Some of the most beautiful and diverse pieces by some of the finest composers in recent history are included in this enormous Library Of Modern Piano Music. Such a comprehensive collection of brilliant works for solo Piano belies the rich quality and sheer amount of music being composed that just begs to be learned. Over 100 fantastic pieces are guaranteed to keep you learning from this truly classic selection until the next century!The Library Of Modern Piano Music boasts an unprecedented volume and variety of amazing compositions, some well-known, some more unfamiliar, some composed as standalone pieces and others as film scores, but the one thing uniting them all is their impeccable musicality and how enjoyable they are to play. Featuring the biggest names in contemporary classical music, composers like Einaudi lend their wonderful compositions (Primavera, Una Mattina), and all-round geniuses like Philip Glass are represented with a generous selection of their finest work (Metamorphosis Five, Opening Piece From Glassworks and more).The varied progression of Piano music through the 20th century to the present day has given rise to an exceptionally vast and diverse repertoire. The unbelievable depth of the composers included here means you'll rarely be stuck for something to play. Kaija Saariaho, Stravinsky, Francis Poulenc, Dustin O'Halloran, Nico Muhly and Witold Lutoslawski are genuinely just a fraction of the composers featured in The Library Of Modern Piano Music. Some great standalone compositions like Samuel Barber's incomparable Adagio For Strings sit aside excerpts from longer works like a portion of Edward Gregson's An Album For My Friends or Joby Talbot's Once Around The Sun.If you happen to be a fan of film and television scores, a taste of Michael Nyman's distinguished score for The Piano is included, a section from Crouching Tiger, Hidden Dragon, as well as parts of Richard Rodney Bennett's score for the now rarely-seen but superb 1980s miniseries of Tender Is The Night. Many established composers are included in this collection who are widely-recognised as masters. However, The Library Of Modern Piano Music also includes many young virtuosos who have not yet achieved that status but are certainly well on their way.These original compositions span standalone pieces, albums, suites and arrangements from diverse talents, making The Library Of Modern Piano Music a collection that is certain to be seen by future generations as a perfect collection of the best of contemporary classical music. / Piano

Terry Riley, most commonly associated with the minimalist and experimental schools of music, draws influence from a vast number of sources, including jazz and Indian classical music. In turn, his influence on contemporary composers and music in general is enormous, and with this collection of his Piano Works, you can learn a selection of his fascinating, hypnotic and simply stunning compositions for solo Piano.As one of the founders of western music's minimalist movement, Riley's works have been acclaimed as forays into ever-expanding loops of rhythm and melody, music that, instead of being listened to, immerses and envelops you. His early works, such as 'In C', spearheaded this innovative idea, beginning a career unmatched by other avant-garde composers. With The Piano Works, this collection of Terry Riley sheet music finally brings together some of his best-loved and most acclaimed works for solo Piano, like The Philosopher's Hand and Two Pieces For Piano.Featuring an extensive foreword by Terry Riley himself, this is not just a collection of sheet music, it's almost a work of art: a brilliant publication featuring some beautifully engraved music along with words by a genius composer. Riley gives a vast amount of fascinating biographical and compositional information about his included Piano Works, such as Keyboard Study #1 and #2, Be Kind To One Another (Rag) and The Heaven Ladder Book 7. At times humourous and always eloquent, his foreword tells the story of this composer's journey from humble Piano lessons to masterpieces and an unfathomable influence, it's just great. Finally, at the end of the book, a selection of facsimiles of Riley's own handwritten scores is included, letting you see what the music looks like from the man's own hand.As well as the foreword, there are introductory performance notes for each piece by pianist Sarah Cahill. These expound the techniques, skills and experience necessary to master each piece, but also simply provide some interesting reading before delving into the harmonic and rhythmic rabbit-hole that is Riley's Piano Works. Aside from the theoretical and academic joy that Terry Riley's music affords, the most immediate pleasure is the universal aesthetic beauty of the sounds that will emanate from your Piano as you play these wonderfully whirling and dynamic compositions.As a collection of sheet music, Terry Riley's Piano Works would make a wonderful addition to your music stand. As a book that will bring endless enjoyment to fans not just of Riley himself, but music in general, the foreword and performance notes combined with the magical music make a fantastic edition of a true master's masterpieces. / Piano

