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Led by a Brilliant Light
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Vous avez sélectionné:
Led by a Brilliant Light
Partitions à imprimer
32 partitions trouvées
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1
26
Led by a Brilliant Light
Led by a Brilliant Light
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Chorale Unison
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Noël
#
Patricia Lou Harris
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Led by a Brilliant Light
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Chorister's Guild - Digital
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SheetMusicPlus
Unison/Two-part chorus - SKU: C7.CGA785 Composed by Patricia Lou Harris. Christmas. With Harp, flute. Sacred Anthem. Octavo. 8 pages. Chorister's Guild ...
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Unison/Two-part chorus - SKU: C7.CGA785 Composed by Patricia Lou Harris. Christmas. With Harp, flute. Sacred Anthem. Octavo. 8 pages. Chorister's Guild - Digital #CGA785. Published by Chorister's Guild - Digital (C7.CGA785). UPC: 749193005125.The original music of the anthem portrays the excitement and majesty of the psalm text. The instruments beautifully support the voices, working together to convey the text: Let everything that has breath praise the Lord!
$1.95 ≈
1.80€
Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
Ali Ben Sou Alle : Divertissement sur Une Ballade Irlandaise
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Saxophone Soprano et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle
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Paul Wehage
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Ali Ben Sou Alle : Divertissem
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Musik Fabrik Music Publishing
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SheetMusicPlus
Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Fo...
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Instrumental Duet Instrumental Duet,Piano,Soprano Saxophone - Level 4 - SKU: A0.533210 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Folk,Holiday,Romantic Period. Score and parts. 17 pages. Musik Fabrik Music Publishing #1986205. Published by Musik Fabrik Music Publishing (A0.533210). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (c was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time). He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him. Divertissement sur Une Ballade Irlandaise begins with a lyric introduction in bel canto style. The Irish Ballade is named in the score as « My Lodging is on the Cold Ground », but is sometimes known as « Believe Me If All Those Endearing Young Charms » and is followed by a brilliant variation. After an ornamented modal passage in 6/8, the allemande theme is presented first in a moderate tempo, and then in a more rapid variant which uses « cross string » figerations similar to those used by fiddlers.
$11.95 ≈
11.04€
On My Road to Bethlehem, a sacred Christmas hymn
On My Road to Bethlehem, a sacred Christmas hymn
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Chorale SATB
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Kevin G
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On My Road to Bethlehem, a sac
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Kevin G. Pace
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SheetMusicPlus
Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1345216 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Rel...
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Choral Choir,Choral (SATB) - Level 4 - SKU: A0.1345216 Composed by Kevin G. Pace (ASCAP), Mary Ann W. Snowball. Christian,Christmas,Praise & Worship,Religious,Sacred. 3 pages. Kevin G. Pace #930154. Published by Kevin G. Pace (A0.1345216). A beautiful, sacred, Christmas hymn.  Music by Kevin G. Pace.  Text by Mary Ann W. Snowball.Text:On my road to Bethlehem, I don’t hear new angels sing.I am not a shepherd tending flocks in early Spring.I don’t see a brilliant star in the darkened sky,But I long to see a King . . . a King I won’t deny.On my road to Bethlehem, I will sing a heav’n-sent song.I will make great haste in spreading news so all belong.I will search for constant light on a darkened earth.I will witness sacred life from Jesus’ holy birth.On my road to Bethlehem, as I walk in paths He shows,I’ll declare my witness of his truths to which I’m prone.I will find the light of Christ shining far above,Finally I’ll reach his side . . . a manger filled with love.Chorus after the first two verses:On my road to Bethlehem, searching for the King,I will follow sacred Light and the life He brings.Chorus after the final verse:On my road to Bethlehem, as I find the King,I will feel his sacred love . . . love He freely brings.
$1.99 ≈
1.84€
Sergei Lyapunov - "Humoreske", Op. 34. Orchestrated by Arkady Leytush - Score Only
Sergei Lyapunov - "Humoreske", Op. 34. Orchestrated by Arkady Leytush - Score Only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Sergei Lyapunov
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Arkady Leytush
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Sergei Lyapunov - "Humore
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1408248 Composed by Sergei Lyapunov. Arranged by Arkady Leytush. 20th Century. 72 pages. Arkady Leytush #990829. Publ...
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Full Orchestra - Level 4 - SKU: A0.1408248 Composed by Sergei Lyapunov. Arranged by Arkady Leytush. 20th Century. 72 pages. Arkady Leytush #990829. Published by Arkady Leytush (A0.1408248). Sergei Lyapunov, the centenary of his death, which we celebrate this year, was a brilliant pianist, gifted composer and teacher. His scherzo, modestly titled “Humoresque,†​​is a brilliant virtuoso piece in which, thanks to symphonic development, I heard a potential orchestra. Working on the orchestral transcription of this work was an absolute pleasure for me, since the soloists and groups of the future orchestra reproduced exclusively in accordance with their nature, character and mobility. In other words, to put it in theatrical language, the casting turned out to be very successful. In a regular score, the overall sound takes on a different scale and can delight listeners and musicians with excellent virtuosic compositions, updating the standard repertoire.
$40.00 ≈
36.95€
Ali Ben Sou Alle: Fantaisie sur le Barbier de Séville de Rossin for alto saxophone and piano
Ali Ben Sou Alle: Fantaisie sur le Barbier de Séville de Rossin for alto saxophone and piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle, Gioachino Ro
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Paul Wehage
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Ali Ben Sou Alle: Fantaisie su
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Alto Saxophone,Piano - Level 4 - SKU: A0.533354 Composed by Ali Ben Sou Alle, Gioachino Rossini. Arranged by Paul Wehage. Concert,Opera,Romantic Period,...
