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André Waignein: Dunamis: Concert Band: Score & Parts
194.99
André Waignein: Dunamis: Concert Band: Score & Parts
Orchestre d'harmonie
Scherzando
Major Yvon Ducene wanted a new lush and colourful composition for his Guides mil...
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Major Yvon Ducene wanted a new lush and colourful composition for his Guides military band with André Waignein as its composer. Early in 1979 the composer began his assignement and in October of the same year the finished full score was on the music stands of this prestigious military band of the Belgian Army.The introduction (Grave) mirrors an atmosphere full of serenity in which the theme played by the oboes and the English horn is predominant and immediately holds the listener spell-bound. It is taken up again as central element of the slow movement.The Allegro breaks away from the quiet passion of the introduction. Here the band can really show its capabilities to thefull. Based on a very precise rythm an idiom of sudden desperation and adversity develops which fused with a crushing agression culminates in a kind of eruption soom calmed down by a Lento : peace and quiet has returned thanks to a melody by the horns and soon taken over by the clarinets. In the meantime the saxophone - an instrument full of human emotion - express the main spatial dimension in contemporary psyche. Following a harmonic transition the brass-players take up the theme again in forte whilst the basses and the woodwinds interwine in technical arabesques.The movings of the mind and the heart get an audible and almost touchable shape in the ensuing Allegro a movement characterized by a rhythmic dialogue in which the whole orchestra participates and where the exposition contains a wealth of sound and technical contrasts. The Lento finally uses the central theme of the slow movement again with some occasional references to the two allegros. The last page is of unprecedented grandeur. All the instruments display their most beautiful sound which were named by Jacques Ferschotte when speaking about Honneger 'harmonies d'intensités' harmonies of the unmeasurable.
194.99 GBP - vendu par Musicroom GB
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Markus Zahnhausen b. 1965 is one of the leading recorder players of our time. In his works for recorder he combines traditional and modern sounds. The central theme of his works is a love of Nature. ???The Horns of Elfland??? (1999) is based upon a poem by Alfred Lord Tennyson (1809-1892). The composer writes: ???I have taken Tennyson???s picture of the clear and tender notes of the horns of the imaginary magical world of Elfland and attempted to translate it into music. The very essence of this work is its quietness. The central focus of the composition is the echo in its multiple aspects. This echo is often not an exact reproduction of the notes but a deliberate variation analysisor reinterpretation of their original form.???
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Par DE HAAN JACOB. Lunteren, a village on the Veluwe (a wooded region in the Netherlands), sets the scene annually for a village festival dominated by folklore. Festa Paesana (Italian for village festival) is set to music by several folkloric sketches. The theme in Festa Paesana is partly based on a Dutch anthem (Wien Neerlands bloed); when other lyrics are used it is also known as the Lunteren anthem. The work begins with a festive introduction, completed by chimes and drums, in which pieces of the Lunteren anthem are heard. The music then transitions to represent a horse auction. We hear horses run their first rounds in the auction ring while being whipped. The following theme is partly basedon the anthem. The tension of the traditional auction is amplified by an ever-increasing cadence, reaching its climax when the word ?Sold!? is shouted. The night ends with a majestic variation on the Lunteren anthem. The next morning, when the tower clock hits seven times, the village is awaked by the reveille of the heralds. In a fugatic version of the anthem, we can hear the village slowly come to life. This evolves with the chiming of all towers in the village; the celebration can begin. Carriages drawn by horses rumble through the village and thus, it is easy to hear when a horse hesitates or runs amuck. A traditional folk dance group then dances a whirling waltz while the audience shares their pleasure. Musicians march along the scene and take over the waltz theme in their march. Until deep in the night, the musicians are still heard playing in the streets. Meanwhile, we hear the anthem theme being played in a choral variation (in minor). The first time it is played quietly, as a preparation for Sunday. Then it is played in a celebrating way, enabling the devout village residents to remember the past pleasant celebration with satisfaction. / Niveau : 3 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Richard Reed Parry's Quartet For Heart And Breath is an innovative and original ...
