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Vous avez sélectionné:
Let Hans Sitt
Partitions à imprimer
11 partitions trouvées
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1
Hans Sitt: Studies, 100 Op.32 (COMPLETE) instantly for violin solo
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Violon
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INTERMÉDIAIRE
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Classique
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Hans Sitt
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Virtualsheetmusic
Instantly downloadable sheet music by Hans Sitt for violin solo of EASY/MEDIUM skill level. Contents: op. 32, opus 32, violin studies,etude, etudes, studies, exercises, study / classical,instructional...
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Instantly downloadable sheet music by Hans Sitt for violin solo of EASY/MEDIUM skill level. Contents: op. 32, opus 32, violin studies,etude, etudes, studies, exercises, study / classical,instructional
$9.99 ≈
$13.52
Hymns from Childhood - Complete (piano)
Hymns from Childhood - Complete (piano)
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Piano seul
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FACILE
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Musique Sacrée
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Various
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Curtis Hanson
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Hymns from Childhood - Complet
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Curtis Hanson
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.719739 Composed by Various. Arranged by Curtis Hanson. Sacred. Score. 74 pages. Curtis Hanson #4580179. Published by Curt...
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Piano Solo - Level 2 - SKU: A0.719739 Composed by Various. Arranged by Curtis Hanson. Sacred. Score. 74 pages. Curtis Hanson #4580179. Published by Curtis Hanson (A0.719739). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This collection of ten short medleys are arrangements of many of my favorite hymns from those early years, some of which have been lost in more recent editions. Each set in the collection is also available individually. The audio clip is of the first set. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its accompaniment, harmony, or texture over the succeeding verses. A caveat: I have no delusions, and offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy and comfort to other technically challenged yet serviceable pianists such as myself.
$29.99 ≈
$40.60
Romanesca
Romanesca
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Violon et Piano
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Hans Sitt
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Romanesca
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Schott Music - Digital
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SheetMusicPlus
Violin and piano - SKU: S9.Q41080 Composed by Hans Sitt. This edition: Sheet music. Downloadable. Op. 13/1. Schott Music - Digital #Q41080. Published by...
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Violin and piano - SKU: S9.Q41080 Composed by Hans Sitt. This edition: Sheet music. Downloadable. Op. 13/1. Schott Music - Digital #Q41080. Published by Schott Music - Digital (S9.Q41080). Any violinist who hears the name Sitt nowadays will probably just think of the author of studies and exercises that have long been a familiar feature in instrumental lessons. Of course the Prague violinist, music teacher and composer Hans Sitt (1850–1922) made a significant impact on methods of violin teaching, but he also wrote a whole series of other works worth listening to: concertos for violin, viola and cello and chamber music for various combinations of instruments. Sitt studied the violin in Prague and was then appointed first as leader of the orchestra and then as musical director in Breslau (now called Wrocław).After posts as director of music in Prague, Chemnitz – where he championed the work of Smetana – and Nice, he was eventually appointed professor of violin, orchestral playing and score reading at the Leipzig Conservatoire from 1884–1921. Besides this he also played viola in the Brodsky Quartet, organised concerts and was conductor of the Bach Society. The composers Franco Alfano - who completed Puccini’s unfinished opera Turandot– and Frederick Delius studied with Sitt, as did the conductor Václav Talich. Three Album Leaves op. 13 were also composed during his time in Leipzig, published by Bosworth & Co in 1894. Romanesca, No. 1 in that collection, is a pretty, slightly melancholy piece of music with romantic appeal that draws out lyrical and expressive playing and is thus eminently suitable for tuition purposes and concert performances.
$9.99 ≈
$13.52
Grieg: 4 Norwegian Dances Op.35 No.III Allegro moderato alla Marcia - wind dectet/bass
Grieg: 4 Norwegian Dances Op.35 No.III Allegro moderato alla Marcia - wind dectet/bass
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Classique
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Edvard Grieg
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Ray Thompson
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Grieg: 4 Norwegian Dances Op.3
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RayThompsonMusic
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SheetMusicPlus
Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - SKU: A0.1310667 Composed by Edvard Grieg. Arranged by Ray Thompson. 20th Century,Chamber,Romant...