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Alto Saxophone,Piano - Level 4 - SKU: A0.533354 Composed by Ali Ben Sou Alle, Gioachino Rossini. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 30 pages. Musik Fabrik Music Publishing #2363209. Published by Musik Fabrik Music Publishing (A0.533354). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.Fantaisie sur Le Barbier de Séville begins with the Count's 1st act cavatina Ecco ridente in cielà This is followed by a seriesof variations sur Rosina's Cabaletta Io sono docile. The second act finale Fredda ed immobile is then presented in a number of variations. Finally, the second part of the Count and Figaros first act duo (Ah che d'amore) brings the work to a brilliant finish.
$19.95 ≈
18.43€
Ali Ben Sou Alle: Fantaisie sur la Somnambule de Bellini for alto saxophone and piano
Ali Ben Sou Alle: Fantaisie sur la Somnambule de Bellini for alto saxophone and piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle, Vincenzo Bel
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Paul Wehage
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Ali Ben Sou Alle: Fantaisie su
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Musik Fabrik Music Publishing
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SheetMusicPlus
Alto Saxophone,Piano - Level 4 - SKU: A0.533353 Composed by Ali Ben Sou Alle, Vincenzo Bellini. Arranged by Paul Wehage. Concert,Opera,Romantic Period,S...
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Alto Saxophone,Piano - Level 4 - SKU: A0.533353 Composed by Ali Ben Sou Alle, Vincenzo Bellini. Arranged by Paul Wehage. Concert,Opera,Romantic Period,Standards. Score and part. 28 pages. Musik Fabrik Music Publishing #2363203. Published by Musik Fabrik Music Publishing (A0.533353). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.This fantasy begins with motifs from the 1st act chorus « Sempre Felc’Amina » ». The Count’s first act aria « Vi ravisso, o loughi ameni » is followed by an extended cadenza and leads to Amina and Elvino’s first act duo « Prendi l’amel ti dono ». Amina’s second act aria « Ah non guige! » is presented with a brilliant variation to bring the work to a close.
$16.95 ≈
15.66€
Ali Ben Sou Alle :Souvenirs de l'Inde Andante, Air Malabar varié et Polonnaise for soprano saxophone
Ali Ben Sou Alle :Souvenirs de l'Inde Andante, Air Malabar varié et Polonnaise for soprano saxophone
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Saxophone Soprano et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle
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Paul Wehage
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Ali Ben Sou Alle :Souvenirs de
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 4 - SKU: A0.533350 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and p...
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Piano,Soprano Saxophone - Level 4 - SKU: A0.533350 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part. 39 pages. Musik Fabrik Music Publishing #2348229. Published by Musik Fabrik Music Publishing (A0.533350). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.Souvenirs de l'Inde (Souvenirs of India) starts with an expressive andante. A folksong from the region of Malabar is presented in an evocation of drums, bells and pipes and is then varied. The final polonaise is in rondo form and ends with a brilliant coda.
$16.95 ≈
15.66€
Ali Ben Sou Alle: Grande Fantaisie Variée sur "Lucia di Lammermoor" for alto saxophone and piano
Ali Ben Sou Alle: Grande Fantaisie Variée sur "Lucia di Lammermoor" for alto saxophone and piano
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Saxophone Alto et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Grande Fanta
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Musik Fabrik Music Publishing
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SheetMusicPlus
Alto Saxophone,Piano - Level 4 - SKU: A0.533508 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 35 pages. Musik Fabrik ...
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Alto Saxophone,Piano - Level 4 - SKU: A0.533508 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 35 pages. Musik Fabrik Music Publishing #3002551. Published by Musik Fabrik Music Publishing (A0.533508). This fantasy uses motifs from Donizetti's opera. After the opening which uses motives from the Overture, the main melody of the famous Sextet is presented. The tenor aria from the last act is presented with several vrariations. Finally, motifs form the fmaous mad scene end the work in a brilliant valse.One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in 1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director of music of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London. While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series in London. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octave mechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and began touring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the «turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, through China and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It was during this period that heconverted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). He subsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyages were subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection known as The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution. Around 1860, Soualle returned to France for health reasons and began publishing his own music. OnMarch 27 1865, he performed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire Imperial Family. After 1865, nothing more is known about him.
$19.95 ≈
18.43€
'A golden time ...' from Ariadne auf Naxos
'A golden time ...' from Ariadne auf Naxos
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Guitare
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Richard Strauss
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Rod Whittle
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for solo classical guitar
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'A golden time ...' from Ariad
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Maggie Creek Music
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SheetMusicPlus
Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music ...
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Solo Guitar - Level 4 - SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00 ≈
6.47€
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 ≈
22.16€
Samba (No.4 of the Brazilian Suite) Transcribed by Luiz Levy (Urtext Edition)
Samba (No.4 of the Brazilian Suite) Transcribed by Luiz Levy (Urtext Edition)
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Alexandre Levy
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Alexandre Dias (editor)
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Samba
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Instituto Piano Brasileiro - IPB
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.1404926 Composed by Alexandre Levy. Arranged by Alexandre Dias (editor). 19th Century,Classical,Latin,Romantic Period. Sc...
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Piano Solo - Level 4 - SKU: A0.1404926 Composed by Alexandre Levy. Arranged by Alexandre Dias (editor). 19th Century,Classical,Latin,Romantic Period. Score. 23 pages. Instituto Piano Brasileiro - IPB #987958. Published by Instituto Piano Brasileiro - IPB (A0.1404926). This Urtext edition of Alexandre Levy's Samba, the captivating fourth movement from his Brazilian Suite (1890), is the quintessential embodiment of early Brazilian musical nationalism. This edition brings to light Levy's masterful integration of traditional Brazilian melodies, including the iconic Balaio, meu bem, balaio, and lesser-known gems like the Afro-Brazilian song Xô Araúna, within a sophisticated structure. Our meticulously engraved score honors Levy's original composition and enhances accessibility with modern notational clarity. This is a rare and brilliant piano solo transcription by Alexandre Levy's brother, Luiz Levy.Key features include:- A comprehensive critical commentary by Alexandre Dias, shedding light on the Samba's historical significance and Levy's pioneering role in Brazilian music.- A detailed exploration of the Samba's thematic elements, revealing Levy's intricate use of Brazilian folk and Afro-Brazilian melodies.- High-quality musical engraving that provides a meticulously crafted and clear presentation of the score.- Enriched editorial notes, providing a reliable and authoritative foundation for performers. Perfect for pianists seeking to delve into the roots of Brazilian music, this edition showcases Alexandre Levy's genius while serving as a bridge between classical music traditions and the vibrant sounds of Brazil.
