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Vous avez sélectionné:
Angel of Music
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Partitions à imprimer
225 partitions trouvées
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Angel No.1 - Piano Sonata
Angel No.1 - Piano Sonata
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Piano seul
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AVANCÉ
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Philip J
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Angel No.1 - Piano Sonata
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Philip J. Konrad
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1486092 Composed by Philip J. Konrad. 21st Century,Baroque,Classical,Contemporary,Film/TV. Score. 3 pages. Philip J. Konr...
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Piano Solo - Level 5 - SKU: A0.1486092 Composed by Philip J. Konrad. 21st Century,Baroque,Classical,Contemporary,Film/TV. Score. 3 pages. Philip J. Konrad #1063150. Published by Philip J. Konrad (A0.1486092). This is the 2nd installment of my 18-part series of music inspired by the angels of Neon Evangelion. This piece is a beautiful piano solo with flowing arpeggios, instilling the listener with a sense of wonder and awe as the pianist tells a story of how it felt to find the first angel. The clashing chords in the middle create a feeling of darkness and evil. A warning only to be buried away with the next flowing and rather jovial melody - arrogance.
$10.00 ≈
9.07€
The Sealed Angel
The Sealed Angel
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Chorale SSAATTBB
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AVANCÉ
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Rodion Shchedrin
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The Sealed Angel
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SSAATTBB), soloists (SAT), 2 boy's voices (SA) and flute - difficult - SKU: S9.Q3077 Der versiegelte Engel (Zapechatlyonnyi Angel). ...
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Mixed choir (SSAATTBB), soloists (SAT), 2 boy's voices (SA) and flute - difficult - SKU: S9.Q3077 Der versiegelte Engel (Zapechatlyonnyi Angel). Composed by Rodion Shchedrin. This edition: score. Downloadable, Score. Duration 60 minutes. Schott Music - Digital #Q3077. Published by Schott Music - Digital (S9.Q3077). Old Slavonic.The Sealed Angel, Shchedrin’s monumental choral work - over an hour long - is rooted in the tradition of the large scale liturgical compositions by Tchaikovsky and Rachmaninov, and, like them, is closely related to the Znamennyj raspev, the traditional chant of the Russian Orthodox church. But more than this, Shchedrin's richly varied score unites sacred and secular elements in almost exemplary fashion; the liturgical texts and the flow of the music inspired by Orthodox church music are fused together with interludes played on the flute, which above and beyond its colouristic role, plays the practical part of a pitch pipe for the members of the choir.
$22.99 ≈
20.84€
Courage in a Time of Struggle
Courage in a Time of Struggle
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Orgue
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AVANCÉ
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Angela Kraft Cross
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Courage in a Time of Struggle
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Sacred Music Press
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SheetMusicPlus
Organ 3-staff - Advanced - SKU: LX.70-2433S Organ Music for Service or Recital. Composed by Angela Kraft Cross. Sacred, Concert, General. Organ. ...
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Organ 3-staff - Advanced - SKU: LX.70-2433S Organ Music for Service or Recital. Composed by Angela Kraft Cross. Sacred, Concert, General. Organ. 68 pages. Sacred Music Press #e70/2433S. Published by Sacred Music Press (LX.70-2433S). This volume’s title is also the name of the centerpiece triptych in this collection of thrilling works by Angela Kraft Cross. The other pieces include a fantasy inspired by archangels, a Christmas fantasy on “Adeste fideles,†an elegiac “fanfare,†and a piece inspired by the vision of healing waters. Kraft Cross’s pieces are becoming frequent recital selections, and the ones in this volume likewise offer possibilities for concerts or as special service voluntaries.
$32.00 ≈
29.01€
Courage in a Time of Struggle
Courage in a Time of Struggle
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Orgue
#
AVANCÉ
#
Angela Kraft Cross
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Courage in a Time of Struggle
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Sacred Music Press
#
SheetMusicPlus
Organ: 3-staff - Advanced SKU: LO.70-2433S Composed by Angela Kraft Cross. Sacred, Concert, General. Sacred Music Press #70/2433S. Published by Sacred Mu...
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Organ: 3-staff - Advanced SKU: LO.70-2433S Composed by Angela Kraft Cross. Sacred, Concert, General. Sacred Music Press #70/2433S. Published by Sacred Music Press (LO.70-2433S). ISBN 9780787778217.This volume’s title is also the name of the centerpiece triptych in this collection of thrilling works by Angela Kraft Cross. The other pieces include a fantasy inspired by archangels, a Christmas fantasy on “Adeste fideles,†an elegiac “fanfare,†and a piece inspired by the vision of healing waters. Kraft Cross’s pieces are becoming frequent recital selections, and the ones in this volume likewise offer possibilities for concerts or as special service voluntaries.