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Bassoon,Clarinet,Double Bass,Flute,Horn,Oboe - Level 3 - SKU: A0.1310667 Composed by Edvard Grieg. Arranged by Ray Thompson. 20th Century,Chamber,Romantic Period. 18 pages. RayThompsonMusic #899645. Published by RayThompsonMusic (A0.1310667). Arranged wind dectet and bass.Edvard Grieg 4 Norwegian Dances Op.35Arranged wind dectet/bass.This is my arrangement of No 3Thanks to Runyon programm notes for the following extract..... (https://www.runyanprogramnotes.com)Grieg first wrote and published the Norwegian Dances as Piano duets in 1881.There are 4 Dance movements.The four movements are derived from traditional Norwegian folk tunes contained in a collection published in 1853 by Ludvig Mathias Lindemans, entitled, “Mountain Melodies Old and New.â€Â They were not orchestrated by Grieg, but later, in 1888, Hans Sitt, a distinguished Czech violinist, did the honors.  They have become orchestral chestnuts ever since.Almost everyone has heard the demure, sly and winsome second dance - available hereThis my arrangement of the third dance.Extract  from Runyon's programme notes:The third movement is shaped rather like the first, but is a march, rather than a halling, though.  Listen for the rather humorous interruption by the angry brass in frenzied triplets. My arrangement has the triplet figure played by  both clarinets,  1st horn and 1st bassoon.© 2015 William E. Runyan.
$14.95 ≈
$20.24
A MALVA ROSE
A MALVA ROSE
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Lars Ek
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Lars Ek
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A MALVA ROSE
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Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB
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SheetMusicPlus
Accordion,Double Bass,Guitar - SKU: A0.1068891 By Lars Ek. By Pietro Frosini. Arranged by Lars Ek. Folk,Multicultural,World. Full Performance. Duration ...
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Accordion,Double Bass,Guitar - SKU: A0.1068891 By Lars Ek. By Pietro Frosini. Arranged by Lars Ek. Folk,Multicultural,World. Full Performance. Duration 220. Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB #1921483. Published by Lars Ek Cosmos Music c/o Musik & Underhållningsskrädderiet AB (A0.1068891). Något häpnadsväckande har hänt i den svenska dragspelsvärlden de senaste åren, vi har fått en ny idol. Det är häpnadsväckande på två olika sätt: för oss som kan dragspelsvärlden är det ett faktum att Lars Ek har varit med som professionell dragspelare i snart 20 år, sedan han slutade skolan, för det andra: han har blivit en idol som spelar musik och i en stil som har sina rötter 50 år tillbaka i dragspelsmusikens historia. Man kan säga att Lars Ek, idag 35 år, borde ha varit 85 år, verksam på 30-talet. Själv erkänner han att han känner en slags hemlig längtan tillbaka till en tid då dragspelare var ekvilibrister, då dragspelare spelade på ett briljant sätt, den guldålder det var för all dragspelsmusik över hela världen, en tid som vi aldrig kommer att möta igen. Det är en typ av musik som är historisk men som inte hör hemma på museerna, inte död, det är en typisk musik fylld av liv. Mycket tack vare Lars Ek. Det är en ganska anmärkningsvärd situation. Lars Ek har spelat dragspel länge, han har spelat all typ av musik som kan spelas på dragspel. För bara några år sedan kom han i kontakt med Nils Lind och Ragge Sundquist (två legendariska svenska artister från 30- och 40-talen, båda döda sedan länge – de grundade båda en skola och en stil) och naturligtvis också Frosini. Och då, äntligen, kände Lars Ek att det var just här, i den här stilen, som han hörde hemma. Lars Ek kom äntligen hem. En del slarviga lyssnare säger att Lars Ek kopierar Nils Linds musik. Det är lyssnare som inte lyssnar. Andra säger att Lars är en galning - han spelar på ett dragspel av märket Raggie Sundquist från 1937 och sedan ett par år äger och spelar han också på ett dragspel som en gång ägdes av Pietro Frosini, tillverkat 1927. Det är inte mani. Stilen efterfrågar sådana instrument. Det är mest korrekt på det sättet. Lars Ek har blivit otroligt populär. Det finns många anledningar. Han har massor av personlighet, han är en scenpersonlighet, han visar entusiasm och glädje när han uppträder, han vet hur man lockar en publik (och tjejerna säger att han är väldigt snygg). En annan anledning är att musiken som Lars framför får mycket respons från publiken. Och snälla, tro inte att det bara är de gamla som var med på 30-talet som älskar musiken - det gör även de unga! Lars Ek x 2 heter skivan. Förklaringen är enkel. Lars kunde inte hitta någon andra dragspelare som kunde hjälpa honom. Så tack vare tekniken är han själv sin egen andra dragspelare i fem av de låtar som framförs. Det finns ytterligare en förklaring. Lars framför melodier kopplade till namn som Nils Lind, Ragge Sundquist och Frosini, men han spelar också fem egna kompositioner. Bara för att visa hur han vill att dragspelsmusik ska vara komponerad. Lars Ek behöver ingen rekommendation, hans skivor säljer ändå. Men du kommer att få några sista ord. Den här skivan är, stilmässigt, väldigt sällsynt att vara inspelad 1982, det gäller att blicka bakåt och att göra det med stor skicklighet, en tillbakablick på dragspelets guldålder. Det är också en väldigt personlig skiva. Inspirationskällan kan mycket väl vara Nils Lind, Ragge Sundquist och Pietro Frosini. Men det är Lars Ek som spelar. På sitt personliga sätt. Vilket gör att detta är en skiva som spelas på ett väldigt personligt sätt.
