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Claude Debussy: Images - 2e série: Piano: Score
Piano solo
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Intermediate
Barenreiter
?Ich glaube ohne falsche Eitelkeit dass diese drei Stücke sich gut machen ...
(+)
?Ich glaube ohne falsche Eitelkeit dass diese drei Stücke sich gut machen und ihren Platz in der Klavierliteratur einnehmen werden ? zur Linken Schumanns oder zur Rechten Chopins ? as you like it? schrieb Debussy im August 1905 selbstbewusst an seinen Verleger Jacques Durand. Die ?Images? verzaubern durch irisierende Klangfarben und schillernde Harmonien ?nach den neuesten Entdeckungen der harmonischen Chemie? getragen von einem im zweiten Heft durchgehend auf drei Systemen notierten virtuosen Klaviersatz.Zum 150. Geburtstag des Komponisten legt Bärenreiter die bereits zu Debussys Lebzeiten überaus erfolgreichen Images in einem auf der Grundlage neuesterForschungsergebnisse und Quellenrecherchen aktuell und zuverlässig edierten Urtext vor. Ein klar strukturiertes Notenbild Fingersätze von Tamara Stefanovich und aufführungspraktische Hinweise bieten optimale Voraussetzungen für das Studium dieser Werke.- Urtext auf der Grundlage neuester Forschungsergebnisse und Quellenrecherchen- Mit Fingersätzen von Tamara Stefanovich- Detailliertes Vorwort (dt./engl.) und Kritischer Kommentar (engl.)Tamara Stefanovich studierte an der Universität in Belgrad am Curtis Institute of Music und an der Hochschule für Musik und Tanz in Köln. Sie konzertierte u. a. mit dem Cleveland Orchestra dem London Philharmonic und dem Chicago Symphony Orchestra unter Dirigenten wie Esa-Pekka Salonen Vladimir Jurowski und Pierre Boulez und machte Aufnahmen für die Deutsche Grammophon. Debussys ?Images? interpretierte sie 2011 beim ?Klavier-Festival Ruhr?. Zusammen mit Pierre-Laurent Aimard verfasste sie die Fingersätze für das ?Klavier-Festival Ruhr Bärenreiter Piano Album? (BA 9659). ?
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Boubou
Deutsch
Violin and Piano
[Score and Parts]
Noetzel
Ähnlich wie Schumanns 'Konzertstück für vier Hörner' op. 86 (HN 1138) entsta...
(+)
Ähnlich wie Schumanns 'Konzertstück für vier Hörner' op. 86 (HN 1138) entstand auch Saint-Saëns' 'Morceau de Concert' mit der Idee, die technischen Möglichkeiten einer neuen Ventilhorn-Konstruktion auszureizen. In diesem Falle gab der französische Hornist Henri Chaussier den Anstoß. Er hatte ein neuartiges ?Cor omnitonique' entwickelt und wollte mit Saint-Saëns' Komposition die Vorzüge seines Instruments demonstrieren. Chaussiers Erfindung konnte sich bei den Hornisten nicht durchsetzen - wohl aber das 'Morceau de Concert'! Das beliebte einsätzige Werk ist aus heutiger Sicht technisch nicht übermäßig anspruchsvoll - zudem hat schon Saint-Saëns selbst zwei erleichternde Kürzungsmöglichkeiten vorgesehen, so dass sich auch schon fortgeschrittene Schüler an das Stück wagen können. / Cor Et Piano / Chanson En Séparée
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Schumann R. - Piano Trio And Fantasy Pieces Op. 88
Piano Trio: piano, violin, cello
G. Henle
Schumann begann erst recht spat, sich mit Kammermusik zu beschaftigen. 1842 ents...
