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Partitions De Groupes [ 95 ]
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Accordéon et Orchestre [ 86 ]
Quatuor à cordes: 4 violons [ 84 ]
Trompette, Trombone (duo) [ 81 ]
Hautbois, Clarinette, Basson (trio d'anches) [ 76 ]
Quatuor de Flûtes : Flûte, Violon, Alto, Violoncelle [ 74 ]
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Piano Quintette: piano, violon, alto, violoncelle, contre ba… [ 68 ]
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Quintette à cordes : 2 violons, alto et 2 violoncelles [ 61 ]
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Harpe, Orchestre [ 42 ]
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Piano, Violon, Bandoneon, Guitare, Contrebasse [ 38 ]
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Cor et Orgue [ 33 ]
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Flûte, Alto et Guitare [ 27 ]
Jazz combo [ 27 ]
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Ensemble de cuivres, Percussion [ 25 ]
Flûte et Trio à cordes [ 24 ]
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Voix d'Enfants, Instruments [ 24 ]
Flûte, Hautbois, Piano (trio) [ 23 ]
Trio à Vent: 3 instruments à vents [ 22 ]
Voix et Big Band [ 21 ]
2 Hautbois, 2 Clarinettes, 2 Cors et 2 Bassons [ 20 ]
Flûte, Alto (duo) [ 20 ]
Violon, Alto et Orchestre [ 20 ]
Hautbois, Violoncelle et Piano [ 19 ]
Voix Mezzo-Soprano, Orchestre [ 18 ]
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contreba… [ 18 ]
Clarinette, trompette et piano [ 16 ]
Ensemble de cuivres, Orgue [ 16 ]
Piano Quatuor: piano, 2 violons, violoncelle [ 15 ]
Quatuor de percussions [ 15 ]
Trompette et Quatuor à Cordes [ 15 ]
Marimba et ensemble à vent [ 15 ]
Alto, Violoncelle et Contrebasse [ 14 ]
Guitare, Violon, Alto, Violoncelle [ 14 ]
Trompette, Cor et Piano [ 14 ]
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib [ 14 ]
Orchestre d'harmonie, Percussion [ 13 ]
2 Hautbois et Basson [ 12 ]
Clarinette, Alto et Violoncelle [ 12 ]
Orchestre à Cordes, Percussion [ 12 ]
Guitare, Violon, Alto [ 11 ]
3 Violes de Gambe [ 9 ]
Flûte, Violon, Violoncelle et Piano [ 9 ]
Marimba et Orchestre [ 9 ]
2 Guitares et Orchestre [ 7 ]
Quintet (other) [ 7 ]
Cornet et orchestre [ 6 ]
Guitare et Quintette à Cordes [ 6 ]
Violon, Violoncelle et Contrebasse [ 6 ]
Violon, Clarinette et Guitare [ 5 ]
Quintette : Hautbois, Clarinette, Cor, Basson et Piano [ 5 ]
Sextette: Quatuor à cordes, Clarinette, Piano [ 5 ]
Clarinette, Cor et Basson [ 4 ]
Cor et Harpe [ 4 ]
Harpe, Quatuor à cordes [ 4 ]
Orgue et Ensemble de cuivres [ 4 ]
Piano Quintette: Instruments de chambre mixtes [ 4 ]
Alto, Tuba et Piano [ 3 ]
Clarinette, Basson et Cor [ 3 ]
Guitare, Violon, Piano [ 3 ]
Hautbois, Basson et Basse continue [ 3 ]
Hautbois, Clarinette, Basson et Piano [ 3 ]
Saxophone, Bandoneon, Contrebasse, Piano [ 3 ]
Violon, Basson et Basse continue [ 3 ]
Voix, Quatuor à cordes, Piano [ 3 ]
2 Guitares, ensemble de cordes [ 3 ]
Contrebasse et Quatuor à cordes [ 2 ]
Guitare, Bandoneon, Cordes [ 2 ]
Quintette à cordes : Violon, 2 altos, 2 violoncellee [ 2 ]
2 Clarinettes, 2 Violons, Violoncelle, contrebasse et batter… [ 2 ]
Basson, Violoncelle et Piano [ 1 ]
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Orchestre (32)
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Détails
Détails
Couverture
L'Estro Armonico Op. 3/1-12 (VIVALDI ANTONIO)
54.50
L'Estro Armonico Op. 3/1-12 (VIVALDI ANTONIO)
4 Violons, 2 Altos, Violoncelle, Violon et Claveci
Eulenburg
Concerti Grossi. Par VIVALDI ANTONIO. 12 Concertos de Vivaldi ont été d'abord ...