$37.00 ≈
33.54€
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
21.75€
Tree of Life
Tree of Life
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Orgue
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Musique Sacrée
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Angela Kraft Cross
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Tree of Life
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Sacred Music Press
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SheetMusicPlus
Organ: 3-staff - Advanced SKU: LO.70-2138S Composed by Angela Kraft Cross. Sacred. Sacred Music Press #70/2138S. Published by Sacred Music Press (LO.70-2...
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Organ: 3-staff - Advanced SKU: LO.70-2138S Composed by Angela Kraft Cross. Sacred. Sacred Music Press #70/2138S. Published by Sacred Music Press (LO.70-2138S). ISBN 9780787763534.Angela Kraft Cross's career as a church musician, touring recitalist, and teacher has resulted in numerous organ compositions. Five striking works have been selected to form her first published collection. The pieces employ a variety of styles and moods: two in a contemporary style inspired by the classic English trumpet voluntaries, a delightful pastorale, a deeply expressive Kyrie eleison, and the powerful passacaglia Tree of Life inspired by the seasons of the year and our faith. Kraft Cross's stunning writing is sure to make a strong impact in recital or as service voluntaries.
$33.00 ≈
29.92€
Portals of Catedral de Orihuela.
Portals of Catedral de Orihuela.
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Dr Anthony Costandius
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Portals of Catedral de Orihuel
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Anthony Costandius Music
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SheetMusicPlus
Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Sco...
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Small Ensemble Cello,Double Bass,Saxophone,Viola,Violin - Level 5 - SKU: A0.938331 Composed by Dr Anthony Costandius. Christian,Contemporary,Sacred. Score and parts. 72 pages. Anthony Costandius Music #14899. Published by Anthony Costandius Music (A0.938331). A piece for solo Alto Saxophone and String Orchestra. The church was made a cathedral in 1564 when the city was granted its bishopric. The cathedral was built on the site of the Aljama Mosque in the first third of the 14th century. The name of this structure, El Salvador Cathedral, literally means the Cathedral of the Transfiguration. The cathedral has three portals: the Puerta de las Cardenas (Portal of the Chains, 14th century) is in Islamic style, the Puerta de Loreto (mid-15th century) is Gothic, and Puerta de la Anunciación (Portal of the Annunciation, built in 1588 by Juan Inglés), which has a Renaissance-style triumphal arch-shape. Part 1: Introitis. The saxophone mimics a chant based on the metre of the Introitis: Rorate, caeli, desuper, et nubes pluant iustum: aperiatur terra, et germinet Salvatorem (Bedew us, heavens, from above; ye clouds, rain down the Just One. Let the earth be opened up, and produce the Saviour. The intervals 1 (tonic), 5 (dominant), 6 (super-dominant) and 4 (subdominant), based on the year 1564 referred to in the section above, are used as the basis for the harmony progression for the string section. Part 2: Puerta de las Cardenas Acts 12:3–19 says that Peter was put into prison by King Herod, but the night before his trial an angel appeared to him, and told him to leave. Peter's chains fell off, and he followed the angel out of prison, thinking it was a vision (verse 9). The prison doors opened of their own accord, and the angel led Peter into the city. The visit from the angel, release from the chains and the prison, as well as the journey into the city is expressed against the background of the Islamic design of the portal, hence the referral to Arabian rhythms and scales in the music. Part 3: Puerta de Loreto The Puerta de Loreto is of gothic design. Loreto refers to the Italian city of Loreto in the province of Ancona. It is said that the holy house where the Mother Mary lived in Nazareth was translated miraculously to Loreto on December 19, 1294 - more than 700 years ago. The house did not go straight to Loreto, but in the year 1291 it was miraculously transported from Nazareth to the town of Tersatto in Dalmatia (Croatia). The local population, filled with astonishment, did not know how to explain its sudden appearance. Their Bishop, who was gravely ill, now appeared in their midst cured. He had prayed to the Virgin Mary that he might be strong enough to see the prodigy for himself, and the Mother of God appeared to him, surrounded by Angels, saying: My son, you have called for me, and here I am. I came to give you succor and to reveal to you the mystery [of the translation of the Holy House] you desire to know. The holy dwelling is the very house where I was born and raised. It was there that I received the good news brought by the Archangel Gabriel and I conceived the Divine Infant by the operation of the Holy Ghost. It was there that the Word was made flesh... For you to bear witness to all that I am telling you now, you will suddenly be cured and return to full health after the long illness you have borne, so that through you all will believe in this miracle. Part 4: Puerta de la Anunciación The Annunciation is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Jesus, meaning Saviour. Part 5: Exit The work ends with a re-interpretation of the first section, the Introitis. This is to bind the work together, but also to again reflect on the text, as stated: Rorate, caeli, desuper, et nubes pluant iustum: a periatur terra, et germinet Salvatorem, and to comtemplate how that gives meaning to the being, essence and history of the Catedral de Orihuela.