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Richard Reed Parry's Quartet For Heart And Breath is an innovative and original piece based on the performers' own bodily rhythms. This sheet music is for String Quartet (Violin/Violin/Viola/Cello).Richard Reed Parry is familiar to millions as the lead singer of rock band Arcade Fire, yet his foray into classical music is equally worthy of attention. Quartet For Heart And Breath is an experiment into using the performers' heartbeats and breathing to dictate the tempo. The performers are instructed to wear stethoscopes in order to listen to their heartbeats closely, while one complete breath corresponds to one bar and two heartbeats equal two crotchets.The result is a quiet and subtle piece, as each instrument has to play softly so as to be able to keep in time. The piece also has a naturally occurring dynamism in that the players' heart rates constantly change as the performance goes on, with each instrument falling in and out of sync sometimes culminating in a beautiful moment of all heartbeats matching each other. Interestingly, this unique aspect means that no performance will ever be the same, meaning to hear or play this composition will be a truly once in a lifetime experience.Quartet For Heart And Breath is a superbly one-of-a-kind composition by Richard Reed Parry. Commissioned by the Kronos Quartet, this piece makes for a wonderfully distinctive performance, with fascinating implications for the connection between the music and the body. / Quatuor A Cordes
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Carol Klose: On a Magic Carpet: Piano: Instrumental Tutor
3.50
Carol Klose: On a Magic Carpet: Piano: Instrumental Tutor
Piano seul
Hal Leonard
Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Staff-Hal Leonard St...
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Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Staff-Hal Leonard Student Piano Library Showcase Solo Level 1/Pre-Staff. This is a tender quiet piece for the young just-beginning student. It includes a gently flowing duet part for the teacher to play. 4/4; Tenderly; fixed hand position on black-key notes; repeated notes stepwise motion; alternating-hand melody; lyrics by the composer. Perf. time: less than 1 minute.
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Castellum (VAN DER ROOST JAN)
219.00
Castellum (VAN DER ROOST JAN)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Par VAN DER ROOST JAN. This work, in two movements, was written for the 50th ann...
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Par VAN DER ROOST JAN. This work, in two movements, was written for the 50th anniversary of “Harmonie St. Cecilia” in Oudenburg, Belgium, and is dedicated to its conductor, Arne Wyntin. The first part is rather quiet and pastoral in character, and is written in a gently rocking 12/8 time. The tranquility of the area around the medieval town of Oudenburg, a rustic region not far from the North Sea, is expressed in a striking fashion. After a beautiful orchestral climax, the second part begins, which is inspired by the Roman past of Oudenburg. A somewhat oppressive and impending introduction leads to the musical reflection of an army parade: Oudenburg was a so-called “castellum, ” and the remains ofthe fortress are still visible in the current town plan. A more dynamic passage follows featuring the low brass. After that, the solemn rhythm of the parade is recaptured, culminating in a triumphant ending. / Niveau : 4 / Pièce de concert / Répertoire / Concert Band
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Tarik O'Regan: Solitude Trilogy: SATB: Vocal Score
10.99
Tarik O'Regan: Solitude Trilogy: SATB: Vocal Score
Chorale SATB
SATB, Piano
[Vocal Score]
Novello & Co Ltd.
Solitude Trilogy takes for its title that of a series of three radio documentari...
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Solitude Trilogy takes for its title that of a series of three radio documentaries made by Canadian pianist Glenn Gould for the Canadian Broadcasting Corporation between 1967 and 1977 (The Idea of North The Latecomers & The Quiet in the Land). One might describe each of these documentaries as 'contrapuntal radio' for the recordings of the interviewees are edited by Gould to overlap and run simultaneously for long periods of time.For SATB choir and Piano.
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Psalm 130 Für Alt Und Orchester (RENTZSCH FRIEDHELM)
11.70
Psalm 130 Für Alt Und Orchester (RENTZSCH FRIEDHELM)
Solo A, Timbales, Percussions (4 Joueurs), 2 Violo
[Partition]
Carus Verlag
Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in th...
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Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo
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The African Worship Collection: Organ: Mixed Songbook
24.99
The African Worship Collection: Organ: Mixed Songbook
Orgue
Kevin Mayhew
The African Worship Collection draws together for the first time a wealth of son...
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The African Worship Collection draws together for the first time a wealth of songs from the continent of Africa and the nation of South Africa in particular. This collection builds on the success of The Australian The British and The American Worship Collections all of which have quickly become favoured resources in worship groups across the world.We've included songs from churches across the continent includingVineyard South Africa and Rhema Church one of the largest churches in the world. You'll already be familiar with many of the names below - Janine Price Carol Mundy Steve and Velveta Thompson Malcolm Du Plessis - and we'redelighted to be able to introduce to you many other talented songwriters. Styles range from funky up-tempo praise to quiet melodic worship. There are also some traditional African songs with English translationsprovided.This is an essential collection for broadening the repertoire of the church worship group.