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Concerti Grossi. Par VIVALDI ANTONIO. 12 Concertos de Vivaldi ont été d'abord publiés en 1711 par Roger à Amsterdam. Ces 8 livres de cadre élégant a aidé à établir la réputation de Vivaldi dans toute l'Europe et au cours duquel il a fourni les règles de laquelle des auteurs comme Quantz, Marcello et Mattheson jugés et informé les autres compositeurs. Très imité, les concertos continuent d'influencer les oeuvres de compositeurs plus tard et, en fait, j. s. Bach./ Répertoire / 4 Violons, 2 Altos, Violoncelle, Violon et Claveci
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14 Motetten (BRUCKNER ANTON / DOSS THOMAS (Arr)
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
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5 Tantum Ergo (BRUCKNER ANTON / DOSS THOMAS (Arr)
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruck...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON / DOSS THOMAS (Arr.). Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn?t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Hymns for four-part mixed choir a cappella (1846, St. Florian) No. 1 in E flat major (WAB 41/3): Quite Slow No. 2 in C major (WAB 41/4): Andante No. 3 in B flat major (WAB 41/1): Slow No. 4 in A flat major (WAB 41/2): Slow Hymn for five-part (2 S, A, T, B) mixed choir and organ No. 5 in D major: Solemnly They are simple works, completely subordinate to their liturgical use, which nevertheless already show numerous characteristics of personal expression. These small pieces were able to stand up to the harsh scrutiny of the mature master: in 1888, Bruckner subjected them to a revision in which he made only minor corrections. / Date parution : 2023-08-12/ Répertoire / Concert Band/Harmonie
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Toccata
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Ce score étude de 'La clemenza di Tito' est basé sur l'édition à la fois Gie...
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Ce score étude de 'La clemenza di Tito' est basé sur l'édition à la fois Giegling Franz de 1970, qui a été publié dans le cadre du 'New Edition Mozart', et le commentaire critique à partir de 1994.Les manuscrits autographes de numéros 2, 11 et 12 de l'opéra de Mozart ont été considérés comme perdus après la fin de la Seconde Guerre mondiale. En 1979/80 de ces pièces manuscrites ont été reportés et sont conservés dans le Jagiellonska Biblioteka, Cracovie. L'évaluation de cette source a été publié dans le commentaire critique de 1994 et a été inclus dans la deuxième impression du volume respectif de New Mozart Edition (1997). Le score étude Bärenreiter est basé sur cette nouvelle édition de 'La Clemenza di Tito', tel que publié dans le 'New Edition Mozart'.- Basé sur le Urtext de la 'Nouvelle édition Mozart', reflétant l'état actuel des bourses musicologique- Avec une préface informative / Orchestre
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Tonalité : B-Dur - Hwv 308 (Op. 7 #3). Par HAENDEL GEORG FRIEDRICH. freie Orgel...
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Tonalité : B-Dur - Hwv 308 (Op. 7 #3). Par HAENDEL GEORG FRIEDRICH. freie Orgelmusik - Langue : o Spr/ Répertoire / 2 Hautbois, 2 Violons, Alto, Violoncelle ou Contre
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Tonalité : B-Dur - Hwv 308 (Op. 7 #3). Par HAENDEL GEORG FRIEDRICH. freie Orgelmusik - Langue : o Spr/ Répertoire / 2 Hautbois, 2 Violons, Alto, Violoncelle ou Contre
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Tonalité : B-Dur - Hwv 308 (Op. 7 #3). Par HAENDEL GEORG FRIEDRICH. freie Orgel...