$1.99 ≈
$2.69
Hymns from Childhood - Set 1 (piano solo)
Hymns from Childhood - Set 1 (piano solo)
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Piano seul
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FACILE
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Musique Sacrée
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Various
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Hymns from Childhood - Set 1
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Curtis Hanson
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SheetMusicPlus
Composed by Various. Arranged by Curtis Hanson. Sacred. Score. 7 pages. Curtis Hanson #4357389. Published by Curtis Hanson...
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Composed by Various. Arranged by Curtis Hanson. Sacred. Score. 7 pages. Curtis Hanson #4357389. Published by Curtis Hanson
As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. A caveat: I have no delusions, and offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy and comfort to other technically challenged yet serviceable pianists such as myself. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include "He Leadeth Me", "Savior, Like a Shepherd Lead Us", and "O Master, Let Me Walk with Thee".
$4.99 ≈
$6.76
The Story Of Reuben Clamzo & His Strange Daughter
The Story Of Reuben Clamzo & His Strange Daughter
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Chorale TTBB
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FACILE
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Arlo Guthrie
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Craig Hanson
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The Story Of Reuben Clamzo &am
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Edition Craig Hanson
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SheetMusicPlus
Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edi...
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Choral Choir (TTBB) - Level 2 - SKU: A0.1270160 By Arlo Guthrie. By Arlo Guthrie. Arranged by Craig Hanson. A Cappella,Comedy,Folk. Octavo. 6 pages. Edition Craig Hanson #862589. Published by Edition Craig Hanson (A0.1270160). For TTBB chorus a cappella and solo voice. As performed by Arlo Guthrie.Wanna hear something? You know that Indians never ate clams. They didn't have linguini! And so what happened was that clams was allowed to grow unmolested in the coastal waters of America for millions of years. And they got big, and I ain't talking about clams in general, I'm talking about each clam! Individually. I mean each one was a couple of million years old or older. So imagine they could have got bigger than this whole room. And when they get that big, God gives them little feet so that they could walk around easier. And when they get feet, they get dangerous. I'm talking about real dangerous. I ain't talking about sitting under the water waiting for you. I'm talking about coming after you.Imagine being on one of them boats coming over to discover America, like Columbus or something, standing there at night on watch, everyone else is either drunk or asleep. And you're watching for America and the boat's going up and down. And you don't like it anyhow but you gotta stand there and watch, for what? Only he knows, and he ain't watching. You hear the waves lapping against the side of the ship. The moon is going behind the clouds. You hear the pitter patter of little footprints on deck. ‘Is that you kids?’ It ain't! My god! It's this humongous, giant clam!Imagine those little feet coming on deck. A clam twice the size of the ship. Feet first. You're standing there shivering with fear, you grab one of these. This is a belaying pin. They used to have these stuck in the holes all around the ship… You probably didn't know what this is for; you probably had an idea, but you were wrong. They used to have these stuck in the holes all along the sides of the ship, everywhere. You wouldn't know what this is for unless you was that guy that night.I mean, you'd grab this out of the hole, run on over there, bam bam on them little feet! Back into the ocean would go a hurt, but not defeated, humongous, giant clam. Ready to strike again when opportunity was better.You know not even the coastal villages was safe from them big clams. You know them big clams had an inland range of about 15 miles. Think of that. I mean our early pioneers and the settlers built little houses all up and down the coast you know. A little inland and stuff like that and they didn't have houses like we got now, with bathrooms and stuff. They built little privies out back. And late at night, maybe a kid would have to go, and he'd go stomping out there in the moonlight. And all they'd hear for miles around...(loud clap/belch).... One less kid for America. One more smiling, smurking, humongous, giant clam.So Americans built forts. Them forts --you know—them pictures of them forts with the wooden points all around. You probably thought them points was for Indians but that's stupid! 