Make the silence talk'La Muette knew how to make the silence talk like no one', writes Djavann in his book (La Muette, © Flammarion 2008). Those words deeply touched me for they express one of the most beautiful metaphors in music. Through the lines of discourse, beyond words, I was listening to the silence of 'La Muette'. A rare and intense listening which joins the same internal listening I use when I'm writing my score. I was listening to La Muette, I decided to write a new piece to make the silent voice of La Muette told by Chahdortt Djavann sound through music. Choosing the extracts The text put in music is composed of short extracts from Djavann's story. I focused on this woman's portrait, who conquers her freedom through silence in which she forms a strong love relationship with her niece Fatemeh on the one hand, and the Uncle on the other hand. 'She had made her silence become her art of living, her freedom' writes Djavann. The extremely dramatic tension, the flow of the singing in Persian language, and the oppression in relation to the Iranian context are trying to underline the independent beauty of that woman who resists and exists without a voice. Story A young 15 years old Iranian girl named Fatemeh is in jail. Waiting for her death sentence, she writes the story of her aunt on a small notebook, 'so that someone remembers La Muette and myself'. The young teenager was raised by her aunt who becomes mute because she decided to stop talking on a dark day of her own childhood when she was interrogated, never to tell THE truth. An aunt whose silence makes even more fascinating, haughty, with an insolent look, cigarette at her lips, bare-footed and without any scarf on her head. 'La Muette' had made her silence become her art of living, her freedom. Around her, women start to talk, even considering her mad, for only a mad person could act this way. Fatemeh loves her mute aunt unconditionally, that is how she wants to become a woman, by being like her, fascinated by her silence and her excesses. La Muette embodies a figure of Freedom and makes us remember that in some countries, the woman who won't be submissive risks capital punishment. She will be hung. Following this beautiful text by Chahdortt Djavann, 'La Muette', a powerful text, stiff, tensed, without any lyricism nor compromises, which takes place in Iran under the Mollahs' regime. Persian: Phonological material / Compositional material Djavann's story is written in French. I asked Baharé Khadjé-Nouri to translate the text into Persian, and worked with her on pronunciation, accentuation, metric and the structure of the language, and I thank her again for that. I spent a long time having some people reading me the text in Persian and through listening I immersed myself in that sound universe. From this linguistic material, the beginning of the piece starts with the constitution of a tank of sound objects which will constitute parts of the compositional material. To compose the phonological tank, I worked on writing the pronunciation that lies at the origin of every possible vocal composition, writing the tone as well as the 'percussive - resounding' aspects of phonemes, multiple uses of fricative consonants or sibilants. Finally I used the vocal treatment of the phoneme through modes of play in relation to sprechsang: sing -inspire, or -expire, -blow, -chanting, -whispering, -spitting, -speaking. But a purely phonetic analysis of the vocal structures composing the sung part would reduce the word to its mere phonetic entity. The phonological material then constituted a compositional material by giving to the sung word its semantic entity. Form of the piece To strip the drama off every narrative element, at least of the discursive and linear character of the story, I first re-organized parts of the text extracted from the whole book in an order fitting the form I wanted to give to the piece (except for the beginning and ending which are kept in their linear forms). I imagined Fatemeh in jail, whose memories bounced between the four walls of her cell: recurring musical material, re-injected in an obsessive way, disjointed and contrasted, continuously modified each time, bouncing from one sequence to the next in another state. The piece is divided into 5 sequences, between each of them is an instrumental interlude with a voice-off, the voice of the present in the cell that contrasts with the singing voice of the sequence, evocation of memories of La Muette (sequence 1: preamble, sequence 2: portrait of La Muette, sequence 3: La Muette and Fatemeh, sequence 4: La Muette and the Uncle, sequence 5: epilogue). Electroacoustic setupFor this piece, I wrote the electroacoustic parts myself at the same time I was writing the instrumental parts. The electroacoustic setup is here considered as a whole instrument, an instrument added to the 12 others electroacoustic instruments and to Donatienne's voice. The electroacoustic sounds are divided into three types: - Samples from the singer's voice and instruments of the TM+ ensemble transformed - The narrator's voice Baharé Khadjé-Nouri in Persian, original version or transformed - Extra-musical sounds As for the synchronization between the acoustic and the electroacoustic scores, we will use for the first time an innovative application developed by Frédéric Bevilacqua and Bruno Zamborlin, not to follow the moves as we did it in StreicherKreis (my string quartet created in November 2008), but to follow the voice and orchestra. Thus, we will be using an 'audio-following', which constituted a first. This setup of recognition and following will allow the synchronization between instrumental and electroacoustic scores in a musical and precise way. Concerning the interactivity between performers and device, it will all be in real-time. Characteristics of the musicians' sound will 'interpret' what comes out of the speakers. The musicians will define the settings of the sound transformations, in terms of space, transposition, tone or length. This new piece expresses a message through the choice of subject that goes beyond strictly music. For me, it is important that both the composer and writer can invest their work into problematics which they're confronted to because they are immediate witnesses. / Soprano Et Percussions