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Tonalité : B-Dur - Hwv 308 (Op. 7 #3). Par HAENDEL GEORG FRIEDRICH. freie Orgelmusik - Langue : o Spr/ Répertoire / 2 Hautbois, 2 Violons, Alto, Violoncelle ou Contre
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Concerto D'Organo Nr. 9 In B (Orgelkonzert Nr. 9 In B)
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Tonalité : B-Dur - Hwv 308 (Op. 7 #3). Par HAENDEL GEORG FRIEDRICH. freie Orgelmusik - Langue : o Spr/ Répertoire / 2 Hautbois, 2 Violons, Alto, Violoncelle ou Contre
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La Clemenza Di Tito K. 621 (MOZART WOLFGANG AMADEUS)
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La Clemenza Di Tito K. 621 (MOZART WOLFGANG AMADEUS)
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Par MOZART WOLFGANG AMADEUS. Ce score étude de 'La clemenza di Tito' est basé ...
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Par MOZART WOLFGANG AMADEUS. Ce score étude de 'La clemenza di Tito' est basé sur l'édition à la fois Giegling Franz de 1970, qui a été publié dans le cadre du 'New Edition Mozart', et le commentaire critique à partir de 1994. Les manuscrits autographes de numéros 2, 11 et 12 de l'opéra de Mozart ont été considérés comme perdus après la fin de la Seconde Guerre mondiale. En 1979/80 de ces pièces manuscrites ont été reportés et sont conservés dans le Jagiellonska Biblioteka, Cracovie. L'évaluation de cette source a été publié dans le commentaire critique de 1994 et a été inclus dans la deuxième impression du volume respectif de New Mozart Edition (1997). Le score étude Bärenreiter est basé sur cette nouvelle édition de 'La Clemenza di Tito', tel que publié dans le 'New Edition Mozart'. - Basé sur le Urtext de la 'Nouvelle édition Mozart', reflétant l'état actuel des bourses musicologique - Avec une préface informative/ Répertoire / Orchestre
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Best of BläserKlasse - Stabspiele
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Jeux de Bâtons
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De Haske Publications
Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date...
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Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date parution : 2022-01-14/ Recueil / Jeux de Bâtons
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3 Letzte Motetten
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
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Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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3 Letzte Motetten
195.80
3 Letzte Motetten
Concert Band/Harmonie
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Oktavian Music
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ans...
(+)
Anton Bruckner (1824-1896). Par BRUCKNER ANTON. Anton Bruckner (b. 4.9.1824, Ansfelden, d. 11.10.1896, Vienna) didn’t have it easy. Throughout his life, the Austrian composer was plagued by self-doubt. Anton Bruckner came from a simple, rural background. After the death of his father, he was accepted as a choirboy at the monastery of Sankt Florian in 1837. After several years as a school assistant and his own organ and piano studies, he first worked as organist in St. Florian, then from 1855 as cathedral organist in Linz. Introduced to music theory and instrumentation by Simon Sechter and Otto Kitzler, he discovered Richard Wagner as an artistic role model, whom he admired throughout his life and also visited several times in Bayreuth. In 1868 Anton Bruckner became professor of basso continuo, counterpoint and organ at the Vienna Conservatory; ten years later court organist; and in 1891 finally honorary doctor of the University of Vienna. He was considered an important organ virtuoso of his era, but had to wait a long time for recognition as a composer. It was not until Symphony No.7 in E major, composed between 1881 and 1883, with the famous Adagio written under the