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Quatuor à cordes: 2 violons, alto, violoncelle (8)
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1
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Russian Operatic Arias For Soprano 19Th And 20Th Century Repertoire
44.26
Russian Operatic Arias For Soprano 19Th And 20Th Century Repertoire
Voix Soprano, Piano
[Partition]
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Peters
Cette remarquable série ouvre des perspectives passionnantes du répertoire sti...
(+)
Cette remarquable série ouvre des perspectives passionnantes du répertoire stimulante et enrichissante pour le chanteur sagace et aventureux. Comme pour les volumes de compagnon Peters de français Operatic Arias, cette série russe présente bon nombre des airs célèbres à juste titre, mais aussi leur juxtapose avec autres gemmes moins familiers, dont undoutedly méritent une reconnaissance plus large. Une grande partie du répertoire sélectionné est parfaitement adaptee aux fins de l'audition, afin que chaque volume est un Trésor pour les chanteurs professionnels et des étudiants. / Voix Et Piano
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The Boosey And Hawkes 20Th Century Easy Song Collection Vol.1
32.80
The Boosey And Hawkes 20Th Century Easy Song Collection Vol.1
Piano, Voix
[Partition]
Boosey and Hawkes
Une collection exceptionnelle et variée de la musique vocale du XXe siècle, sp...
(+)
Une collection exceptionnelle et variée de la musique vocale du XXe siècle, spécialement sélectionnée pour les premières années. Chansons par les maîtres du XXe siècle dont Bartók, Britten, Copland et Stravinsky ainsi que nouvellement commissionné chansons. Les chansons ont été choisis pour s / Voix Et Piano / Partition
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CONTEMPORARY CELLO ETUDES
33.52
CONTEMPORARY CELLO ETUDES
Violoncelle
Hal Leonard
Par . Learn the contemporary techniques and practices of the modern cello. The c...
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Par . Learn the contemporary techniques and practices of the modern cello. The collection is a vital exploration of 21st-century cello techniques that every contemporary cellist should know when playing music outside of the standard classical repertoire. By exploring techniques such as chopping, pizzicato, improvisation, chords, ornaments, modes, polyrhythmic playing, and more, you will be prepared to play in a variety of contexts, including folk, rock, funk, jazz, world music and accompanying yourself while singing. Compiled and edited by Mike Block, this volume of etudes contains pieces composed by: Ashley Bathgate · Mike Block · Stephen Braun · Rufus Cappadocia · Rushad Eggleston · Erik Friedlander · Eugene Friesen · Natalie Has · Giovanni Sollima · Mark Summer · Jacob Szekley · Matt Turner · Jeffrey Zeigler. / Date parution : 2022-09-13/ Etude / Violoncelle
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The Seafaring Fiddler
25.93
The Seafaring Fiddler
Violon et Piano
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22 fiddle tunes from the golden age of sail, featuring dance tunes, shanties (wo...
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22 fiddle tunes from the golden age of sail, featuring dance tunes, shanties (work songs), recreational 'forebitters' and composed melodies which give the landlubber's take on the romance of the sea. Edward Huws Jones explains that 'during the heyday of sail, the busiest sea-routes of all were the North Atlantic crossings, especially between Liverpool and the American cotton ports- it was the heady mixture of African-American and Irish music which gave birth to the mid-century flowering of the sea shanty. Meanwhile English-speaking vessels were sailing to the Cape, India, Australia and many other far-flung destinations, carrying a two-way traffic of song and dance.? The tunes in this collection can all be played as unaccompanied fiddle tunes, which is how they would have been played in the days of sail. But as in other books in the Fiddler series, the flexible format allows a wide variety of different combinations and ensembles. Suitable for intermediate and elementary standard performers. / 2 Violons, Guitare Et Piano
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FLYING FINGERS
64.08
FLYING FINGERS
Guitare
[Partition]
Hal Leonard
Authentic and Accurate Fingerstyle Guitar Anthology. Par . There has never been ...