'Cause Indians know about doors. But clams didn't. Even if a clam knew about a door, so what? A clam couldn't fit in a door. I mean, he'd come stomping up to a fort at night, put them feet on them points, jump back crying, tears coming out of them everywhere. But Americans couldn't live in forts forever. You couldn't just build one big fort around America. How would you go to the beach?So what they did was they formed groups of people. I mean they had groups of people all up and down the coast form these little alliances. Like up North it was call the Clamshell Alliance. And farther down South it was called the Catfish Alliance. They had these Alliances all up and down the coast defending themselves against these threatening monsters. These humongous giant clams. Andt hey'd go out there, if there was maybe fifteen of them they'd be singing songs in fifteen part harmony. And when one part disappeared, that's how they knew where the clam would be.Which is why Americans only sing in four part harmony to this very day. That proved to be too dangerous. See, what they did was they'd be singing these songs called Clam Chanties, and they'd have these big spears called clampoons. And they'd be walking up and down the beach and the method they eventually devised where they'd have this guy, the most strongest heavy duty true blue American, courageous type dude they could find and they'd have him out there walking up and down the beach by himself with other chicken dudes hiding behind the sand dunes somewhere.He'd be singing the verses. They'd be singing the chorus, and clams would hear 'em. And clams hate music. So clams would come out of the water and they'd come after this one guy. And all you'd see pretty soon was flying all over the sand flying up and down the beach manmanclamclammanmanclam manclamclamman up and down the beach going this way and that way up the hills in the water out of the water behind the trees everywhere. Finally the man would jump over a big sand dune, roll over the side, the clam would come over the dune, fall in the hole and fourteen guys would come out there and stab the shit out of him with their clampoons.That's the way it was. That was one way to deal with them. The other way was to weld two clams together. [I don't believe it. I'm losing it. Hey. What can you do. Another night shot to hell.] Hey, this was serious back then. This was very serious. I mean these songs now are just piddly folk songs. But back then these songs were controversial. These was radical, almost revolutionary songs. Because times was different and clams was a threat to America. That's right. So we want to sing this song tonight about the one last... You see what they did was there was one man, he was one of these men, his name will always be remembered, his name was Reuben Clamzo, and he was one of the last great clam men there ever was. He stuck the last clam stab. The last clampoon into the last clam that was ever seen on this continent. Knowing he would be out of work in an hour. He did it anyway so that you and me could go to the beach in relative safety. That's right. Made America safe for the likes of you and me. And so we sing this song in his memory. He went into whaling like most of them guys did and he got out of that, when he died. You know, clams was much more dangerous than whales. Clams can run in the water, on the water or on the ground, and they are so big sometimes that they can jump and they can spread their kinda shells and kinda almost fly like one of them flying squirrels.You could be standing there thinking that your perfectly safe and all of a sudden whop.... That's true... And so this is the song of this guy by the name of Reuben Clamzo and the song takes place right after he stabbed this clam and the clam was, going through this kinda death dance over on the side somewhere. The song starts there and he goes into whaling and takes you through the next...I sing the part of the guy on the beach by himself. I go like this: Poor old Reuben Clamzo and you go Clamzo Boys Clamzo. That's the part of the fourteen chicken dudes over on the other side. That's what they used to sing. They'd be calling these clams out of the water. Like taunting them making fun of them. Clams would get real mad and come out. Here we go. I want you to sing it in case you ever have an occasion to join such an alliance. You know some of these alliances are still around. Still defending America against things like them clams. If you ever wants to join one, now you have some historic background. So you know where these guys are coming from. It's not just some 60's movement or something, these things go back a long time.Notice the distinction you're going to have to make now between the first and easy Clamzo Boys Clamzo and the more complicated Clamzo Me Boys Clamzo. Stay serious! Folk songs are serious. That's what Pete Seeger told me. Arlo I only want to tell you one thing... Folk songs are serious. I said right. Let's do it in C for Clam...Iet's do it in B... For boy that's a big clam... Iet' s do it in G for Gee, I hope that big clam don't see me. Let's do it in F... For …he sees me. Let's do it back in A...for a clam is coming. Better get this song done quick. The Story of Reuben Clamzo and His Strange Daughter in the Key of A.