effects of Wagner's death, that he achieved the recognition he had hoped for, even if he was reluctant to accept it given his inclination towards scepticism and self-criticism. Anton Bruckner was a loner who did not want to follow a particular school or doctrine. He composed numerous sacred vocal works, such as his three masses, the Missa Solemnis in B flat minor (1854), the Te Deum (1881-84) and numerous motets. As a symphonic composer, he wrote a total of nine symphonies and many symphonic studies from 1863 onwards, tending to revise completed versions several times over. Bruckner's orchestral works were long considered unplayable, but in fact were merely exceptionally bold for the tonal language of their time, uniting traditions from Beethoven through Wagner to folk music, on the threshold between late Romanticism and Modernism. Anton Bruckner composed about 40 motets during his lifetime, the earliest a setting of Pange lingua around 1835, and the last, Vexilla regis, in 1892. Thomas Doss has compiled some of these motets in this volume for symphonic wind orchestra. These motets show many characteristics of personal expression, especially Bruckner's colourful harmony in the earlier works, which is in places aligned with Franz Schubert (changes between major and minor; and movements in thirds). Later works are characterised by many components which, in addition to the expanded stature of the movements, include above all a sense of the instrumentation as an outward phenomenon and the harmony as a compositional feature that works more internally. Some aspects of Bruckner's work are the result of his long period of study, which familiarised him not only with the tradition of his craft, but also gave him insights into the 'modernity' of his time in such composers as Wagner, Liszt and Berlioz. From this developed his personal standpoint, which always pursues the connection between the old and the new. / Date parution : 2023-07-31/ Répertoire / Concert Band/Harmonie
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Pietro Locatelli: 6 Concerti op. 4/7-12 Vol. 2: String Ensemble: Miniature Score
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Pietro Locatelli: 6 Concerti op. 4/7-12 Vol. 2: String Ensemble: Miniature Score
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For the six concertos that make up the second part of the Op. 4 Locatelli presc...
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For the six concertos that make up the second part of the Op. 4 Locatelli prescribed eight parts: Violino Primo Secondo Alto è Violoncello Soli. Violino Primo Secondo Alto è Basso Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso to which Locatelli contributed also in his Op. 1 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled) we here encounter a group of works that are very varied in form instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify thedevelopments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.
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Best of BläserKlasse - Altsaxophon in Es
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Saxophone Alto
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De Haske Publications
Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date...
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Jubiläumsausgabe - Highlights aus 25 Jahren YAMAHA BLÄSERKLASSE. Par . / Date parution : 2022-01-14/ Recueil / Saxophone Alto
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Fischer Eric : OctOp.Et The Moon. Conducteur
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Fischer Eric : OctOp.Et The Moon. Conducteur
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Pour orchestre d'harmonie.Conducteur et parties séparées.'Octopus and the Moon...