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Authentic and Accurate Fingerstyle Guitar Anthology. Par . There has never been a collection of fingerstyle repertoire like this one. Beginning with the roots of fingerstyle and artists like Robert Johnson and Reverend Gary Davis along with works of 20th century masters like Chet Atkins and John Fahey and a legion of modern pioneers like Andy McKee and Tommy Emmanuel the sheer scope of this collection makes it a must-own for all fingerstyle guitarists. This truly one-of-a-kind book covers an expansive and eclectic variety of styles and techniques, including modern innovations like percussive gestures and two hands on the fingerboard. Over 50 artists are featured, each represented by a single, characteristic piece. Allsongs are shown in standard notation and tab and include special historical and performance notes, making this book an incredibly valuable tool for any student of fingerstyle guitar. Artists featured include: Chet Atkins, Pierre Bensusan, Alex de Grassi, Tommy Emmanuel, Mississippi John Hurt, Robert Johnson, Jorma Kaukonen, Adrian Legg, Andy McKee, Jerry Reed, Doc Watson, and dozens more. Features comb binding so book can lay flat on any surface. / Date parution : 2022-02-26/ Tablatures / Guitare
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Sadie Harrison: Par-feshani-ye 'Eshq': Piano: Instrumental Work
8.95
Sadie Harrison: Par-feshani-ye 'Eshq': Piano: Instrumental Work
Piano seul
[Partition]
University Of York Music Press
The title Par-feshani-ye 'Eshq translates in English to The Fluttering Wings O...
(+)
The title Par-feshani-ye 'Eshq translates in English to The Fluttering Wings Of Love and was taken from a text by the 18th century Sufi poet Bidel. Each brief movement takes a couplet from the poem as inspiration drawing on an extraordinary array of images of clay pots on waterwheels a nightingale?s fluttering wings weighty fetters links and the world?s garden roses. The work is dedicated to friends Renée Reznek and Bruce Wannell. Bruce introduced Harrison to the poetry of Bidel and Renée had the privilege of performing the piece on its premiere performance.Australian born freelancecomposer and performer Sadie Harrison?s unique fusion of elements from indigenous Lithuanian music and poetry with her own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working alongside a long list of well accomplished musicians; Paul Carey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege work with Harrison so far. Performances of Harrison's works have been given across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus Chamber Orchestra and many others.
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Tzigane
40.02
Tzigane
Orchestre, Violon
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
(+)
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violon Et Orchestre
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Ravel Maurice - Tzigane - Violon and Piano
23.20
Ravel Maurice - Tzigane - Violon and Piano
Violon et Piano
Barenreiter
Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ra...
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Ravel, Maurice Tzigane Concert rhapsody for violin and piano In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane'. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane' and both versions remain a 'must' for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition; one of the available sources, consulted for the first time, was a copy of 'Tzigane' from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto. - First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano - Includes Jelly D'Aranyi's fingering
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Kevin Volans: String Quartet No.9 - Shiva Dances (Parts): String Quartet: Parts
24.99
Kevin Volans: String Quartet No.9 - Shiva Dances (Parts): String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3...
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Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s) beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy' almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This of course has already been done by a numberof composers (many from New York Phil Niblock and La Monte Young to name but two) butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work and fearing this would make the label stick I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic an aesthetic which however pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure the ego underfoot.You get theimpression He dances on the spot not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.
24.99 GBP - vendu par Musicroom GB
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Kevin Volans: String Quartet No.9 - Shiva Dances: String Quartet: Score
16.99
Kevin Volans: String Quartet No.9 - Shiva Dances: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3...
(+)
Kevin Volans' String Quartet No. 9: Shiva Dances was commissioned by BBC Radio 3 and first performed by the Smith Quartet at the 2004 Huddersfield Contemporary Music Festival.Kevin Volans (the composer) notes on the piece:In the past I have been interested in trying to go beyond historicism (1970s) beyond style(1980s) and beyond form (1990s) in my work. Looking back over the music of the twentiethcentury I was struck by the fact the nearlyall of it is extremely 'busy' almost cluttered. Italmost seemed that composers felt compelled to look industrious. In the new millennium Ithought it would be interesting to try and eliminate content. I also aspired to movingfrommusic (sound as art) to art (art as sound). This of course has already been done by a numberof composers (many from New York Phil Niblock and La Monte Young to name but two) butit was something I had never tried.AlthoughI found it annoying that the label 'minimalist' was given to my African-based work and fearing this would make the label stick I set out to write a piece which reflected my loveof minimal painting and architecture. The Japanesehave a term 'wabi' meaning 'voluntarypoverty' or 'emptiness' to describe their restrained minimal aesthetic an aesthetic which however pays greatest attention to the quality of material and fine detail. I like to think thatthelack of excessive pitch material in this piece reflects a kind of voluntary poverty.When Shiva is portrayed dancing (as Nataraj) He is depicted in a circle of flames crushing asmall figure the ego underfoot.You get theimpression He dances on the spot not movingaround at all. I like that.The piece is dedicated to Pablo Pascual Cilleruelo.
16.99 GBP - vendu par Musicroom GB
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