Musique facile pour les groupes de la chaîne. Playstrings fournit un répertoire agréable et varié pour jeunes orchestres à cordes, soigneusement structurés à deux niveaux. Le niveau de ' Easy ' normalement EXCEDE pas Grade 2 en difficulté avec la majeure partie de jouable en première position, alors que le niveau ' Modérément facile ' comprend certaines parties d'autour de Grade 3 standard. Au niveau facile, pièces de rechange sont fournis afin que l'absence d'Alto ou une contrebasse n'empêche pas la pièce exécutée. Disponible au score ou ensembles de pièces instrumentales. Il y a plus de 30 titres couvrant un large éventail de styles, y compris les pièces classiques, des airs folkloriques et des collections de Noël. Playstrings est une introduction idéale à l'orchestre jouant pour les jeunes joueurs de la chaîne. Jeu de 19 parties contient: 4 x violon 1, 4 x violon 2, 4 x 3 de violon, 2 x Viola, 3 x violoncelle, 2 x 2 de contrebasse/violoncelle. / Scores

19 Bände im Versand-Schuber. Par BACH JOHANN SEBASTIAN. Awarded with the German Music Edition Prize 'Best Edition' 2008. Johann Sebastian Bach: Sämtliche Kantaten, Motetten, Choräle und Geistliche Lieder. The complete cantatas, chorales and motets in study editions in 19 volumes. This special edition exclusively offers the authoritative text of the New Bach Edition meeting Bärenreiter Urtext standards. It is well presented on high quality paper and has a durable sewn binding. A MUST for everyone who is passionate about Bach´s music! No group of works in Johann Sebastian Bach?s output is as wide-ranging as the cantatas. This is hardly surprising considering that for over five years Bach was required to compose a work, or at least re-work an existing one, for every Sunday and festival of the church year, as well as for numerous secular occasions such as council inaugurations, school and university celebrations and royal birthdays. Unfortunately, not all cantatas have survived. However, over 200 sacred and secular works exist and form a corpus of works suitable for all possible occasions. This rich musical heritage is still as relevant today as it was then. Bärenreiter?s unique edition, which encompasses more than 11, 000 pages, includes all cantatas together with the motets, chorales and sacred songs in the Urtext of the ?New Bach Edition? (NBA Series I and III). As a special extra, the recently rediscovered aria ? Alles mit Gott und nichts ohn ? ihn ? is also included. Only available here is an additional volume with an introduction (German/English) by Christoph Wolff and an index. The Barenreiter study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format. The Barenreiter Study Scores, format 16. 5 x 22. 5cm, are ideal for musical analysis, rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout. In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices! Barenreiter presents the Complete Cantatas, Chorales and Motets in a handy, readable and affordable paperbackformat. The special ediion of 19 volumes (including an index) exclusively offers the authoritative musical text of these masterworks. Each volume is printed on high quality paper and has a durable sewn binding A must for everyone who is passionate about Bach's music. These scores are the last word in Bach scholarship and an extraordinary publishing achievement / Mottet / Répertoire / Partition de Poche