(+)
Schumann begann erst recht spat, sich mit Kammermusik zu beschaftigen. 1842 entstanden dann gleich sechs gewichtige Werke, darunter auch sein erstes Klaviertrio, das er aber erst 1850 unter dem Titel Vier Phantasiestuecke als op. 88 herausgab. In der Zwischenzeit hatte er bereits die Trios d-moll op. 63 (1847) und F-dur op. 80 (1847/49) komponiert. In seiner Duesseldorfer Zeit, 1851, kam dann noch das g-moll-Trio op. 110 hinzu. Zusammen mit den Trios von Mendelssohn und Brahms zahlen die vier Kompositionen Schumanns zu den wichtigsten Werken der Gattung im 19. Jahrhundert. Trio d-moll op. 63 Trio F-dur op. 80 Trio g-moll op. 110 Phantasiestuecke a-moll op. 88 Anhang: Finale, Fruehfassung op. 88 Finale, Alternative Takte 105-128 der Fruehfassung op. 88
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Morceau De Concert F-Moll Op. 94 (SAINT-SAENS)
French Horn and Piano
G. Henle
Par SAINT-SAENS. Ähnlich wie Schumanns 'Konzertstück für vier Hörner' op. 86...
(+)
Par SAINT-SAENS. Ähnlich wie Schumanns 'Konzertstück für vier Hörner' op. 86 (HN 1138) entstand auch Saint-Saëns' 'Morceau de Concert' mit der Idee, die technischen Möglichkeiten einer neuen Ventilhorn-Konstruktion auszureizen. In diesem Falle gab der französische Hornist Henri Chaussier den Anstoß. Er hatte ein neuartiges „Cor omnitonique' entwickelt und wollte mit Saint-Saëns' Komposition die Vorzüge seines Instruments demonstrieren. Chaussiers Erfindung konnte sich bei den Hornisten nicht durchsetzen - wohl aber das 'Morceau de Concert'! Das beliebte einsätzige Werk ist aus heutiger Sicht technisch nicht übermäßig anspruchsvoll - zudem hat schon Saint-Saëns selbst zwei erleichternde Kürzungsmöglichkeiten vorgesehen, so dass sich auch schon fortgeschrittene Schüler an das Stück wagen können./ Répertoire / Cor et Piano
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Johannes Brahms: Piano Sonata In C Op. 1: Piano: Instrumental Work
Piano solo
G. Henle
Composed at the start of his career in 1852-3 Johannes Brahms' Piano Sonatas we...
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Composed at the start of his career in 1852-3 Johannes Brahms' Piano Sonatas were amongst the 20-year-old composer's first publications. It is the slow movement of the Piano Sonata In C Major Op.1 which uses the song 'Verstohlen geht der Mond auf' that bears the earliest date April 1852.With this passionate and highly virtuosic Sonata Brahms introduced himself to the great of the musical world of his day including the Schumanns in Düsseldorf. Clara Schumann wrote afterwards that '... the whole is full of exuberant fantasy intimacy of expression and mastery of form'.Brahms' Op. 1 now appears in a separateHenle Urtext edition revised using the musical text of the Brahms Complete Edition. The sonatas Op. 2 and Op. 5 will follow.
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... Was Ihres Zaubergriffels Würdig Wäre! (SCHULTE KRISCHAN)
Divers
[Sheet music]
Schott
Par SCHULTE KRISCHAN. Die Textbasis Für Robert Schumanns Lieder Für Solostimme...
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Par SCHULTE KRISCHAN. Die Textbasis Für Robert Schumanns Lieder Für Solostimmen/ Recueil / Divers
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Robert Schumann: Seven Piano Pieces In Fughetta Form Op.126: Piano: Instrumental
Piano solo
-
Easy
G. Henle
In response to failures Schumann once again turned more to composing during his...
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In response to failures Schumann once again turned more to composing during his time in Düsseldorf. He wrote many new works also ones for the Piano for which he had only written a few pieces after his first years ofcomposing.Bach's music played an important role in the Schumanns' house at the time; this is mirrored in the fact that Schumann turned to baroque forms again. However he wanted his fugues to be understood as 'characterpieces just in a stricter form'.The Piano Pieces in Fughetta Form op. 126 published in Henle's catalogue for the first time unite the strict formal demands with romantic expression in a masterly manner.
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Paul Smith: On History (from A New World): Mixed Choir: Vocal Score
Choral SATB
[Vocal Score]
Peters
VOCES8 singles series-An opening movement for SATB choir piano and timpani (wit...