$8.99 ≈
8.31€
Ali Ben Sou Alle: Souvenirs d'Île Maurice for soprano saxophone and piano
Ali Ben Sou Alle: Souvenirs d'Île Maurice for soprano saxophone and piano
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Saxophone Soprano et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle
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Ali Ben Sou Alle: Souvenirs d'
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 4 - SKU: A0.533493 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 15 pages. Musik Fabr...
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Piano,Soprano Saxophone - Level 4 - SKU: A0.533493 Composed by Ali Ben Sou Alle. Concert,Romantic Period,Standards. Score and part. 15 pages. Musik Fabrik Music Publishing #3000187. Published by Musik Fabrik Music Publishing (A0.533493). Souvenirs d’Île Maurice begins with a lyrical pastorale in 12/8 time which features chromatic harmonies in the piano. The Rondo section presents first a Waltz theme in minor mode and then reprises the pastorale theme which is then varied in several brilliant passages.One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.
$11.95 ≈
11.04€
Nebraska - My Heartland (CHORAL SCORE)
Nebraska - My Heartland (CHORAL SCORE)
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Contemporain
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D
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Nebraska - My Heartland
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D. M. Gardner Music
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SheetMusicPlus
Choral Choir (4-Part) - Level 4 - SKU: A0.799663 Composed by D. M. Gardner. Contemporary. Octavo. 34 pages. D. M. Gardner Music #3370301. Published by D...
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Choral Choir (4-Part) - Level 4 - SKU: A0.799663 Composed by D. M. Gardner. Contemporary. Octavo. 34 pages. D. M. Gardner Music #3370301. Published by D. M. Gardner Music (A0.799663). CHORAL SCORE***FULL SCORE and INSTRUMENTAL PARTS SOLD SEPARATELY***Nebraska, My Heartland was written to not only celebrate 150 years of Nebraskan history, but to express my own gratitude for all that the Midwestern way of life has to offer. It celebrates the natural beauty of the Sandhills, prairies, forests, and bluffs, along with the strength of its people, its flourishing family friendly communities, and its deep and rich traditions in the arts. I have lived near mountains, near oceans, and visited some of the most beautiful places in the world, but none of those places have ever felt as much like home as Nebraska. Nebraska, My Heartland incorporates the poetry of both Willa Cather, the famous Nebraskan poet and writer who helped the rest of America gain an appreciation for the pioneer life, and Veronica Torraca-Bragdon, a contemporary poet and friend whose heart will always belong to Nebraska. Cather’s poem, Prairie Spring was chosen because it vividly portrays the struggles of the pioneers who originally settled here, yet juxtaposes this struggle with youthful determination, and the optimism and enthusiasm brought about by hope. Veronica’s poem, titled Nebraska, is the centerpiece for the fanfare and celebration of a state that abounds with success in all of the ways that make Nebraska a great place to live. The music begins as the sun is about to rise and burst forth with the promise of a new day. It speaks of Nebraska’s natural beauty and landscapes while the sweet song of the Western Meadowlark, our state bird, drifts on the wind. Next, the changing seasons and thriving spirit of Nebraska’s people are portrayed with an energetic, youthful melody leading into a celebratory sesquicentennial fanfare. But as the seasons change, the listener is reminded that to thrive is also to persevere, and soon a storm begins to loom. First the rolling thunder, then the rain, and finally the full devastation of nature’s fury are realized by the combined forces of both ensembles. Yet, as hope springs eternal, we are reminded again of the strength of the pioneer and the roots that keep us anchored against the storm. Out of this resilience bursts forth a brilliant light signifying the future that is before us for this generation and the next, ending with words that summarize so eloquently how Nebraskans feel about their home: With loving beauty, you’ll forever shine!INSTRUMENTATION1 Piccolo2 Flute 12 Flute 22 Flute 31 Oboe 11 Oboe 21 Bassoon 11 Bassoon 24 Bb Clarinet 14 Bb Clarinet 24 Bb Clarinet 32 Bb Bass Clarinet1 Eb Alto Saxophone 11 Eb Alto Saxophone 21 Bb Tenor Saxophone1 Eb Baritone Saxophone 3 Bb Trumpet 1 3 Bb Trumpet 2 3 Bb Trumpet 3 3 Bb Trumpet 4 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 42 Trombone 12 Trombone 22 Bass trombone3 Euphonium B.C. / Baritone T.C. 6 Tuba 1 Timpani (4 drums) 5 PERCUSSIONSuspended CymbalCrash Cymbal,Wind Chimes,Orchestral Chimes,Snare Drum (3 if available), Bass Drum, *Wind Machine (optional),*Suspended Thundersheet (as available), *Large Timpani Drumhead 1 PITCHED PERCUSSION Glockenspiel,Marimba SATB & Rehearsal PianoTo learn more about the composer, please visit https://www.dmgardner.com
$2.50 ≈
2.31€
Nebraska - My Heartland (INSTRUMENTAL PARTS)
Nebraska - My Heartland (INSTRUMENTAL PARTS)
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Contemporain
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D
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Nebraska - My Heartland
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D. M. Gardner Music
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SheetMusicPlus
Large Ensemble Choir,Voice - SKU: A0.799662 Composed by D. M. Gardner. Contemporary. Score and parts. 109 pages. D. M. Gardner Music #3370297. Published...