$3.99 ≈
$5.40
Hymns from Childhood - Set 1 (SATB)
Hymns from Childhood - Set 1 (SATB)
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Chorale SATB
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FACILE
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Musique Sacrée
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Various
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Curtis Hanson
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Hymns from Childhood - Set 1
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Curtis Hanson
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SheetMusicPlus
Choral Choir (SATB) - Level 2 - SKU: A0.719730 Composed by Various. Arranged by Curtis Hanson. Sacred. Octavo. 10 pages. Curtis Hanson #4572983. Publish...
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Choral Choir (SATB) - Level 2 - SKU: A0.719730 Composed by Various. Arranged by Curtis Hanson. Sacred. Octavo. 10 pages. Curtis Hanson #4572983. Published by Curtis Hanson (A0.719730). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. For this series, I have elected to use the older texts as that is the way they were first written and the way I first learned them. There is a reverence and beauty in the language enriching the vocal/choral tone which, I believe, is lost in contemporary, conversational, or politically correct syntax. I shudder to think of the day when a penitential phrase such as Hear thou my prayer, O Lord is rendered as Hey, God-dude, listen up - I'm talkin' atcha! I have also opted not to include the many wonderful hymns and carols which are associated with the major festivals of Christmas and Easter as those are commonly found in other collections. A caveat: I have no delusions, and I offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy to other church musicians. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include He Leadeth Me, Savior, Like a Shepherd Lead Us, and O Master, Let Me Walk with Thee.
$2.25 ≈
$3.05
Hymns from Childhood - Set 1 (solo)
Hymns from Childhood - Set 1 (solo)
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Musique Sacrée
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Various
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Curtis Hanson
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Hymns from Childhood - Set 1
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Curtis Hanson
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SheetMusicPlus
Vocal Solo,Voice - Level 1 - SKU: A0.719761 Composed by Various. Arranged by Curtis Hanson. Sacred. 8 pages. Curtis Hanson #6069327. Published by Curtis...
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Vocal Solo,Voice - Level 1 - SKU: A0.719761 Composed by Various. Arranged by Curtis Hanson. Sacred. 8 pages. Curtis Hanson #6069327. Published by Curtis Hanson (A0.719761). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. For this series, I have elected to use the older texts as that is the way they were first written and the way I first learned them. There is a reverence and beauty in the language enriching the vocal tone which, I believe, is lost in contemporary, conversational, or politically correct syntax. I shudder to think of the day when a penitential phrase such as Hear thou my prayer, O Lord is rendered as Hey, God-dude, listen up - I'm talkin' atcha! I have also opted not to include the many wonderful hymns and carols which are associated with the major festivals of Christmas and Easter as those are commonly found in other collections. A caveat: I have no delusions, and I offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy to other church musicians. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include He Leadeth Me, Savior, Like a Shepherd Lead Us, and O Master, Let Me Walk with Thee. This collection of arrangements is also available for SATB voices and piano or piano solo.
$5.99 ≈
$8.11
Hymns from Childhood - Set 1 (piano solo)
Hymns from Childhood - Set 1 (piano solo)
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Piano seul
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FACILE
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Musique Sacrée
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Various
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Curtis Hanson
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Hymns from Childhood - Set 1
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Curtis Hanson
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SheetMusicPlus
Piano Solo - Level 2 - SKU: A0.719795 Composed by Various. Arranged by Curtis Hanson. Sacred. Score. 7 pages. Curtis Hanson #4357389. Published by Curti...