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VOCES8 singles series-An opening movement for SATB choir piano and timpani (with solos for soprano tenor and alto). A calm opening leads to a dramatic conclusion with text by Cicero and Ovid in praise and recognition of their homeland. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ?New Worlds? have come into existence or could be created in our future and considers how we balance human traits of fear displacement isolation and conflict with equally human traits of love hope forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble?s ethos and this is shown in their versatile concert programmes and innovative educational work. The ?VOCES8 singles? series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.
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Antonín Dvo?ák: Rusalka Op.114 (Vocal Score): Mixed Choir: Vocal Score
Soli, Mixted choir and accompaniment
Soli, mixted choir and piano
[Sheet music]
Barenreiter
Performance material available for hire.With ?Rusalka? one of the best-loved an...
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Performance material available for hire.With ?Rusalka? one of the best-loved and most frequently performed works in the Czech operatic repertoire Dvorak reached an exceptional level of lyrical depth and dramatic effectiveness. The opera portrays the fairy tale-like drama around the unhappy love of the nymph Rusalka for a human.So that she can love and be loved she has to renounce her watery kingdom. Through the magical powers of a witch she is transformed into a human at the price of losing her speech.The Prince soon grows tired of her silent cold beauty and his heart turns towards a foreign princess. The despairing Rusalkawants to return to her watery kingdom. The disappointed Prince once more feels attracted to Rusalka?s magic. He returns to her by the forest lake. Rusalka?s deathly kiss brings him the release he longs for.The vocal score by Karel Solc based on the Complete Edition is published for the first time with a German singing translation of the text by Eberhard Schmidt. One of the best-known Czech operas Vocal score by Karel Solc Newly underlaid with German singing translation by Eberhard Schmidt
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Antonín Dvo?ák: Requiem Op.89: Voice & Piano: Vocal Score
[Vocal Score]
Barenreiter
The Latin text of the mass for the dead inspiring musical settings from the 15t...
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The Latin text of the mass for the dead inspiring musical settings from the 15th century to this day provided composers throughout the ages with an opportunity to reflect upon the end of human life and on the disquieting issues of human destiny.Dvorak's Requiem for soloists choir and orchestra was written in 1890 and performed in Birmingham the following year to considerable acclaim. This full-length work divides the liturgical text into thirteen extensive parts. The Piano reduction of Dvorak's Requiem part of the first Complete Critical Edition of Works by Antonin Dvorak was produced by Karel Solc on the basisof the critical edition of the score.- Full score & performance material available for hire.
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Paul Mealor: De Profundis: SATB: Vocal Score
Choral SATB
[Vocal Score]
Novello & Co Ltd.
Inspired by his life-long interest in chant and choral music Paul Mealor?s De p...
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Inspired by his life-long interest in chant and choral music Paul Mealor?s De profundis pushes the boundaries of the human voice in a style synonymous with Russian orthodox music.In spring 2012 this piece sparked the 'Bass Hunter' competition - a world-wide talent search for the lowest human voice in existence. The note an ?E? (329 Hertz) is six notes below the lowest note ever written for a choral piece (from Rachmanivov?s ?Vespers? a B flat) and a whole tone lower than the Guinness World Record-holder - a sung ?F sharp?. The piece has since been recorded featuring the winner of the competition Tim Storms (Decca 3709935).
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Paul Smith: War (from A New World): Mixed Choir: Vocal Score
Choral SATB
SATB, Piano
[Vocal Score]
Peters
VOCES8 singles series-A dramatic fourth movement with SATB choir piano and timp...
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VOCES8 singles series-A dramatic fourth movement with SATB choir piano and timpani depicting the horrors of war with text by Wilfred Owen. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ?New Worlds? have come into existence or could be created in our future and considers how we balance human traits of fear displacement isolation and conflict with equally human traits of love hope forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud toinspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble?s ethos and this is shown in their versatile concert programmes and innovative educational work. The ?VOCES8 singles? series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.
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Paul Smith: Love (from A New World): Mixed Choir: Vocal Score
Choral SATB
SATB, Piano
[Sheet music]
Peters
VOCES8 singles series-A beautiful and flowing work for SATB choir SATB solo qua...