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Pour orchestre d'harmonie.Conducteur et parties séparées.'Octopus and the Moon': ...pourquoi ce titre?!D'une part, comme beaucoup de gens ( mais peu osent l'avouer), à minuit les soirs de pleine lune, je me transforme en poulpe.D'autre part et d'un point de vue structurel, la pièce enchaîne huit états de son évolution, des vagues, autrement dit flux et reflux, car il ne s'agit pas de développements.Chaque nouvel état sonore émerge puis disparaît.Cet ouvrage n'est pas dans l'usage habituel d'un orchestre d'harmonie mais est à coup sûr ce que j'aimerais souvent lui entendre jouer: un temps suspendu, introspectif voire intime, la richesse de la nomenclature liée à ce type de formation permettant à l'infini la recherche de couleurs sonores et de combinaisons.Eric FISCHER est l'auteur d'environ 200 opus, allant de la pièce pour instrument seul à la forme symphonique, en passant par tout type de nomenclature et d'expériences diverses, musique de chambre, dispositif électronique, oeuvres vocales, musiques de scène, musique improvisée, oeuvre pluridisciplinaires, etc...De fait, sa musique, aujourd'hui régulièrement jouée à travers le monde (USA, Canada, France, Suisse, Belgique, Hollande, Lettonie, Japon?) recherche toujours un espace privilégié avec les artistes qu'il admire, quel que soit leur instrument et l'univers stylistique dont ils sont issus.Entre 1988 and 1991, il dirige l'ensemble à cordes ' Antigone ' avec lequel il crée une partie de son oeuvre concertante, cette forme lui étant spécifiquement inspirante.(Ex : ' concerto pour marimba and orchestre ' 1987, éditions Notissimo - ' les mélodies provisoires ' pour accordéon and orchestre 1991, créée par Richard Galliano à St Eustache Paris - ' Concerto No3 ' pour saxophone soprano and orchestre à cordes, enregistré et créé par J.P.Baraglioli and l'orchestre philharmonique de chambre de Lettonie 1998, CD Daphénéo 9802, éditions Misterioso?)Sa curiosité à tout type de rencontre le mènera à d'autres échanges artistiques tout à fait privilégiés :À noter depuis 1989, un parcours de fidélité réciproque avec le chorégraphe japonais Shiro Daïmon (Dernières créations : ' Oni ', Oguni, Jp, sept.2004 - ' Kou, la lune rouge ' Paris, janvier 2005)Cofondateur du ' Collectif de la dernière tangente ' avec le plasticien Bernard Garo et le comédien François Chattot, proposant d'étonnantes immersions pluridisciplinaires, avec des spectacles comme ' Temps Morts ' (création Far, Nyon, 2003/ théâtre Vidy, Lausanne, 2004/ Scène nationale de Sénart, 2005/ festival de Dijon 2007) et ' 9 pictures from 99 body ritual tales ' (création Far, Nyon, 2005/ tournée automne 2006?)' Wasser wind und Stahl ' en préparation (création prévue saison 2008/2009)Musique de film pour ' l'oeil sauvage ' de Johanna Vaude (2006)Travail régulier avec des poètes, dont Dominique Brand et Emmanuel DamonÀ écrit pour Richard Galliano, David Liebman, François Bou, Jacqueline Méfano, Marianne Muller, le quatuor de Riga, l'ensemble FA 7, Jean-Pierre Baraglioli, le quatuor boréal, le collectif Rock Adélaïde, l'orchestre philharmonique de chambre de Lettonie, Sylvain Kassap?Egalement saxophoniste and claviers, il a joué et/ou enregistré aux côtés de Steve Lacy, David Liebman, Sylvain Kassap, Hozan Yamamoto, Andy Emler, Marc Ducret, Archie Shepp,?oeuvres sur CD :(ordre chronologique)1998 : ' Concerto No3 ' pour saxophone soprano and orchestre à cordessur le CD ' 52 fils tendus ' de J.P.Baraglioli (Daphénéo)2000 : ' le Rituel ' pour 5tet de saxophonessur le CD ' le Pont Mirabeau ' quatuor de saxophones de Riga (Kulturas Parvalde)2001 : ' Concerto Grosso ' (2o and 4o Mouvements) pour orchestre d'harmoniesur le CD ' Changer d'air ' produit par Ariam Ile-de-France/ Cepia2002 : ' Même si la lumière? 'Chamber music, monographie (Daphénéo)En cours de réalisation ' Eau vent acier ' pour quatuor à cordes. Sortie prévue en mars 2008 / Orchestre D'Harmonie
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Das Dornröschen (PAUSET BRICE)
68.30
Das Dornröschen (PAUSET BRICE)
En Français
Quatuor à Cordes et Orchestre
[Partition]
Lemoine, Henry
Par PAUSET BRICE. 'Sleeping Beauty', one of the most famous of the Grimm Brother...