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Hamilton - Vocal Selections
30.70
Hamilton - Vocal Selections
Piano, Voix
[Partition]
Hal Leonard
17 selections from the critically acclaimed musical about Alexander Hamilton whi...
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17 selections from the critically acclaimed musical about Alexander Hamilton which debuted on Broadway in August 2015 to unprecedented advanced box office sales. Our collection features 17 selections in piano/vocal format from the music penned by Lin-Manuel Miranda, including: Alexander Hamilton - Burn - Dear Theodosia - Hurricane - It's Quiet Uptown - My Shot - One Last Time - Satisfied - That Would Be Enough - Washington on Your Side - You'll Be Back - and more. Also includes a biography of Miranda. / Voix
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Night Thoughts (Solo Flûte) (MAW NICHOLAS)
12.00
Night Thoughts (Solo Flûte) (MAW NICHOLAS)
Flûte traversière
[Partition]
Faber Music Limited
Par MAW NICHOLAS. Nicholas Maw is one of Britain's most respected composers and ...
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Par MAW NICHOLAS. Nicholas Maw is one of Britain's most respected composers and his 1982 composition Night Thoughts for solo Flute is a superb example of his masterful and sensitive writing. The flute is calming and expressive, despite rapid runs, perfectly evoking racing thoughts and quiet contemplative moments of night time. Dedicated to, and first performed by, Judith Pearce at the Wigmore Hall, London in June 1982. '. . . a haunting chain of ideas, fugitive and nagging, subtly capturing the heightened reality of nocturnal musing.' Anthony Payne, Daily Telegraph./ Répertoire / Flûte Traversière
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Psalm 130 Für Alt Und Orchester (RENTZSCH FRIEDHELM)
4.40
Psalm 130 Für Alt Und Orchester (RENTZSCH FRIEDHELM)
Solo A, Timbales, Percussions (4 Joueurs), 2 Violo
[Partition]
Carus Verlag
Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in th...
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Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo
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Chamber Music (PEPIN CAMILLE)
52.70
Chamber Music (PEPIN CAMILLE)
Sextuor
[Partition]
Jobert
Par PEPIN CAMILLE. Lorsque l'on m'a proposé de mettre en musique ce recueil de ...
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Par PEPIN CAMILLE. Lorsque l'on m'a proposé de mettre en musique ce recueil de poèmes de James Joyce (1882-1941), j'ai été immédiatement séduite par l'idée. Il s'agissait de mettre en musique ces poèmes en respectant l'ordre original selon lequel ils ont été conçus par James Joyce lui-même lors de la première édition de 1905 [1]. Avec la précieuse aide de Philippe Blanchon [2], j'ai choisi de mettre en musique dix-huit poèmes, conservant ainsi les épisodes incontournables, la trame dramaturgique et l'essence de l'univers Joycien. Ce qui m'a attirée d'emblée, c'est qu'il s'agit d'une véritable histoire : de la naissance de l'amour à la passion déclinante, menant à une éventuelle et tendre amitié entre les deux amants. J'ai donc conçu Chamber Music d'un seul tenant. Au-delà des nombreuses références à la musique et aux sons de la nature - déjà 'musique' en eux-mêmes - l'oeuvre littéraire appelle à la mise en musique par sa forme. En effet, elle est déjà musicale dans sa construction. Les trois premiers poèmes constituent le prélude exprimant la solitude du poète. Nous assistons dans la première partie - crescendo - à la naissance de l'amour entre les deux amants, menant au poème central et point culminant de l'oeuvre : 'My Dove, my beautiful one'. La seconde partie - diminuendo - raconte la passion déclinante des amants qui nous conduit au finale, écho du premier poème et à la solitude du poète. Le prélude musical illustre le paysage - tant visuel que sonore - décrit par James Joyce : 'Strings in the earth and air make music sweet', 'There's music along the river', 'The sighs of harps', 'Soft sweet music in the air'. Inspirées de sonorités traditionnelles irlandaises, les mélodies de la première partie présentent un aspect populaire issu du folklore, comme une ode au monde de la danse - prégnant en Irlande. Ces mélodies modales et mélismatiques semblent improvisées, à la manière du chant gaélique irlandais. Elles se transforment au fur et à mesure en une véritable épopée romantique, expression de la relation passionnelle et charnelle