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Large Ensemble Choir,Voice - SKU: A0.799662 Composed by D. M. Gardner. Contemporary. Score and parts. 109 pages. D. M. Gardner Music #3370297. Published by D. M. Gardner Music (A0.799662). INSTRUMENTAL PARTS***SCORE and CHORAL SCORE SOLD SEPARATELY***Nebraska, My Heartland was written to not only celebrate 150 years of Nebraskan history, but to express my own gratitude for all that the Midwestern way of life has to offer. It celebrates the natural beauty of the Sandhills, prairies, forests, and bluffs, along with the strength of its people, its flourishing family friendly communities, and its deep and rich traditions in the arts. I have lived near mountains, near oceans, and visited some of the most beautiful places in the world, but none of those places have ever felt as much like home as Nebraska. Nebraska, My Heartland incorporates the poetry of both Willa Cather, the famous Nebraskan poet and writer who helped the rest of America gain an appreciation for the pioneer life, and Veronica Torraca-Bragdon, a contemporary poet and friend whose heart will always belong to Nebraska. Cather’s poem, Prairie Spring was chosen because it vividly portrays the struggles of the pioneers who originally settled here, yet juxtaposes this struggle with youthful determination, and the optimism and enthusiasm brought about by hope. Veronica’s poem, titled Nebraska, is the centerpiece for the fanfare and celebration of a state that abounds with success in all of the ways that make Nebraska a great place to live. The music begins as the sun is about to rise and burst forth with the promise of a new day. It speaks of Nebraska’s natural beauty and landscapes while the sweet song of the Western Meadowlark, our state bird, drifts on the wind. Next, the changing seasons and thriving spirit of Nebraska’s people are portrayed with an energetic, youthful melody leading into a celebratory sesquicentennial fanfare. But as the seasons change, the listener is reminded that to thrive is also to persevere, and soon a storm begins to loom. First the rolling thunder, then the rain, and finally the full devastation of nature’s fury are realized by the combined forces of both ensembles. Yet, as hope springs eternal, we are reminded again of the strength of the pioneer and the roots that keep us anchored against the storm. Out of this resilience bursts forth a brilliant light signifying the future that is before us for this generation and the next, ending with words that summarize so eloquently how Nebraskans feel about their home: With loving beauty, you’ll forever shine!INSTRUMENTATION1 Piccolo2 Flute 12 Flute 22 Flute 31 Oboe 11 Oboe 21 Bassoon 11 Bassoon 24 Bb Clarinet 14 Bb Clarinet 24 Bb Clarinet 32 Bb Bass Clarinet1 Eb Alto Saxophone 11 Eb Alto Saxophone 21 Bb Tenor Saxophone1 Eb Baritone Saxophone 3 Bb Trumpet 1 3 Bb Trumpet 2 3 Bb Trumpet 3 3 Bb Trumpet 4 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 42 Trombone 12 Trombone 22 Bass trombone3 Euphonium B.C. / Baritone T.C. 6 Tuba 1 Timpani (4 drums) 5 PERCUSSIONSuspended CymbalCrash Cymbal,Wind Chimes,Orchestral Chimes,Snare Drum (3 if available), Bass Drum, *Wind Machine (optional),*Suspended Thundersheet (as available), *Large Timpani Drumhead 1 PITCHED PERCUSSION Glockenspiel,Marimba SATB & Rehearsal PianoTo learn more about the composer, please visit https://www.dmgardner.com
$75.00 ≈
69.29€
Nebraska - My Heartland (FULL SCORE)
Nebraska - My Heartland (FULL SCORE)
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Contemporain
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D
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Nebraska - My Heartland
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D. M. Gardner Music
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SheetMusicPlus
Large Ensemble Choir,Voice - Level 4 - SKU: A0.799660 Composed by D. M. Gardner. Contemporary. Score and parts. 40 pages. D. M. Gardner Music #3370295. ...