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Par PAUSET BRICE. 'Sleeping Beauty', one of the most famous of the Grimm Brothers' fairy tales, has been the object of numerous analyses, commentaries, and renditions of all sorts. Its motifs, typical of the genre (pact, numeral symbolism, destiny, curses, enclosed space) abound in the crude and concise text from the 1812 version, the one I chose from among the seven versions spanning 1812 to 1857. The themes of suspended temporality (the entire castle deeply asleep) and fragile beauty are less common, but musically very inspiring. The instrumentation being used (string quartet, double-choir and orchestra) is treated as a composite derived from opera. The principle theme is distilled in the solo string quartet, the double-choir is assigned the narration, while the orchestra is entrusted with numerous descriptive elements designed to transpose the real action: ascending the stairway, spinning, etc. Of course, specific situations will put this lovely construction into peril. In the context of my work on 'critical exegesis' with regards to the stage, this project is an attempt to create music that in itself satisfies a large number of the demands normally present in the operatic setting: characters, action, movement, singing, dramaturgy, scenography, décor, lighting, etc. It is not a question of inventing new metaphors, but rather, of managing to transcribe the phenomena used in the Grimm Brothers' fairly tale with purely musical classifications and objects, rich with associative images: thus a music of situations and phenomena, more than of representation. Two sections of the piece were already composed for double-choir in a preparatory form (Zwei Studien über Dornröschen composed in 2007). The whole, amounting to about 25 minutes, is divided into 9 'scenes' equivalent to the interpretations of transitional moments in the Grimm Brothers' story: 1. '...keine Kinder...' 2. die Feen 3. '...alle Spindeln abschaffen...' 4. '...ein Wunder von Schönheit...' 5. Der alte Turm 6. '...Eine alte Frau... 7. Stich und Schlaf 8. Dornen und Kuss 9. Die hohe Zeit / contemporain / Répertoire / Quatuor à Cordes et Orchestre
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Lorenzo, Margarita : La Direction d'Orchestre - Livre + DVD
48.50
Lorenzo, Margarita : La Direction d'Orchestre - Livre + DVD
En Français
Formation musicale - Solfège
[Livre + DVD]
Lemoine, Henry
Notice
DVD inclus
La Direction d'orchestre est un ouvrage qui abord...
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Notice
DVD inclus
La Direction d'orchestre est un ouvrage qui aborde les bases techniques musicales et artistiques essentielles pour une solide formation de chef d'orchestre, mais aussi une formation vocale ou instrumentale.
Le chef d'orchestre en devenir trouvera dans ce manuel toutes les clés théoriques et pratiques nécessaires au développement de ses connaissances qui lui permettront de conduire l'orchestre avec aisance et passion :
- Technique de base
- Etude et préparation du répertoire
- Les répétitions
- Le concert
- Sur le podium : cas pratique
- Glossaire
Traduction française par Aude Ameille de l'ouvrage En el podio paru aux Editions Boileau.
Presse
Cet ouvrage, éminemment pratique, n'en néglige pas, pour autant, tout l'aspect culturel de la direction. Si il est orienté prioritairement vers la conduite d'un orchestre, il s'attache aussi à la direction spécifique d'une harmonie, ou, encore plus spécifique, d'un choeur. Cet aspect a d'ailleurs été longtemps négligé et tous les chefs de choeur ou choriste ont connu ces chefs d'orchestre qui ne savait pas comment se conduire vis-à-vis d'un choeur lorsqu'ils dirigeaient une pièce pour choeur et orchestre. Bref, l'ouvrage est très complet. Il comporte cinq parties plus l'indispensable glossaire. La première partie est consacrée aux techniques de base correspondant à tout l'aspect corporel, de la tenue aux différentes battues. La deuxième partie est consacrée à l'étude et la préparation du répertoire, exposées très en détail. La troisième est consacrée aux répétitions, la quatrième au concert. La cinquième partie fait en quelque sorte la synthèse en proposant d'appliquer l'ensemble à l'Alléluia du Messie de Haendel. L'ouvrage comporte aussi une copieuse et judicieuse bibliographie. Quant au DVD, il suit pas à pas l'exposé et ne comporte pas moins de trente-quatre chapitres divisés eux-mêmes en plusieurs sections. Il s'agit donc d'un outil de travail tout à fait remarquable et l'auteur explique en détail comment l'utiliser. Cette réalisation est donc une somme que le professionnel aussi bien que l'amateur éclairé pourra lire avec un grand intérêt et un grand profit.