des deux amants : 'Hurry over the dark lands and run upon the sea for seas and land shall not divide us my love and me', 'The odorous winds are weaving a music of sighs'. Ces mélodies extatiques, à la fois tendres et fragiles, tentent d'exprimer cette ivresse, cet état extatique - véritable état de 'transe' qui nous submerge lorsque l'amour envahit notre âme sans que l'on s'en aperçoive. La deuxième partie reprend ces divers éléments musicaux dans leur cheminement inverse. Passés par le filtre de la mélancolie de l'amour déclinant au fil du temps, ils témoignent de la perte de repères après la séparation avec l'être aimé : 'Lay aside sadness and sing how love that passes is enough', 'Love came to us in time gone by'. Enfin, le finale exprime le retour à la solitude du poète, comme une résonance du début de l'oeuvre : 'The voice of the winter is heard at the door', 'My kiss will give peace now and quiet to your heart'. Sans cesse en écho les unes des autres, les mélodies s'entremêlent dans un contrepoint lyrique et sensuel. En effet, le titre même du recueil m'a inspiré une oeuvre où chaque instrument serait d'égale importance. Le lyrisme de l'un ne peut exister sans l'autre. Ainsi, le rôle du quintette n'est pas seulement un accompagnement de la voix soliste. Leurs lignes d'amour se mêlent avec volupté les unes aux autres. Plonger dans l'univers Joycien a impliqué mon immersion totale dans l'oeuvre. Lire ses mots, penser ses images, imaginer ses sonorités, a été un travail passionnant et c'est avec nostalgie que je referme ce recueil aujourd'hui. J'espère cependant avoir su retranscrire son univers poétique au plus proche. Je profite de cette note pour remercier Philippe Blanchon pour son aide précieuse et Claire Bodin [3] pour sa confiance. C'est à la fois un grand honneur et un plaisir immense de rendre hommage à si grand artiste et de voir ce chef d'oeuvre littéraire naître une seconde fois en musique. / Contemporain / Répertoire / Sextuor
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Ballet Music from Othello for Flute Orchestra (VERDI GIUSEPPE)
37.30
Ballet Music from Othello for Flute Orchestra (VERDI GIUSEPPE)
Ensemble de Flûtes
Megido Publications
Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giu...
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Par VERDI GIUSEPPE. Othello (or Otello) is an opera in four acts composed by Giuseppe Verdi, premiered in February 1887. As was customary at the time, a short ballet sequence was composed for the opera, to be inserted into Act III, just prior to the entrace of Lodovico, ambassador to the Venetian Republic. When Verdi sent the original manuscript to his publisher Ricordi, he included this detailed description of the scenario: 'Looking at the splendid, colonnaded scene of the Third Act, I decided to make the music go as follows: At the very beginning, to the sound of horns, a group of Turkish slave-girls dance with reluctance and ill-humor because of the very fact they are slaves. Then, hearing the strains of the Arab Song, they grow livelier and at the end dance quite wildly... At the Invocation to Allah, they all fall to the ground... Just then a group of beautiful Greek girls appears among the columns, and four measures later another similar group; at the thirteenth measure these two groups join in a quiet, aristocratic, classical dance. The next motif is that of La Muranese, which heralds the appearance of a 'group' (!) of Venetians... Eight measures later, another group of Venetians enters and at the eighteenth measure (fortissimo) these two groups meet and dance at the front of the stage. After the fortissimo there is a passage of very light music in F-sharp, which should be danced by couples. This motif is repeated, louder, and then all the Venetians dance together. The 6/8 motif reappears, and here I should like to see another group of Venetians come forward. The War Song should be danced by men alone. At the recurrence of the first motif, all the Venetians dance again, then at the più mosso, Venetians, Turks, Greeks, and the rest all dance together... Amen.' / Date parution : 2022-11-29/ Répertoire / Ensemble de Flûtes
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Camille Saint-Saëns: Piano Concerto No. 4 In C Minor Op.44: Piano: Instrumental
19.99
Camille Saint-Saëns: Piano Concerto No. 4 In C Minor Op.44: Piano: Instrumental
Piano seul
[Partition + CD]
Music Minus One
Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Ca...