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VOCES8 singles series-A beautiful and flowing work for SATB choir SATB solo quartet and piano with textures that celebrate love cherishing our place among the stars. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ?New Worlds? have come into existence or could be created in our future and considers how we balance human traits of fear displacement isolation and conflict with equally human traits of love hope forgiveness and unity. The internationally-renowned British vocalensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble?s ethos and this is shown in their versatile concert programmes and innovative educational work. The ?VOCES8 singles? series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.
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Philip Sparke: Out of the Darkness into the Light: Concert Band: Score
Concert band
Anglo Music
Out of the Darkness Into the Light is about optimism. All of us experience disa...
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Out of the Darkness Into the Light is about optimism. All of us experience disappointments in our lives such failed relationships or the loss of loved ones but the indomitability of the human spirit allows us to overcome such set backs and get through the darker moments. For some faith and religion may be the answer but this piece is more about the internal strength that we can all call upon.Opening in sombre mood the first phase of the work symbolises the doubts we all have about ourselves and our lives. The opening phrase on solo clarinet appears throughout the piece and could be seen as the central idea of the work the human spirit itself. The faster centralsection is about the struggle to overcome the pain we experience and at bar 88 the moment of catharsis occurs. This signals a change of mood and from then on the clarinet motif is transformed into a feeling of joy and optimism. We have entered the light.
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Jakob Lenz (RIHM WOLFGANG)
Piano, Voice
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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De Profundis
Novello & Co Ltd.
Inspired by his life-long interest in chant and choral music, Paul Mealor's De p...
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Inspired by his life-long interest in chant and choral music, Paul Mealor's De profundis pushes the boundaries of the human voice in a style synonymous with Russian orthodox music. In spring 2012 this piece sparked the 'Bass Hunter' competition - a world-wide talent search for the lowest human voice in existence. The note, an 'E' (329 Hertz), is six notes below the lowest note ever written for a choral piece (from Rachmanivov's 'Vespers? - a B flat), and a whole tone lower than the Guinness World Record-holder - a sung 'F sharp'. The piece has since been recorded featuring the winner of the competition, Tim Storms (Decca 3709935). / Voix Basse (SATB)
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Paul Smith: Lullaby (from A New World): Mixed Choir: Vocal Score
Choral SSAATTBB
[Vocal Score]
Peters
VOCES8 singles series-A lullaby for choir and children?s choir (or sopranos) set...
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VOCES8 singles series-A lullaby for choir and children?s choir (or sopranos) setting an ancient nursery rhyme that explores the idea of the journey through life. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ?New Worlds? have come into existence or could be created in our future and considers how we balance human traits of fear displacement isolation and conflict with equally human traits of love hope forgiveness and unity. The internationally-renowned British vocalensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble?s ethos and this is shown in their versatile concert programmes and innovative educational work. The ?VOCES8 singles? series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.
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Paul Smith: The Dream (from A New World): Mixed Choir: Vocal Score
Choral SSAATTBB
[Vocal Score]
Peters
VOCES8 singles series-A standalone work for SATB choir and SATB solo quartet pa...
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VOCES8 singles series-A standalone work for SATB choir and SATB solo quartet painting a picture of the different characters of a dream. This movement is both comforting and confusing and is inspired by the Palestinian poet Mahmoud Darwish. A New World is a musical story across five movements with texts by authors from Cicero and Ovid to George William Russel; from nursery rhymes to war poets. The music and texts link to form a narrative that questions what sort of ?New Worlds? have come into existence or could be created in our future and considers how we balance human traits of fear displacement isolation and conflict with equally human traits of love hope forgiveness and unity. The internationally-renowned British vocal ensemble VOCES8 is proud to inspire people through music and share the joy of singing. The celebration of diverse musical expression is central to the ensemble?s ethos and this is shown in their versatile concert programmes and innovative educational work. The ?VOCES8 singles? series includes songs for which the group is particularly well known and which have been composed or arranged specifically for VOCES8.
