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Songs of Tagore: Chamber Ensemble: Score
19.99
Songs of Tagore: Chamber Ensemble: Score
Southern Music Ltd
The poems for this work were taken from Rabindranath Tagore's Gitanjali (Song Of...
(+)
The poems for this work were taken from Rabindranath Tagore's Gitanjali (Song Offerings) written in India around 1910 during a restless almost sleepless period in the poets life. Introduced to the west in 1912 they became widely recognized for their simple captivating descriptions of nature and their yearning spiritual tone. Almost every line is filled with natural images and a wandering restless mood is ever present. This sense is captured by the composer in his setting for voice alto saxophone and piano. Movement titles: I. Nightfall II. Light III. Departure.
19.99 GBP - vendu par Musicroom GB
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Eugene Goossens: Four Sketches Book 2: Chamber Ensemble: Instrumental Work
22.99
Eugene Goossens: Four Sketches Book 2: Chamber Ensemble: Instrumental Work
Flûte, Violon, Piano
[Partition]
Chester
Eugène Goossens (1893-1962) was an English composer whose work was initially ...
(+)
Eugène Goossens (1893-1962) was an English composer whose work was initially held in the same high esteem as contemporaries such as Walton but who has since faded into obscurity. He worked across the UK US andAustralia and helped lobby for the Sydney Opera House to be built. He was knighted in 1955. His music helped incorporate French impressionism into English Romantic music. His Four Sketches (Op.5) werewritten in 1913 scored for Flute Violin and Piano or 2 Violins and Piano. There are all simple and delicate but lively and enjoyable perfect for any recital. Book 2 contains the last two sketches:Romance and Humoreske.
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Larry Clark: Compatible Duets for Winds: Wind Duet: Instrumental Album
12.95
Larry Clark: Compatible Duets for Winds: Wind Duet: Instrumental Album
Clarinette, Trompette (duo)
[Partition]
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Facile
Carl Fischer
31 Duets That Can Be Played By Any Combination Of Wind Instruments-If you have a...
(+)
31 Duets That Can Be Played By Any Combination Of Wind Instruments-If you have a friend that plays another instrument and you want to play a duet with them for fun or in a performance then this is the book for you! This collection contains 31 duets in a variety of styles from classical to folk music to original pieces that will be fun to play with any combination of two wind instruments. Duets are a great way to learn how to play in a chamber music setting and this unique collection gives you the opportunity to do it with anyone else that plays a wind instrument making the combinations of instruments that can be used almost limitless. This collection is ideally suited for use in schools for students who areespecially eager to play music with their friends. The flexibility of these duets makes them a must-have for any wind player. Editions available for: Alto/Baritone Saxophone (CFWF95)Clarinet/Trumpet/T.C. Euphonium/Tenor Saxophone (CFWF94)Flute/Oboe (CFWF93)Trombone/B.C. Euphonium/Bassoon (CFWF96)Horn In F (CFWF97)Tuba (CFWF98)
12.95 GBP - vendu par Musicroom GB
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Big Acoustic Guitar Chord Songbook Love Songs
24.90
Big Acoustic Guitar Chord Songbook Love Songs
Paroles et Accords
[Partition]
-
Facile
Amsco Wise Publications
Une sélection intime et romantique de plus de 100 chansons d'amour, tout arrang...
(+)
Une sélection intime et romantique de plus de 100 chansons d'amour, tout arrangé pour guitare et voix. À partir touchante simple Jealous Guy de Roxy Music et Crazy du soyeux Jazz de Patsy Cline pour les ballades de David Gray, Macy Gray et Daniel Bedingfield, vous trouverez ce chant d'amour parfait dans cette collection spéciale. Toutes les chansons ont été présentés avec paroles complètes et un guide de corde de guitare encore complète simple. / Chant Et Guitare / 256 pages / Partition
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Guest Spot Junior 90's Hits Easy Play Along
21.90
Guest Spot Junior 90's Hits Easy Play Along
Flûte à Bec
[Partition + CD]
-
Facile
Amsco Wise Publications
Junior Guest Spot is ideal for beginners and young performers. Play these fiftee...
(+)
Junior Guest Spot is ideal for beginners and young performers. Play these fifteen hit songs in easy melody line arrangements by Paul Honey, with specially recorded backing tracks. The arrangements are short and simplified, using simple keys and rhythms, and short phrasing for comfortable breathing. The accompanying CD contains full performance versions of the songs on tracks 2-16, the instrumental part is then omitted from tracks 17-31, to enable you to play along as the solo performer. / Flûte A Bec
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Guest Spot Junior 90's Hits Easy Play Along
16.60
Guest Spot Junior 90's Hits Easy Play Along
Clarinette
[Partition + CD]
-
Facile
Amsco Wise Publications
Junior Guest Spot is ideal for beginners and young performers. Play these fiftee...
(+)
Junior Guest Spot is ideal for beginners and young performers. Play these fifteen hit songs in easy melody line arrangements by Paul Honey, with specially recorded backing tracks. The arrangements are short and simplified, using simple keys and rhythms, with short phrases for comfortable breathing. The accompanying CD contains full performance versions of the songs on tracks 2-16, the instrumental part is then omitted from tracks 17-31, to enable you to play along as the solo performer. / Clarinette
16.60 EUR - vendu par LMI-partitions
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H.A. Chambers: Office Of The Holy Communion: Voice: Vocal Score
Chorale Unison
Unison/2-parties, Piano
[Partition]
-
Intermédiaire
Novello & Co Ltd.