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Large Ensemble Choir,Voice - Level 4 - SKU: A0.799660 Composed by D. M. Gardner. Contemporary. Score and parts. 40 pages. D. M. Gardner Music #3370295. Published by D. M. Gardner Music (A0.799660). FULL SCORE***PARTS & CHORAL SCORE SOLD SEPARATELY*** Nebraska, My Heartland was written to not only celebrate 150 years of Nebraskan history, but to express my own gratitude for all that the Midwestern way of life has to offer. It celebrates the natural beauty of the Sandhills, prairies, forests, and bluffs, along with the strength of its people, its flourishing family friendly communities, and its deep and rich traditions in the arts. I have lived near mountains, near oceans, and visited some of the most beautiful places in the world, but none of those places have ever felt as much like home as Nebraska. Nebraska, My Heartland incorporates the poetry of both Willa Cather, the famous Nebraskan poet and writer who helped the rest of America gain an appreciation for the pioneer life, and Veronica Torraca-Bragdon, a contemporary poet and friend whose heart will always belong to Nebraska. Cather’s poem, Prairie Spring was chosen because it vividly portrays the struggles of the pioneers who originally settled here, yet juxtaposes this struggle with youthful determination, and the optimism and enthusiasm brought about by hope. Veronica’s poem, titled Nebraska, is the centerpiece for the fanfare and celebration of a state that abounds with success in all of the ways that make Nebraska a great place to live. The music begins as the sun is about to rise and burst forth with the promise of a new day. It speaks of Nebraska’s natural beauty and landscapes while the sweet song of the Western Meadowlark, our state bird, drifts on the wind. Next, the changing seasons and thriving spirit of Nebraska’s people are portrayed with an energetic, youthful melody leading into a celebratory sesquicentennial fanfare. But as the seasons change, the listener is reminded that to thrive is also to persevere, and soon a storm begins to loom. First the rolling thunder, then the rain, and finally the full devastation of nature’s fury are realized by the combined forces of both ensembles. Yet, as hope springs eternal, we are reminded again of the strength of the pioneer and the roots that keep us anchored against the storm. Out of this resilience bursts forth a brilliant light signifying the future that is before us for this generation and the next, ending with words that summarize so eloquently how Nebraskans feel about their home: With loving beauty, you’ll forever shine! INSTRUMENTATION 1 Piccolo 2 Flute 1 2 Flute 2 2 Flute 3 1 Oboe 1 1 Oboe 2 1 Bassoon 1 1 Bassoon 2 4 Bb Clarinet 1 4 Bb Clarinet 2 4 Bb Clarinet 3 2 Bb Bass Clarinet 1 Eb Alto Saxophone 1 1 Eb Alto Saxophone 2 1 Bb Tenor Saxophone 1 Eb Baritone Saxophone 3 Bb Trumpet 1 3 Bb Trumpet 2 3 Bb Trumpet 3 3 Bb Trumpet 4 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 4 2 Trombone 1 2 Trombone 2 2 Bass trombone 3 Euphonium B.C. / Baritone T.C. 6 Tuba 1 Timpani (4 drums) 5 PERCUSSION Suspended Cymbal Crash Cymbal,Wind Chimes,Orchestral Chimes,Snare Drum (3 if available), Bass Drum, *Wind Machine (optional), *Suspended Thundersheet (as available), *Large Timpani Drumhead 1 PITCHED PERCUSSION Glockenspiel,Marimba SATB & Rehearsal PianoTo learn more about the composer, please visit https://www.dmgardner.com
$200.00 ≈
184.77€
Concerto for Clarinet and Orchestra
Concerto for Clarinet and Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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William Grosvenor Neil
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Concerto for Clarinet and Orch
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.980597 Composed by William Grosvenor Neil. Contemporary. Score and parts. 66 pages. TheComposerStudio.Com, LLC #66625...
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Full Orchestra - Level 5 - SKU: A0.980597 Composed by William Grosvenor Neil. Contemporary. Score and parts. 66 pages. TheComposerStudio.Com, LLC #6662561. Published by TheComposerStudio.Com, LLC (A0.980597). Composed in collaboration with clarinetist Dr. Corey Mackey, this three-movement concerto presents three distinct musical impressions led by the lyrically virtuosic clarinet solo. Each movement progressively gains a broader perspective of time and space, from the minute movements of the hummingbird, broadening to the majesty of mountains and ending with a vast impression of traveling through the universe at the speed of light. Movement one, Trochilidae-Allegro, celebrates the brilliant animation of the hummingbird. Emily Dickenson called it a resonance of emerald, a rush of cochineal. The clarinet solo imitates its mercurial flight darting and hovering in and around the orchestra. The second movement, Spiritual Adaptation to Higher Altitudes-Adagio, illustrates he slow and dramatic ascent of the clarinet through a broad and majestic orchestral soundscape culminating with an ecstatic summit vista. The third movement, Scherzo at the Speed of Light-Vivace, presents a sonic impression of sound and light in the universe, the clarinet spinning and gliding effortlessly through space arriving triumphantly in its home key of Bb in the final measures.Published by TheComposerStudio.Com, LLC. Parts rental https://www.thecomposerstudio.com/concerto/#tab-15865 More info: thecomposerstudio@gmail.com williamneil.net.
$40.00 ≈
36.95€
Ali Ben Sou Alle: Souvenirs du Cap Bonne Espérence Largo, Variations sur “The Irish Emigrant" et Pol
Ali Ben Sou Alle: Souvenirs du Cap Bonne Espérence Largo, Variations sur “The Irish Emigrant" et Pol
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Saxophone Soprano et Piano
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INTERMÉDIAIRE/AVANCÉ
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Ali Ben Sou Alle
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Paul Wehage
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Ali Ben Sou Alle: Souvenirs du
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Musik Fabrik Music Publishing
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SheetMusicPlus
Piano,Soprano Saxophone - Level 4 - SKU: A0.533351 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and p...
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Piano,Soprano Saxophone - Level 4 - SKU: A0.533351 Composed by Ali Ben Sou Alle. Arranged by Paul Wehage. Concert,Romantic Period,Standards. Score and part. 33 pages. Musik Fabrik Music Publishing #2363197. Published by Musik Fabrik Music Publishing (A0.533351). One of the most enigmatic figures in the history of the Saxophone, Ali Ben Sou Alle (Charles-Valentin Soualle) was born in1820 in Arras, France. After receiving his first prize in Clarinet at the Paris Conservatory in 1844. he served as the director ofmusic of The French Marine Band in Senegal, and then was named first clarinet solo at the Opéra-Comique in Paris. However, after the Revolution of 1848, Soualle was forced to flee France to England where he settled in London, playing in the Orchestra of the Queen's Theatre. His songs and piano pieces were published in London.While in London, Soualle met another exiled French musician, Louis Antoine Jullien, who conducted a light music series inLondon. Jullien encouraged Soualle to take up the saxophone, and after modifying the instrument by adding a single octavemechanism (the modern system used today) and keys for the lower register, Soualle became known as a virtuoso and begantouring performing solo recitals (or mono-concerts, as they were called at the time) calling his modified saxophone the«turcophone ». He performed in all the European capitals and then traveled to Australia, New Zealand, Manilla, Java, throughChina and then to India where he finally settled in Mysore, becoming the director of the Royal Music for the Maharadjah. It wasduring this period that he converted to Islam and changed his nmae to Ali ben Sou Alle (or Ali, son of Soualle). Hesubsequently travaled to Ile Maurice, to French Polynesia, the Cap of Natal and the Cap of Good Hope. All of these voyageswere subjects of musical works which Soualle entitled Souvenirs de... and may perhaps have been part of a collection knownas The Royal Album which was presented to the Prince of Wales after a royal concert. Soualle returned to Mysore in 1858 and was almost killed in the Indian Revolution.Around 1860, Soualle returned to France for health reasons and began publishing his own music. On March 27 1865, heperformed a command performance for the Emperor Napoleon III at the Tuileries Palace in the presence of the entire ImperialFamily. After 1865, nothing more is known about him.Souvenirs du Cap Bonne Espérence (Souvenirs of the Cap of Good Hope) begins with a dramatic aria, perhaps evoking the trip to the Cap which was, in the 19th century, still very dangerous. The Irish folksong « the Irish Emigrant » is presented as a them and in two variations. Finally an extended polka in rondo form finishes the work brilliantly.