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Maurice Ravel: Une Barque Sur L'Océan: Piano: Instrumental Work
Piano solo
G. Henle
The title of Ravel?s Miroirs (1904/05) can be interpreted as ?reflections? of th...
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The title of Ravel?s Miroirs (1904/05) can be interpreted as ?reflections? of the human world of experiences. Among the nature pictures in this cycle ?Une barque sur l?océan? is particularly popular forming a pianisticcomplement to Debussy?s orchestral work ?La mer? which was written at about the same time. The spacious arpeggios with fifths fourths and seconds hovering above them in subtle rhythms paint a maritime tableau that is in agenre all of its own: on the one hand we have a stylised picture of a boat at the mercy of the wind and the waves while on the other hand an allegory of the volatile nature of human life. This is the second separate edition of apiece from Ravel?s ?Miroirs? to be published by G. Henle Publishers after ?Alborado del gracioso? (HN 1295).
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Glorious Hill (BRYARS GAVIN)
4 Voix d'Hommes [Attbar], 2 Altos, Violoncelle et
[Score]
Schott
for four male voices. Par BRYARS GAVIN. Glorious Hill may be performed by a male...
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for four male voices. Par BRYARS GAVIN. Glorious Hill may be performed by a male choir. Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate. Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices. The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace. / Répertoire / 4 Voix d'Hommes [Attbar], 2 Altos, Violoncelle et
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Michael Daugherty: Vulcan: Concert Band: Score & Parts
Concert band
[Score and Parts]
Michael Daugherty Music
Vulcan for Concert Band is Grammy award winning composer Michael Daughertys firs...
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Vulcan for Concert Band is Grammy award winning composer Michael Daughertys first work for the high school and intermediate level college band. The work is a colorful homage to Gene Roddenberrys interstellar universe as depicted in theclassic American television series Star Trek (1966-69). The title refers to the fiery planet Vulcan home world of half-human half-Vulcan Mr. Spock. As the rational-minded science officer aboard the starship Enterprise (commanded by thehot-blooded Captain James T. Kirk) Mr. Spock grapples with the ?fascinating? predicament of making decisions predicated on human emotion versus Vulcan logic. Daugherty has composed stirring yet highly structured music that alludes to the Vulcan?Pon Farr? ritual Vulcan telepathic mind-melds and the volcanic planet itself. At the the Ann Arbor Michigan world premiere (utilizing the combined forces of the Pioneer Huron and Skyline High School bands) Vulcan was an immediate hit andwill surely become one of Daughertys most performed works.
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Michael Daugherty: Vulcan: Concert Band: Score
Concert band
Michael Daugherty Music
Vulcan for Concert Band is Grammy award winning composer Michael Daughertys firs...
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Vulcan for Concert Band is Grammy award winning composer Michael Daughertys first work for the high school and intermediate level college band. The work is a colorful homage to Gene Roddenberrys interstellar universe as depicted in the classicAmerican television series Star Trek (1966-69). The title refers to the fiery planet Vulcan home world of half-human half-Vulcan Mr. Spock. As the rational-minded science officer aboard the starship Enterprise (commanded by the hot-bloodedCaptain James T. Kirk) Mr. Spock grapples with the ?fascinating? predicament of making decisions predicated on human emotion versus Vulcan logic. Daugherty has composed stirring yet highly structured music that alludes to the Vulcan ?Pon Farr?ritual Vulcan telepathic mind-melds and the volcanic planet itself. At the the Ann Arbor Michigan world premiere (utilizing the combined forces of the Pioneer Huron and Skyline High School bands) Vulcan was an immediate hit and willsurely become one of Daughertys most performed works.
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Howard Goodall: Invictus: A Passion: SATB: Vocal Score
Choral SATB
[Vocal Score]
Faber Music Limited
Invictus: A Passion seeks to address one of the most powerful and dramatic of th...
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Invictus: A Passion seeks to address one of the most powerful and dramatic of the world’s traditional religious stories through the lens of a diverse modern world. A variety of texts written or inspired by women form a narrative that describes human suffering and persecution but also emphasises the human capacity for love and humility in the face of tyranny. These universal messages are brought to life with the emotional clarity and sweeping force of any Howard Goodall score. Invictus: A Passion is scored for soprano solo tenor solo SATB choir and chamber orchestra. The vocal score includes a piano reduction.
