SKU: PR.114414290

UPC: 680160594030.

Written for Concertante, a string sextet which has commissioned six different works, each highlighting one of its players. In Ran's new work, the second cellist, Zvi Plesser, was spotlighted with an outgoing, intensely lyrical opening theme, according to a New York Times review. Yet, Lyre of Orpheus never overlooks the collaborative, conversational essence of the ensemble. Read the full review here: http://www.nytimes.com/2009/03/18/arts/music/18conc.html?_r=1&adxnnl=1&partner=rssnyt&emc=rss&adxnnlx=1286200920-wRrt7MJ416+FpOYAUe/IOQ For advanced performers.
Lyre of Orpheus was composed for Concertante, the New York-based string sextet, for its One Plus Five Project, a three-year, six-composer commissioning project designed to create six string sextets, each featuring one of Concertante’s core players.This particular commission was made with the goal of giving center-stage to the ensemble’s first cello, a choice I was especially grateful for, not only because it features Zvi Plesser, the outstanding Israeli cellist, but also because it gave ma an opportunity to highlight an instrument for which, from a very early stage in my life, I have felt a special affinity.  The cell’s “soul”, so naturally combining passion and lyricism, has always touched me in a special way.As sometimes happens, naming the piece was the final act in the process of creation.  Once titled, though, I found myself looking through the piece with a mixture of delight and astonishment – the narrative of the almost iconic mythological story of love and loss seems as one entirely plausible, and to my mind convincing, way to tract the unfolding of the musical events.  Of course, the music was written with no such tale (or any tale, for that matter) in mind.  But perhaps some stories are emblematic of so much that is part of our lives and psyches, of our desires, fears and wishes.  Orpheus, whose longing for Eurydice recognizes no boundaries of heaven and hell…  Love regained, then forever lost…  Orpheus’ lyre intoning his sorrowful yearning…Lyre of Orpheus, approximately fifteen minutes in length, composed in late 2008, is intermittently songful, caressing, passionate, pained, ferocious, longing.  The instrumentation consists of 2 violins, 2 violas, 2 cellos, the first of which is the soloist/protagonist, the second notable for having its lowest string tuned down a third to achieve extra lower notes.This commission has been made possible by the Chamber Music America Commissioning Program, with funding generously provided by the Aaron Copland Fund for Music, and the Chamber Music America Endowment Fund.

SKU: BT.DHP-1145555-400

ISBN 9789043135979. English-German-French-Dutch.

Position 1 covers the four fingerings of the first position. The connection between these fingerings and the different keys - up to three sharps or flats - is also dealt with. The book features 38 exercises for the various fingerings, sevenscale and triad exercises, and 68 attractive performance pieces in a range of musical styles. The performance pieces can be played with CD accompaniment (demo and play-along tracks are featured on CDs 1 and 2) or with piano accompaniment. The pianoaccompaniments can be found on CD 2 in PDF form.

In Position 1 worden alle vingerstellingen binnen de 1e positie geleerd aan de hand van grepenschema?s, oefeningen en speelstukken. Verder wordt het verband gelegd tussen de verschillende vingerstellingen in toonladders en drieklanken inde 1e positie over 2 oktaven. De 68 speelstukken kunnen met cd-begeleiding worden gespeeld, of met live-pianobegeleidingen. Deze worden als pdf geleverd op de 2 bijbehorende cd?s. De vertrouwde afwisseling van nieuwe stukken, arrangementen vanklassieke thema?s en volksliedjes ontbreekt uiteraard niet!

Lees hier de boekbespreking uit Arco.

In Position 1 geht es um die vier Griffarten der ersten Lage. Diese Griffarten werden auch mit den verschiedenen Tonarten - mit bis zu drei Kreuzen oder Bs - verknüpft. Das Buch umfasst 38 �bungen für die verschiedenen Griffarten, siebenTonleiter- und Dreiklangsübungen sowie 68 reizvolle Vortragsstücke in einer ganzen Palette an Musikstilen. Die Vortragsstücke können zu den Begleitungen auf den beiden CDs (die Demo- und Mitspielversionen enthalten), aber auch mit einem Pianistengespielt werden. Die Klavierstimmen sind im PDF-Format zum Ausdrucken auf der CD 2 enthalten.

Position 1 couvre les quatre doigtés de la première position et examine le rapport entre ces doigtés et les différentes tonalités - jusquà trois dièses ou bémols. Cet ouvrage contient 38 exercices pour les divers doigtés, 7exercices de gammes et de triades, et 68 morceaux de concert dans une diversité de styles. Ces morceaux peuvent être exécutés avec l´accompagnement du CD, mais aussi accompagnés au piano. Des versions intégrales et de démonstration figurent surles CD 1 et 2, ce dernier comprenant aussi les partitions du piano sous forme de fichiers PDF.

Position 1 affronta le quattro diteggiature della prima posizione. La pubblicazione contiene 38 esercizi per le varie posizioni, sette scale e terze, come anche 68 accattivanti brani in vari stili musicali da suonare in pubblico. Questipossono essere eseguiti sia con lausilio dei 2 CD inclusi (traccia demo e traccia play-along), sia con l´accompagnamento di un pianista. Le parti del piano, contenute sul secondo CD, sono scaricabili in formato PDF.

SKU: BR.CHB-5367

ISBN 9790004412978. 7.5 x 10.5 inches. German.

Kurt Thomas's setting of Psalm 137 ,,An den Wassern zu Babel (,,By the waters of Babylon) is one of his earlier compositions and the second that he published at Breitkopf & Hartel in 1928, after the Mass in A op. 1. The motet for double choir with a performing time of about six minutes portrays the psalm text vividly. Long flowing lines in the beginning point to the rivers of Babylon, leading on to the lament of the Israelites and finally to a fantasy of revenge before coming back to the flowing lines in the end. Although the motet includes many of the features of his later choral works, it is among the more easily accessible works of Kurt Thomas and can therefore also be performed by good amateur choirs.