$19.95 ≈
18.43€
CONJUNCTION: The Christmas Star of 2020
CONJUNCTION: The Christmas Star of 2020
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Orchestre
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INTERMÉDIAIRE
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Noël
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Robert Myers
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He will show His favor again
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CONJUNCTION: The Christmas Sta
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WheatMyer Music
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #649...
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Full Orchestra - Level 3 - SKU: A0.976734 Composed by Robert Myers. 20th Century,Christmas,Contemporary. Score and parts. 99 pages. WheatMyer Music #6496769. Published by WheatMyer Music (A0.976734). CONJUNCTION interprets the convergence of Jupiter and Saturn near the end of the year 2020 as a celestial metaphor for the good news of Christ's birth in a replay of the Star of Bethlehem. Hence, its subtitle of The Christmas Star of 2020. The music, along with narration from selected Old and New Testament scriptures, delivers a message of hope amid the turmoil and chaos of current times.It's written for smaller concert bands hungry for challenging music. Ample cues and doubling allow for flexible instrumentation while mixed meters, varying tempos and textures, and interesting solo lines provide opportunities for strong players to shine. CONJUNCTION is also available with strings for orchestra.PROGRAM NOTES:2020 is widely characterized for its maladies: murders, burning cities, riots, a pandemic, economic shocks, and political turmoil. For some of us, it also held personal tragedy such as my brother’s passing from COVID. But, 2020 also brought a sign of hope, namely the celestial phenomenon known as the Great Conjunction of 2020. For earth-bound observers, this was the closest approach of Jupiter and Saturn in almost 400 years as they appeared to almost touch in the early evening sky to produce the most brilliant evening star of our lifetimes. The occurrence of the event in November-December neatly coincided with the Advent season, peaking just before Christmas Day. One could hardly fail to note the parallels with the Christmas star of Matthew’s gospel which gave the conjunction its alternate name, the Christmas Star of 2020. Thus, this star spoke, to those with ears to hear, the same message the prophet Isaiah wrote about the coming Messiah, The people that walked in darkness have seen a great light. This star thus served to remind us that the LORD has not rejected us; He will show His favor again; His love has not vanished; His promises have not failed; He has not forgotten to be merciful or compassionate; and we are called to remember His mighty deeds (Psalm 77). CONJUNCTION: The Christmas Star of 2020 is inspired by these particulars.For the music, I looked to Gustav Holst’s The Planets for themes that would portray Jupiter and Saturn’s pas de deux. I selected several motives from the corresponding movements mixed and matched in sometimes easily recognized quotations and other times in heavily camouflaged derivations. An exuberant polyphonic passage recaps themes from both Jupiter and Saturn when the music resolves from uncertainty into hopefulness. While Holst’s motives provide CONJUNCTION’s foundation I also used Handel’s Messiah for transitory and climactic material. You will hear his The people who walked in darkness have seen a great light in transitions and a short trombone solo. And a re-harmonization of the opening line from For unto us a child is born brings the music to a joyous climax.Although the music stands firmly on its own, I elected to incorporate some narrative to make the musical sentiment explicit. In a commentary on 2020’s grim events, I took adaptations of Habakkuk 1:2-4 and 2 Tim 3:1-4 and set them over Saturn’s plodding and ominous harmonies. Contrasting replies shimmer with hope as the narration melds Isaiah 9:2 and Luke 1:78-79 over another Saturn motive set against pitch sets from Jupiter’s main hymn theme. Still, it’s the music that tells the story of the Christmas Star of 2020.Please visit my website for a complete score preview: https://wheatmyermusic.com/conjunction-the-christmas-star-of-2020I feel somewhat guilty making claim to this music as almost all the building blocks are taken from other composers. But the end result is neither a medley, nor an arrangement, rather it is something clearly new, so I call it my own with deep respect to those giants on whose shoulders I stand.Robert MyersS.D.G.
$95.00 ≈
87.77€
Vivaldi - Spring (The Four Seasons) for Flute and Harp Duet
Vivaldi - Spring (The Four Seasons) for Flute and Harp Duet
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Harpe, Flûte (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio Vivaldi
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Myriam Darme, Maia Darme
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Maia Darme
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Vivaldi - Spring
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SheetMusicPlus
Flute, Harp - Advanced Intermediate - Digital Download Composed by Antonio Vivaldi (1678-1741). Arranged by Myriam Darme, Maia Darme. Classical Perio...
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Flute, Harp - Advanced Intermediate - Digital Download Composed by Antonio Vivaldi (1678-1741). Arranged by Myriam Darme, Maia Darme. Classical Period, Baroque Period, Early Music, Repertoire, Recital. Individual Part, Score, Set of Parts. 8 pages. Published by Myriam & Maia Darme
Antonio Vivaldi?s Four Seasons need no introduction: it is the Italian composer?s best known and most loved work. Myriam and Maia Darme arranged this baroque masterpiece for flute and pedal harp.
This is the sheet music for the third movement of Spring, a joyous pastoral dance illustrating the following sonnet: "Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring."