Par MENDELSSOHN-BARTHOLDY FELIX. Mendelssohn’s St. Paul with just seven instead of the usual 18 wind instruments? Thanks to this arrangement for chamber orchestra, a performance with smaller forces is now possible, and presents an attractive alternative for performing Mendelssohn’s first oratorio – not only in times of Corona. For it is often considerations of space, a limited budget, or the size of the chorus which call for flexibility in scoring.The arrangement is based on the Carus Urtext edition. By reducing the symphonic wind and brass in particular, the volume of sound is more restrained, but nevertheless the symphonic character and a wide dynamic range are retained. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal scores, choral scores, and practice aids of the existing Carus edition can still be used. • Major oratorio can also be performed by smaller choirs• Wind and brass parts of the original version reduced to just seven single instruments • vocal scores and choral scores from the original version can be used• carus plus: the work (original version) is available in carus music, the Choir Coach, and in the Carus Choir Coach (Audio only) series. / Date parution : 2022-07-20/ Répertoire / Soli SATB, Chœur SATB et Orchestre

from Schmelli's Hymnal for Voice and Guitar BWV 439-507. Johann Sebastian Bach?s arrangements of the ?69 Sacred Songs? from the Musical Hymnal by Georg Christian Schemelli (Leipzig, 1736) have long been part of the German language vocal concert repertoire and a mainstay in vocal pedagogy. Originally, only these 69 of the 954 hymns in the collection were published with a single bass line as the accompaniment. Bach?s contribution was to specify harmonies to be played over those same bass lines by adding figured bass numbers and symbols beneath each note.A figured bass line can easily be turned into a relatively simple guitar accompaniment or a more elaborate setting, offering a range of possibilities that make working with this music both interesting and rewarding for the guitarist. While other period and modern editions of the ?69 Sacred Songs? offer accompaniments for keyboard instruments, this Mel Bay publication features intermediate to advanced transcriptions exclusively for the guitar.Best suited to college-level players or advanced aficionados, this special Mel Bay Publications edition includes the vocal line with German lyrics and the guitar accompaniment transcribed from Bach?s figured bass lines. Written in guitar-friendly keys, 29 of the transcriptions employ a capo to achieve the original key designed for high voices. Without the capo, these same arrangements would be suitable to be sung by lower voices. The remaining 40 hymns are in their original guitar-friendly keys and so do not require a capo.This volume contains accompaniment settings of all 69 of the sacred songs and arias for which Bach wrote figured bass annotation. For performance variety and convenience, this book includes online access to PDFs of the ?Scores in their Original Keys,? and stand-alone ?Guitar Accompaniment,? and ?Bass Parts".

Following the publication of Francis Jackson's organ reduction of Finzi's Requiem da Camera in 2014, Robert Gower, chairman of the Finzi Trust, recitalist and organist of Nottingham Cathedral, has created reductions of the full orchestra accompaniments to two more of Finzi's choral works. These reductions broaden the reach of these works to choirs which do not wish to present the works with orchestra, as with other standards from the sacred repertoire such the Requiems of Fauré and Duruflé. The reductions sympathetically recreate the orchestra scoring for a three-manual organ. Ingeniously, the manual couplings (II to III, II and III to I) are unaltered throughout, with pedal coupled to manuals as appropriate. Detailed registrations are not indicated as these are best left to the performer, taking into account the unique circumstances of the particular instrument, size of choir and acoustic setting at each performance. The scores are user-friendly, in landscape format and with at least one principal vocal line cued throughout, and a cappella choral passages are reproduced in full. The reductions are fully compatible with the published piano vocal scores of the respective works which the singers will use. For St Cecilia, Ceremonial Ode for tenor solo, chorus and orchestra - words by Edmund Blunden. The original work was commissioned by the St Cecilia's Day Festival Committee for the 1947 celebration of music's patron saint. The ceremonial mood is established with fanfares, and the sonorous sweep of the choral writing reflects Finzi's admiration for Parry and Elgar. The 'catalogue' of saints, shared between the soloist and chorus, are deftly delineated: St Valentine, St George, St Dunstan, St Swithin and St Cecilia herself. In rapt stillness, the English composers of the past - Merbecke, Byrd, Dowland and Purcell - are summoned. To close, Finzi creates a festal summation with exultant counterpoint and the saint's name pealing around the chorus. / Choeur Mixte (SATB) Et Orchestre

