman. NotePerfomer 4 Audio and Scrolling Score Video Seeking Live Performances Music: © Copyright 2021, 2024 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)com All rights reserved.

$12.00 ≈ 10.75€

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