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Piano Concerto No. 4 In C Minor (concerto pour Piano en ut mineur) Op. 44 by Camille Saint-Saëns is the composer's most structurally innovative Piano concerto. In one sense it is like a four-movement symphony but these are grouped in pairs. That is the piece is divided into two parts each of which combines two main movements (Part 1: I. Moderatetempo Theme and Variations in C Minor; II. Slower Theme and Variations in A-flat Major; Part 2: III. Scherzo in C Minor; IV. Finale in C Major). However in each part there is a bridge-like transitional section between the two main 'movements' for example a fugal Andante in part II functions as aninterlude between the two main sections. The concerto begins with a gently mischievous chromatic subject heard in dialogue between the strings and piano soloist and continues in a creative thematic development similar to Saint-Saëns' Third Symphony. The composer demonstrates brilliant skill in employing the piano and orchestra almost equally. In the Andante he moves to A-flat major with a chorale-like theme in the woodwinds (also strikingly similar to the tune of the Third Symphony's final section) and uses this as a platform on which to build a series of variations before bringing the movement to a quiet close. The Allegro vivace begins again in C minor as a high-spirited scherzo using material foreshadowed in the first movement. 2/4 and 6/8 are playfully juxtaposed throughout. At one point the Piano boldly leads the orchestra in an energetic 6/8 theme in Eflat major. Eventually the orchestra moves to a lush Andante recapitulating the Andante section from the first movement. Rather suddenly the piano climbs up to a flurry of double octave trills and a climactic trumpet fanfare leads to the jubilant finale based on a hymn-like theme in triple time. The concerto concludes with the piano in glittering cascades guiding the orchestra to a fortissimo close.The piano concerto was premièred in 1875 with the
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Cristi Cary Miller: There's a Song in Me: 2-Part Choir: Vocal Score
8.75
Cristi Cary Miller: There's a Song in Me: 2-Part Choir: Vocal Score
Chorale 2 parties
[Vocal Score]
Hal Leonard
This gentle original is a quiet celebration of the power of music. Expertly craf...
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This gentle original is a quiet celebration of the power of music. Expertly crafted for young choirs this is a piece that everyone will enjoy and remember. Available: 2-Part ShowTrax CD. Performance Time: Approx. 2:50.
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Rossano Galante: Liberty: Concert Band: Score & Parts
79.99
Rossano Galante: Liberty: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
Schirmer
Comprised of two main themes Liberty strives to capture the essence of American...
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Comprised of two main themes Liberty strives to capture the essence of Americana. The first of the two themes is stated by a trumpet duet then later the full ensemble. The second theme is robust and emotionally dynamic and accompanied by a driving rhythmic pulse. The arc of the piece returns to the first theme this time more transparent and ending on a gentle quiet note. A rewarding work for winds with plenty of variety and depth. Dur: 5:15 (Recorded by the West Genesee (NY) High School Wind Ensemble Andrew Perry conductor) (G. Schirmer Inc.)
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Consuelo Velazquez Sunny Skylar: Bésame Mucho: SSA: Vocal Score
Chorale 3 parties
SSA
[Partition]
Hal Leonard
Consuelo Velazquez's Bésame Mucho(Kiss Me Much) for SSA choir. Start a quiet fi...
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Consuelo Velazquez's Bésame Mucho(Kiss Me Much) for SSA choir. Start a quiet fire with this mellow Latin jazz chart. Lush harmonies and fluid melodic lines are featured to create a great change of pace for any concert. English and Spanish lyrics included. Available: SATB SAB SSA Instrumental Pak ShowTrax CD. Performance Time: Approx. 3:30.
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Nirvana: Smells Like Teen Spirit: Marching Band: Score & Parts
69.99
Nirvana: Smells Like Teen Spirit: Marching Band: Score & Parts
Arrangers' Publishing Company
For use on the field or in the stands Tom's arrangement of one of the most famo...
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For use on the field or in the stands Tom's arrangement of one of the most famous rock tunes of all time by the group Nirvana is a masterpiece of loud and quiet with a touch of resolving dissonance thrown in for good measure.
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Psalm 130 Für Alt Und Orchester (RENTZSCH FRIEDHELM)
11.70
Psalm 130 Für Alt Und Orchester (RENTZSCH FRIEDHELM)
Solo A, Timbales, Percussions (4 Joueurs), 2 Violo
[Partition]
Carus Verlag
Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in th...
(+)
Aus tiefer Not. Par RENTZSCH FRIEDHELM. Friedhelm Rentzsch, long a cellist in the Dresden Philharmonic, set Psalm 130, whose character of penitence is especially impressive here, through the reduction of the musical forces to a solo alto with orchestral accompaniment, and this in a most unique, urgent manner. Through the addition of a sombre text by Erich Arendt the subective manner of the song is placed in a worldly context encompassing all periods of time. Repeatedly, passages of a quiet character alternate with tutti phases which sometimes climax to passages employing clusters. / Psaumes / Répertoire / Solo A, Timbales, Percussions (4 Joueurs), 2 Violo
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