Edité par Nicholas Hare. Kaléidoscope vous fera économiser du temps! Avez-vous passer des heures à arranger la musique pour des assortiments étranges d'instruments' Kaléidoscope est spécialement aménagé pour répondre à presque n'importe quelle combinaison instrumentale et ces ensembles variés sont faciles et agréables aussi. Portée tant pour pratiquement n'importe quelle combinaison d'instruments! La série est réussie avec des enregistreurs, des guitares, des percussions et du clavier ainsi que les groupements d'orchestre. Que ce soit il ya cinq ou cinquante joueurs, chaque titre Kaléidoscope travail! Juste s'assurer que les pièces mélodie et le clavier sont inclus - toutes les autres parties sont en option. Kaléidoscope est une valeur exceptionnelle pour l'argent - chaque jeu contient un score plus environ 50 parties, chacune soigneusement écrit pour répondre aux besoins de chaque instrument. Par exemple, parties de cordes faciles sont en première position seulement lorsque les parties de clarinette facile de prendre soin d'éviter la rupture. Il ya plus de pièces exigeantes aussi, pour les joueurs expérimentés. Pour vous aider à choisir les bonnes pièces pour vos joueurs, nous avons donné la clé de chaque Kaléidoscope entre parenthèses. L'option de performance complet! Ces arrangements ultra-flexible de titres bien connus sont un must pour chaque école. Pourquoi ne pas choisir un thème pour votre concert et effectuer une sélection de titres montrent Kaléidoscope et thèmes de films ou d'une soirée de grands classiques. Et n'oubliez pas que nous avons Kaléidoscope pare packs Carol et gemmes saison pour votre concert de Noël aussi! / Scores

À travers plus de mille pages, l?intégralité des musiques et des textes, entièrement transcrits dans leur version `Rock` des 203 chansons qu?ils ont écrites et enregistrées en tant que Beatles ainsi que neuf autres écrites par d?autres auteurs et qu?ils ont interprétées à leurs débuts. Toutes sont transcrites avec des portées séparées pour les parties vocales, chaque guitare (en tablature et notation standard) et tous les autres instruments...Une collection essentielle des Beatles.

Tenor Book/Online Audio. Par . The world's most trusted source for authentic editions of theatre music for singers has expanded with yet another volume. Many of the songs are found in no other collections. The 40 songs in each volume are in the original keys, excerpted from vocal scores and piano/conductor rehearsal scores. Includes both recent shows and a deeper look into classic musicals. Contents: ANNIE: Easy Street · BARNUM: Bigger Isn't Better · CHILDREN OF EDEN: Lost in the Wilderness · CITY OF ANGELS: Stay with Me · DIRTY ROTTEN SCOUNDRELS: Great Big Stuff · DO I HEAR A WALTZ': Take the Moment · THE DROWSY CHAPERONE: I Am Aldolpho · GODSPELL: Alas for You o GREASE: Mooning · GREY GARDENS: Body Beautiful Beale · Drift Away · HAIRSPRAY: The Nicest Kids in Town · Hairspray · JERSEY BOYS: December 1963 (Oh, What a Night) · Can't Take My Eyes Off of You · THE LAST FIVE YEARS: Shiksa Goddess · Moving Too Fast · THE LIGHT IN THE PIAZZA: Il mondo era vuoto · Passeggiata · LITTLE WOMEN: Take a Chance on Me · MOVIN' OUT: She's Got a Way · Summer, Highland Falls · MYTHS AND HYMNS: Saturn Returns · Hero and Leander · ON THE TWENTIETH CENTURY: I Have Written a Play · THE PIRATE QUEEN: I'll Be There · THE PRODUCERS: Springtime for Hitler · Heil Myself · RENT: What You Own · SONGS FOR A NEW WORLD: She Cries · SPRING AWAKENING: Left Behind · TARZAN: Two Worlds · Strangers like Me · THOROUGHLY MODERN MILLIE: What Do I Need with Love · TICK, TICK ... BOOM!: 30/90 · Sunday · URBAN COWBOY: It Don't Get Better Than This · WEST SIDE STORY: Something's Coming · Maria. / Date parution : 2023-08-12/ Recueil / Ténor