The PDF file includes both the score and parts. Intermediate-advanced level. Performance time: ca. 3?40.
Note that the sound clip was digitally produced as a reference : the piece will sound much better on real instruments!
$3.99 ≈
3.69€
Meteor Shower
Meteor Shower
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Piano seul
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AVANCÉ
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Elizabeth Borowsky
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Meteor Shower
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Piano Prodigies
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SheetMusicPlus
Piano Solo - Level 5 - SKU: A0.1211943 Composed by Elizabeth Borowsky. 20th Century,Classical,Contemporary. Score. 5 pages. Piano Prodigies #809493. Pub...
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Piano Solo - Level 5 - SKU: A0.1211943 Composed by Elizabeth Borowsky. 20th Century,Classical,Contemporary. Score. 5 pages. Piano Prodigies #809493. Published by Piano Prodigies (A0.1211943). A single light bursts across the night sky like the streak of an artist's pen. A second joins, darting across an abyss of black in a wink of pearly light. Dozens of shooting stars join the first, the sky alight with dancing beams. They fall like tears across a celestial page, jumping, dancing, and disappearing across the horizon. Soon though, the meteor shower must end, the last spark blazing across the night sky in a solitary pin prick of brilliant light. The sky is dark again, not a single sign that shooting stars had ever brightened its marbled dome.
$7.00 ≈
6.47€
Rejoice, This Easter Day (Demo MP3)
Rejoice, This Easter Day (Demo MP3)
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Chorale Unison
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Charles Wesley Joanne LeDoux
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Rejoice, This Easter Day
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Growing In Grace - Digital
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SheetMusicPlus
Unison chorus/opt. 2-Part chorus, opt. Handbells - SKU: C6.636018009 Composed by Charles Wesley Joanne LeDoux. Christian, Children, Easter. MP3. Growing...
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Unison chorus/opt. 2-Part chorus, opt. Handbells - SKU: C6.636018009 Composed by Charles Wesley Joanne LeDoux. Christian, Children, Easter. MP3. Growing In Grace - Digital #636018009. Published by Growing In Grace - Digital (C6.636018009). This festive Easter anthem by Milton and Joanne LeDoux is nothing but fun to rehearse and sing! Styled with a classical touch and light syncopation, melodic and dynamic variety abound! An optional 2nd part provides harmonic interest, and the incorporation of the hymn, Rejoice, the Lord Is King adds a regal flair! An optional, non-seasonal text is provided for dual usage, and a brilliant handbell part adds a finishing touch! Part for 2 octave Handbells (or Handchimes) included.
$1.99 ≈
1.84€
Rejoice, This Easter Day (Accompaniment MP3)
Rejoice, This Easter Day (Accompaniment MP3)
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Chorale Unison
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Charles Wesley Joanne LeDoux
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Rejoice, This Easter Day
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Growing In Grace - Digital
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SheetMusicPlus
Unison chorus/opt. 2-Part chorus, opt. Handbells - SKU: C6.646018009 Composed by Charles Wesley Joanne LeDoux. Christian, Children, Easter. MP3. Growing...
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Unison chorus/opt. 2-Part chorus, opt. Handbells - SKU: C6.646018009 Composed by Charles Wesley Joanne LeDoux. Christian, Children, Easter. MP3. Growing In Grace - Digital #646018009. Published by Growing In Grace - Digital (C6.646018009). This festive Easter anthem by Milton and Joanne LeDoux is nothing but fun to rehearse and sing! Styled with a classical touch and light syncopation, melodic and dynamic variety abound! An optional 2nd part provides harmonic interest, and the incorporation of the hymn, Rejoice, the Lord Is King adds a regal flair! An optional, non-seasonal text is provided for dual usage, and a brilliant handbell part adds a finishing touch! Part for 2 octave Handbells (or Handchimes) included.
$9.99 ≈
9.23€
Three Studies for Trombone Quartet
Three Studies for Trombone Quartet
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Quatuor de cuivres: 4 trombones
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AVANCÉ
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Methodes Etudes
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Vladislav Blazhevich
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Karl Lyden
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Three Studies for Trombone Qua
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Cherry Classics Music
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SheetMusicPlus
Trombone Quartet - Advanced - Composed by Vladislav Blazhevich (1881-1942). Arranged by Karl Lyden. 20th Century, Romantic Period, Etudes and Exerci...
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Trombone Quartet - Advanced - Composed by Vladislav Blazhevich (1881-1942). Arranged by Karl Lyden. 20th Century, Romantic Period, Etudes and Exercises, Technique Training. Score, Set of Parts. 39 pages. Published by Cherry Classics Music
The Clef Studies by Vladislav Blazhevich, composed in 1925 are a staple of the Trombone repertoire. Their quality is superb, not only for teaching the clefs, but solid technique and musical style as well.
Karl Lyden has brilliantly arranged Three Studies for Trombone Quartet inspired by the Blazhevich Clef Studies for Trombone based on numbers 56, 54 and 65 (subtitled Five Etude having a funk feel to it). They are very musically interesting, rhythmically challenging and fun to perform.
Here is a description of the Three Studies by arranger Karl Lynden:
"The seed for the Blazhevich Three Studies for Trombone Quartet came from my desire to write for my trombone quartet during undergraduate studies at Nebraska-Lincoln. I was tinkering with study No. 64 from Blazhevich?s Clef Studies for Trombone book and began to imagine pulsating trombone chords and ostinatos. The original was in 5/8 so I dubbed that arrangement ?Five Etude?.
Several years later, I had similar experiences with two other works from the book (No. 54 and 56). For the latter No. 56, I originally imagined it as a mournful duo between trombone and cello. I then flushed out the implied harmony to allow for four trombones.