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9.07€
Three Wesendonck Lieder for Solo Trombone and 5-part Trombone Ensemble
Three Wesendonck Lieder for Solo Trombone and 5-part Trombone Ensemble
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Ensemble de Trombones
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AVANCÉ
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Classique
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Richard Wagner
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Bob Burnham
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Three Wesendonck Lieder for So
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Cherry Classics Music
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SheetMusicPlus
Trombone solo with Trombone ensemble - Advanced - Digital Download Composed by Richard Wagner (1813-1883). Arranged by Bob Burnham. Romantic Period, ...
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Trombone solo with Trombone ensemble - Advanced - Digital Download Composed by Richard Wagner (1813-1883). Arranged by Bob Burnham. Romantic Period, Classical Period, Opera. Score, Set of Parts. 34 pages. Published by Cherry Classics Music
Wagner composed five songs or lieder for voice and piano in 1857-58 based on poems by Mathilde Wesendonck, the wife of one of his patrons, and have thus been known as the Wesendonck Lieder over time. Three of them: Der Engel (The Angel), Schmerzen (Sorrows), and Trume (Dreams) have been beautifully arranged for solo Trombone (may be performed on Tenor or Bass Trombone) and 5-part Trombone Ensemble by Bob Burnham. They are very beautiful to listen to!
Of musical interest....Wagner inscribed the movement Trume as being a "study for Tristan and Isolde".
The three movements are about 9-minutes in length and this arrangement is appropriate for moderately advanced to advanced performers and will add a great deal of musical depth to your recital or concert.
$32.50 ≈
29.46€
Vangelis : 1492 : Christophe Colomb - Conquest of Paradise, Folia (niveau difficile, accordéon solo)
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Accordéon
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Vangelis
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1492
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Vangelis : 1492 : Christophe Colomb - Conquest of Paradise, Folia (niveau difficile, avec orchestre)
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Accordéon
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Vangelis
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1492
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Vangelis : Les Chariots de Feu - Thème (niveau difficile, sax alto)
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Saxophone
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Saxophone Les Chariots de Feu - Thème (niveau difficile, sax alto) de Vangelis. Partition pour Saxophone avec accomp. orchestre ...
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Vangelis : Les Chariots de Feu (niveau difficile, sax alto)
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Saxophone
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AVANCÉ
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Classique
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Saxophone Les Chariots de Feu (niveau difficile, sax alto) de Vangelis. Partition pour Saxophone avec accomp. orchestre -- Classique...
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Vangelis : Les Chariots de Feu - Thème (niveau difficile, sax ténor)
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Saxophone
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Saxophone Les Chariots de Feu - Thème (niveau difficile, sax tenor) de Vangelis. Partition pour Saxophone avec accomp. orchestre...
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Vangelis : Les Chariots de Feu - Thème (niveau difficile)
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Flûte traversière
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Vangelis
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Les Chariots de Feu
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Vangelis : Les Chariots de Feu (niveau difficile, sax ténor)
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Saxophone
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Classique
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Vangelis
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Les Chariots de Feu
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Vangelis : Les Chariots de Feu - Thème (niveau difficile, piano solo)
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Piano seul
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Les Chariots de Feu
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Vangelis : Les Chariots de Feu - Thème (niveau difficile, avec orchestre)
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Piano seul
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Piano Les Chariots de Feu - Thème (niveau difficile, avec orchestre) de Vangelis. Partition pour Piano avec accomp. orchestre --...
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Vangelis : Les Chariots de Feu (niveau difficile, avec orchestre)
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Piano seul
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AVANCÉ
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Classique
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Piano Les Chariots de Feu (niveau difficile, avec orchestre) de Vangelis. Partition pour Piano avec accomp. orchestre -- Classique...
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Vangelis : Les Chariots de Feu - Thème (niveau difficile)
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Clarinette
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Vangelis : Les Chariots de Feu (niveau difficile)
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Flûte traversière
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Classique
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Vangelis
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Les Chariots de Feu
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Vangelis : Les Chariots de Feu - Thème (niveau difficile)
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Trompette
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Les Chariots de Feu
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Vangelis : Les Chariots de Feu (niveau difficile)
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Clarinette
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Classique
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Clarinette Les Chariots de Feu (niveau difficile) de Vangelis. Partition pour Clarinette avec accomp. orchestre -- Classique...
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Vangelis : Les Chariots de Feu - Thème (niveau difficile, sax soprano)
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Saxophone
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Film/TV
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Vangelis
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Les Chariots de Feu
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Telechargez la partition Saxophone Les Chariots de Feu - Thème (niveau difficile, sax soprano) de Vangelis. Partition pour Saxophone avec accomp. orchest...
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Vangelis : Les Chariots de Feu (niveau difficile)
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Trompette
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Classique
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Vangelis
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Les Chariots de Feu
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Vangelis : Les Chariots de Feu (niveau difficile, piano solo)
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Piano seul
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Classique
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Vangelis
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Les Chariots de Feu
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Angel of Music