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Piano Solo - Level 2 - SKU: A0.719795 Composed by Various. Arranged by Curtis Hanson. Sacred. Score. 7 pages. Curtis Hanson #4357389. Published by Curtis Hanson (A0.719795). As years come and go, one increasingly recalls memories of earlier times. One of the most vivid and cherished memories I have while growing up is of Sunday mornings, going to church, sitting in the same pew each week with my grandmother, hearing and singing the beautiful hymns of our faith, and then returning home to the aroma of beef slowly roasting in the oven. My father directed the church choir, my mother and older brothers sang in the choir, so the wonderful music of our faith was instilled in me from an early age. This medley, and others in the series, are arrangements of many of my favorite hymns from those early years, many of which have been lost in more recent editions. A caveat: I have no delusions, and offer no pretenses, that these settings are great art. They are simply expressions of faith which I hope may bring a small measure of joy and comfort to other technically challenged yet serviceable pianists such as myself. The general concept of each medley is to present the hymn, often in its original chorale form, and then vary its harmony or texture. The hymns in this set include He Leadeth Me, Savior, Like a Shepherd Lead Us, and O Master, Let Me Walk with Thee.
$4.99 ≈
$6.76
Supercollider
Supercollider
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Christine Southworth
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Gamelan Elektrika
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Supercollider
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Airplane Ears Music
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 35 pages. ...
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String Quartet String Quartet - Level 3 - SKU: A0.1013056 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 35 pages. Airplane Ears Music #5802093. Published by Airplane Ears Music (A0.1013056). Super Collider (2010, 18 minutes) Kronos Quartet and electronic gamelanComposed for Kronos Quartet & Gamelan Elektrika. Premiered at Lincoln Center Out of Doors Festival, August 13, 2010 by Kronos Quartet and Gamelan Elektrika: Evan Ziporyn, kendang; Sean Mannion, kempli; Balaji Mani, ceng-ceng; Laurel Pardue & Sachi Sato, pemade; Katie Puckett & Sam Schmetterer, kantilan; Mark Buckles, Ramon Castillo, Elizabeth Johansen, Julie Strand, reong; Beth Mullins & Po-Chun Wang, pokokGamelan Elektrika is an electronic virtual gamelan designed and developed by Alex Rigopulos (founder and CEO of Harmonix Music, inventors of video games Guitar Hero and Rock Band). The piece is inspired by the Large Hadron Collider at CERN - the largest machine ever built, that's purpose is to change science forever, recreating the beginning of the universe in a tube and proving (or disproving) the theories of particle physics of the last half-century.Particle physics is the unbelievable in pursuit of the unimaginable. To pinpoint the smallest fragments of the universe you have to build the biggest machine in the world. To recreate the first millionths of a second of creation you have to focus energy on an awesome scale. - The GuardianSuper Collider will explore two obverse sound worlds and traditions, the vast culture of the string quartet juxtaposed with the ancient performance methods of a gamelan, unleashed through the unlimited sonic universe of electronics. In our own test-tube experiment, this musical moment of collision will hopefully achieve similarly unparalleled results.What does particle physics have to do with music and art? String theory, which the CERN facility hopes to verify or disprove, presumes that matter itself is the manifestation of resonant vibrations, that the world itself is a universal harmony. This post-modern notion - which Kronos embodies with every performance - itself resonates with the ancient Hindu notion of om, the absolute manifest, which is the basis of Indonesian gamelan. We will bring these two ideas of resonance together by combining Kronos with a gamelan - even a virtual one.The behavior of subatomic particles is probabilistic, group-oriented: the motion of any one particle is unpredictable and unknowable: it's what the group does that counts. This could also be a description of the Balinese gamelan, where individual virtuosity is subsumed to interlocking patterns, composite melodies, the sound of the whole. This is also the spirit of Kronos.When Robert Moog developed his synthesizer in the 1960s, he modeled its functionality on the piano and on western music in general - a single person, sitting at a keyboard. This is one reason why it was popularized by Wendy Carlos' Swtiched On Bach. Gamelan Elek Trika takes a similar approach to the very distinctive musical practices of Indonesia. Like the great gamelans of Bali and Java, Gamelan Elek Trika works as a single unit, played by a complete ensemble. The instruments are played like a gamelan - metallophones, drums, and gongs, playing interlocking patterns - but all are channeled through a central 'brain', a single processing unit which controls their sound, tuning, and timbre. The composer can thus alter the sonic environment globally, not just for one instrument at a time but for the complete ensemble.Super Collider is made possible by generous support from Alex Rigopulos and Sachi Sato, MIT, and the MIT Media Lab. Gamelan Elektrika instruments produced by Alex Rigopulos; sensors, electronics, and interface design by Andrew Boch, Matt Boch, and Laurel Pardue; technical assembly by Stéphanie Bouchard; frame design and assembly by Quentin Kelly.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic.
$35.00 ≈
$47.38
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Let Hans Sitt