L'Education Musicale, n°94 (Juillet 2015) / Méthodes and études instrumentales / Livre DVD /
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Music for Children Vol. 5 (ORFF CARL / KEETMAN GUNILD)
17.60
Music for Children Vol. 5 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
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Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Concerto Per Vl. E Vc. Solisti, Archi E B.C.: Per 4 Vl. E 1 Vc. In Fa Op. III N.7 - Rv 567 - F.IV/9 Tomo 412 (VIVALDI ANTONIO)
36.90
Concerto Per Vl. E Vc. Solisti, Archi E B.C.: Per 4 Vl. E 1 Vc. In Fa Op. III N.7 - Rv 567 - F.IV/9 Tomo 412 (VIVALDI ANTONIO)
Violon et autres Cordes en Solo
[Partition]
Ricordi
In Fa Op.Iii N.7 Rv 567, F.Iv/9 - Tomo 412. Par VIVALDI ANTONIO. / Répertoire /...
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In Fa Op.Iii N.7 Rv 567, F.Iv/9 - Tomo 412. Par VIVALDI ANTONIO. / Répertoire / Violon et autres Cordes en Solo
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Music for Children Vol. 4 (ORFF CARL / KEETMAN GUNILD)
16.41
Music for Children Vol. 4 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Conducteur]
Schott
Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
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Minor: Bordun. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Kleine Geistliche Konzerte II 1639 (SCHUTZ HEINRICH)
476.30
Kleine Geistliche Konzerte II 1639 (SCHUTZ HEINRICH)
Chant et Basse Continue
[Partition]
Barenreiter
Small Sacred Concertos II. Par SCHUTZ HEINRICH. The 'Kleine geistliche Konzerte'...
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Small Sacred Concertos II. Par SCHUTZ HEINRICH. The 'Kleine geistliche Konzerte' (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schütz a household name shortly after the 'Kleine geistliche Konzerte' were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home. Unlike the 1963 edition of the 'Kleine geistliche Konzerte' (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music./ Répertoire / Chant et Basse Continue
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Antonín Dvo?ák: Two Slavonic Dances: Concert Band: Score
14.99
Antonín Dvo?ák: Two Slavonic Dances: Concert Band: Score
Orchestre d'harmonie
Gobelin Music Publications
Czech composer Antonin Dvorak is best-known for his beautiful string-quartets h...
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Czech composer Antonin Dvorak is best-known for his beautiful string-quartets his symphonies (especially nr.9 'From the New World') and his Slavonic Dances Op. 46 and 72. Dutch composer and arrranger Jan Bosveld adapted two dances (nrs. 4 and 7) from his opus 46 to the wind-band medium. Alternating between the virtuoso and the melancholy these lovely little pieces for orchestra above all provoke responses of instant recognition with your audiences. Uit de Slavische Dansen Opus 46 bewerkte Jan Bosveld op kleurrijke wijze de 4e en 6e dans. De weemoed passie en vreugde straalt af van zijn prachtige muziek en nu dus ook voor concertband.
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Antonín Dvo?ák: Two Slavonic Dances: Concert Band: Score & Parts
100.99
Antonín Dvo?ák: Two Slavonic Dances: Concert Band: Score & Parts
Orchestre d'harmonie
Gobelin Music Publications
Czech composer Antonin Dvorak is best-known for his beautiful string-quartets h...
(+)
Czech composer Antonin Dvorak is best-known for his beautiful string-quartets his symphonies (especially nr.9 'From the New World') and his Slavonic Dances Op. 46 and 72. Dutch composer and arrranger Jan Bosveld adapted two dances (nrs. 4 and 7) from his opus 46 to the wind-band medium. Alternating between the virtuoso and the melancholy these lovely little pieces for orchestra above all provoke responses of instant recognition with your audiences. Uit de Slavische Dansen Opus 46 bewerkte Jan Bosveld op kleurrijke wijze de 4e en 6e dans. De weemoed passie en vreugde straalt af van zijn prachtige muziek en nu dus ook voor concertband.
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