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George L.O. Strid Mary Donnelly: The Tall Wind the River and the Tree: Mixed
Shawnee Press
Based on the poem For a Child and incorporating the song Simple Gifts this lyri...
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Based on the poem For a Child and incorporating the song Simple Gifts this lyrical 2-Part choral with optional flute delights with its simplicity and gentleness. It sings of a wonderful message of how we are connected with the world around us making us better human beings. Based on the poem For a Child and incorporating the song Simple Gifts this lyrical 2-Part choral with optional flute delights with its simplicity and gentleness. It sings of a wonderful message of how we are connected with the world around us making us better human beings.
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Rob Goorhuis: La Terre: Concert Band: Score & Parts
Concert band
[Score and Parts]
Gobelin Music Publications
In the composition 'La terre' several aspects of Earth have been translated into...
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In the composition 'La terre' several aspects of Earth have been translated into sounds in an associative manner. The first part depicts Nature Mother Earth stability the soil which is the source of life. Earth symbolizes tradition rituals fertility. In the music of the composition this can be heard in tonic and ostinato passages. Furthermore human emotions such as gladness sorrow wonder resignation hope and despair indissolubly connected as they are to mankind's life on earth are musically reflected in sudden gusts of expression. Earth for us human beings is the solid ground on which everything in life takes place. In the second part different moodsare evoked in a sort of toccata. Now and then the music sounds fragmented at other times as a solid whole. The robustness of the music in this part has its roots in the earth originates from it. It reflects stability and strength but love and nostalgia are also present in soft and fragile tones. 'La terre' is a musical narrative about Earth in which music has been given ample room to show its many-sided beauty.
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Richard Smith: My Piano My Body and Me: Piano: Instrumental Tutor
Piano solo
Spartan Press
making the most of two wonderful machines-Motivating students to develop musical...
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making the most of two wonderful machines-Motivating students to develop musical skills at the piano is a constant challenge for teachers. Attractive repertoire is elusive yet the need exists throughout a pianist's life.The book invites students to explore for themselves the intricacies of the instrument comparing the characteristics of the high notes with the low ones the effects of the pedals playing with the lid open and more.This is more than just a book on piano technique! It is designed for serious piano students of all abilities and ages to practise an integrated approach to the piano the human body and playing musically with a sound technique. How does it do this?It featuresthe piano its history and what makes it unique and how the human body may be best positioned to make the most of it. It includes specially written pieces to practise specific technical skills; e.g. pedalling independent hand control cantabile.
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One World
SMezBar, Choir et Orchestre
Boosey and Hawkes
Par JENKINS KARL. One World deals with a fractured world (populist governments, ...
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Par JENKINS KARL. One World deals with a fractured world (populist governments, plagues, climate change, human trafficking, disrespect for basic human rights, terrorism, war) and heralds a vision of a peaceful and egalitarian planet. The work is best encapsulated by one of the texts set: ‘Tikkun Olam’, Hebrew for ‘repair the world’, a Jewish concept of stewardship over God’s creation. Scored for soloists, chorus and orchestra in Jenkins’s inimitable style familiar from such works as Adiemus: Songs of Sanctuary, The Armed Man: A Mass for Peace, Requiem and The Peacemakers. His vision for One World takes inspiration from diverse texts including the Bible, the Hindu Gayatri Mantra, the poetry of the English Romantic Percy Bysshe Shelley, African-American abolitionist Frances Harper (c1850) and Lebanese-American writer Kahlil Gibran. As in many of Jenkins’s works, Carol Barratt contributes impactful text and adaptations. Recorded on Decca by Lucy Crowe soprano, Kathryn Rudge mezzo-soprano, Roderick Williams baritone, the World Choir for Peace, The Stay At Home Choir and the World Orchestra for Peace, conducted by Karl Jenkins. / Date parution : 2023-07-31/ Répertoire / SMezBar, Choir et Orchestre
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