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| French Traditional : Il Est Ne Le Divin Enfant
2 Oboes and English horn [Score and Parts] - Intermediate
Wonderful Winds
By French Traditional. Arranged by Anna Cooper. For oboe trio: 2 oboe, english h...(+)
By French Traditional. Arranged by Anna Cooper. For oboe trio: 2 oboe, english horn. Mallard Music series. Grade 5. Score and parts. Duration 2'02. Published by Wonderful Winds
$19.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | | |
| Turkey in the Straw
Cimarron Music Press
By Traditional. Arranged by Lewis Buckley. For double reed quartet (oboe, oboe d...(+)
By Traditional. Arranged by Lewis Buckley. For double reed quartet (oboe, oboe d'amore, english horn, and bassoon). Quartet music. Published by Cimarron Music Press
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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| Nicolas Bacri: Lyric
Interlude: Cor Anglais:
Score and Parts
English horn, Piano [Sheet music]
Leduc, Alphonse
Rarely has a musical work been better characterized by its subtitle than Nicolas...(+)
Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 inits original version for English Horn Violin and Cello the Lyric Interlude for English Horn and Piano (Op.110b) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) Violin and Cello Op.110a (AL 30 751)
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| Nicolas Bacri: Lyric
Interlude: Chamber
Ensemble: Score and Parts
English horn, Piano
Leduc, Alphonse
Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Ra...(+)
Pour Cor Anglais (Ou Flûte Ou Clarinette Ou Alto) Violon Et Violoncelle-Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri’s Lyric Interlude: ‘A Study in Pastoral Style’. When in 2008 the composer received the commission for a piece with English Horn from Cecilia Benner patron of the Chamber Music Society of Detroit he immediately thought of the duo between this instrument and the Oboe that Berlioz in the Symphonie fantastique placed at the beginning of the ‘Scène aux champs’ making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 atone of the Scarab Club Concerts in Detroit the Lyric Interlude for English Horn Violin and Cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism illustrated by the music of Ralph Vaughan Williams (1872-1958) the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint the undulating lament of the beginning rhythmically supple evokes the waving wheat as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion briefly interrupted by a scherzo in 6/8 again pours out making the work evolve towards a slow ecstatic atmosphere close to the last of the English composer’s Three Preludes on Welsh Hymn Tunes. Far from bucolic postcard clichés and servile imitation this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English Horn (or Flute Clarinet or Viola) and Piano Op.110b (AL 30 750)
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