No. 54 is more harmonically dense with an active bass line. It should be played majestically but come to rest in a subsided manner.For all three studies, I deviate slightly from the written form. However, the melody always remains constant as a means of generating new textures, harmonies, and rhythms. My hope is that trombonists in quartets will experience these familiar etudes in a new light."
$32.50 ≈
30.03€
Fantasia Sonata in D Major for piano solo - Ludwig van Beethoven (Unv 12 / deest 45) - Reconstructio
Fantasia Sonata in D Major for piano solo - Ludwig van Beethoven (Unv 12 / deest 45) - Reconstructio
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven, Cees Nie
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Fantasia Sonata in D Major for
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Upstream Music
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SheetMusicPlus
Piano Solo - Level 4 - SKU: A0.933520 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Classical. Score. 48 pages. Upstream Music #482215. Publishe...
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Piano Solo - Level 4 - SKU: A0.933520 Composed by Ludwig van Beethoven, Cees Nieuwenhuizen. Classical. Score. 48 pages. Upstream Music #482215. Published by Upstream Music (A0.933520). There are many more unfinished than completed compositions of Beethoven that have been preserved. ln these fragments one sees ideas for individual works. A large number of sketchbooks and sketches from the composer were preserved and are housed in libraries and private collections all over the globe. Some sketches are no more than brief experiments or short elaborated ideas, but there are also fragments preserved that nearly give us a complete picture of a composition. In the so-called Kafka sketchbook, which was published in 1970 in London, approximately 500 fragments of manuscripts were bundled that stem from 1786 - 1799. The Fantasia Sonata in D (deest 45) for piano forte in three parts, was hidden in the archives since 1792. This sonata of the young Beethoven, with striking similarities to the Moonlight sonata and the Pastorale has never been performed on stage. Young pianotalent Martin Oei played it for the first time in the Concertgebouw Amsterdam, October 21st, 2012. The large, over 1100 bars comprising torso now known as Fantasia Sonata in D from 1792, cannot be called a sketch anymore, although Beethoven has not completed the work and used many ideas in other, later works. The reconstruction of the sketches was done by the Dutch Beethoven musicologist and composer Cees Nieuwenhuizen. The piece was probably written in Bonn, three years before he started to write his first official piano sonata of a series of 32 sonatas. In November 1792 Beethoven went from Bonn to Vienna to study with the famous composer Joseph Haydn (1732–1809). Beethoven rapidly proceeded to make his mark as a brilliant keyboard performer and as a gifted young composer with a number of works to his credit. In 1795 his first mature published works appeared, and his career was officially launched. Striking harmonies The re-using of previously drafted material is quite common in Beethoven's works. Apparently the material wasn't yet ripe enough at the time of its origination, or perhaps Beethoven changed his mind with regards to the new composition. This could very well be so regarding the torso from Kafka’s sketchbook that we now call the Piano Fantasia sonata in D. This piece contains 1100 bars of music, not taking into account the alternative bars. The piece is composed by Beethoven in 1792 - 1793 and was set up as a tripartite sonata in D with remarkable abnormalities in terms of form and content. There are striking harmonies that cannot be found in other works composed in that same period. It’s possible that the composer didn’t have the courage to publish it or that indeed the time was not yet ripe for it. Finally the composer let the draft go and never came back to it. Or did he? Thematic similarities We find phrases in several later works that share similarities with ideas and themes from Fantasia sonata in D. The first part of Fantasia sonata has the same theme as the trio of the third movement of Symphony no. 7 (in A Major Opus 92). Even the key and also the rhythm in 3/4 time are the same. This cannot be a coincidence. Similar mood and thematic parallels can be found in the Pastorale, the Sonata for piano no. 15 (Opus 28): it is striking that this piece is also composed in D and in 3/4 time. We find similar dramatic expression in the Sonata for piano no. I 7 in d minor Opus 31 no. 2. The second movement of the Fantasia sonata nearly has the same theme as the second movement of the Sonata for piano no. 23 in minor (the Appassionato Opus 57). Martin Oei, Daiel Wayenberg, Cees Nieuwenhuizen at The World Premiere in The Concertgebouw Beethoven begins the third movement of the Fantasia sonata with the main theme of the first movement, but now in e minor. lts appearance in minor is an entirely new idea. Nevertheless Beethoven doesn't elaborate the idea any further because it disappears after 29 bars. Now a new agitated theme starts in d minor, which was announced in the first movement, but now reappears in its complete.
$29.00 ≈
26.79€
Fur Elise
Fur Elise
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Piano Facile
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DÉBUTANT
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Classique
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Henrique Gil
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Fur Elise
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Henrique Gil
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SheetMusicPlus
Easy Piano - Level 1 - SKU: A0.511139 By L. v. Beethoven. By L. v. Beethoven. Arranged by Henrique Gil. Classical. Score. 3 pages. Henrique Gil #122064....
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Easy Piano - Level 1 - SKU: A0.511139 By L. v. Beethoven. By L. v. Beethoven. Arranged by Henrique Gil. Classical. Score. 3 pages. Henrique Gil #122064. Published by Henrique Gil (A0.511139). Beethoven wrote this small gem on April 27, 1810, and called it a “bagatelle.†The term’s meaning is a trifle or a thing of little importance. In music, a bagatelle is a short, light piece of music, usually for the piano. It is similar to an “Albumblattâ€, literally an “album leafâ€, a solo piano piece friends could share with one another by pasting it in a musical scrapbook. Musically, it is a five-part rondo with the form ABACA. It is in the key of A minor, which gives it a sad or wistful sound, full of regret and longing. The repeating A section is the most recognized part of Für Elise. It is the easiest section to learn and play. The other sections are more difficult to play, although shorter in length. They are more virtuosic for the intermediate student, creating a flash of brilliant light among the repetitive darker minor strains of the A section.
$5.00 ≈
4.62€
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Led by a Brilliant Light