A simple and moving setting of the Mass in G for Unsion voices and Organ.
3.99 GBP - vendu par Musicroom GB
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Guest Spot Junior 90's Hits Easy Play Along
27.10
Guest Spot Junior 90's Hits Easy Play Along
Flûte traversière
[Partition + CD]
-
Facile
Amsco Wise Publications
Junior Guest Spot est idéal pour les débutants et les jeunes interprètes. Jou...
(+)
Junior Guest Spot est idéal pour les débutants et les jeunes interprètes. Jouer ces quinze chansons à succès dans la mélodie facile des accords de ligne par Paul Honey, avec spécialement enregistré choeurs de pistes. Les arrangements sont courtes et simplifiée, à l'aide de clés simples et les rythmes, avec des phrases courtes pour respirer à l'aise. Le CD accompagne contient toute la performance versions des chansons sur les pistes 2-16, la partie instrumentale est ensuite omise de pistes 17-31, pour vous permettre d'en jouer le long de l'artiste solo. / Flûte Traversière
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Guest Spot Junior 90's Hits Easy Play Along
20.60
Guest Spot Junior 90's Hits Easy Play Along
Violon
[Partition + CD]
-
Facile
Amsco Wise Publications
Junior Guest Spot est idéal pour les débutants et les jeunes interprètes. Jou...
(+)
Junior Guest Spot est idéal pour les débutants et les jeunes interprètes. Jouer ces quinze chansons à succès dans la mélodie facile des accords de ligne par Paul Honey, avec spécialement enregistré choeurs de pistes. Les arrangements sont courtes et simplifiée, à l'aide de clés simples et les rythmes, avec des phrases courtes et clairement s'incliner des marques. Le CD accompagne contient toute la performance versions des chansons sur les pistes 2-16, la partie instrumentale est ensuite omise de pistes 17-31, pour vous permettre d'en jouer le long de l'artiste solo. / Violon / 36 pages / Partition Cd
20.60 EUR - vendu par LMI-partitions
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The Diary Of One Who Disappeared (JANACEK LEOS)
30.20
The Diary Of One Who Disappeared (JANACEK LEOS)
-
Intermédiaire/avancé
Barenreiter
For Tenor, Alto, Three Female Voices et Piano. Par JANACEK LEOS. Janacek's intim...
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For Tenor, Alto, Three Female Voices et Piano. Par JANACEK LEOS. Janacek's intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices/female choir SSA are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance and exit cues and lighting effects. Composed in 1917-19, the Diary was premiered in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscript served as abasis for the first edition which was issued by the Brno publisher Oldrich Pazdirek in 1921 as well as for this current first Urtext edition. Janácek ’s intimate chamber-music drama about the passionate love of a simple farm boy for a beautiful gypsy girl is one of his great vocal masterpieces. This cycle of 22 songs for tenor (an alto and three female voices are added in three numbers) was composed on a setting of poems that were published anonymously. It was not until 80 years later that their author was identified as the regional poet and writer Ozef Kalda. The cycle also contains theatrical elements, such as the alto entrance and exit cues and lighting effects. Composed in 1917-19, the “Diary” was premièred in Brno in 1921 from a manuscript prepared by Gustav Homola. The same manuscriptserved as a basis for the first edition which was issued by the Brno publisher Oldrich Pazdírek in 1921 as well as for this current first Urtext edition. First Urtext edition with a detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor Singing translations in German (by Max Brod) and English (by Bernard Keefe) Numbers IX to XI which include the alto and three female voices also available online / Niveau : 4 / Répertoire / Ténor, Alto, 3 Voix de Femme et Piano
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Jakob Lenz (RIHM WOLFGANG)
116.60
Jakob Lenz (RIHM WOLFGANG)
Piano, Voix
Universal Edition
Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera...
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Kammeroper Nr. 2. Par RIHM WOLFGANG. Chamber opera does not mean “little opera.” On the same scale as chamber music is to the symphony, it is rather the other way of talking onstage. The movable apparatus permits sophisticated voice-leading. A large ensemble demands simple conception to achieve the complexity it perhaps intends; this can be formulated more sharply and nuanced in a chamber ensemble. Therefore it is the subject which this type of presentation must sustain – or, better, provoke. Büchner’s Lenz is a description of the conditions within a process of collapse, moments of destruction already occurred but not yet accepted, evident in the points of contact with the environment. And it was those points of contact which Michael Fröhling attempted to reconstruct onstage. Lenz’s distraught state is always the same; only the proximity of the environment to that distraught state grows and ebbs. The musical consequence An hour of extreme chamber music results from this description: always bound for the main character – actually, not a commentary, but the main character himself as a multilayered level of action. Although Lenz acts on many levels – or tries to or believes he is – he has no room to manoeuvre. That is why he is also tightly interwoven in his sonic surroundings; the voices which only he hears are just as much himself as the two men with whom he foregathers (the liberal pragmatist Oberlin and the alert merchant who always “does the right thing” in every situation) – they evoke responses which he deeply desires. Omnipresent Friederike is just as much his inner world as Nature is – Nature, which he can no longer perceive unless it is personified, enlivened or dead. Therefore, the music’s task is both to motivate the “situation” (atmospherically) and to be the psychological constant (via a network of entangled references per se) in an action as it is played out. The compositional process December 1977 to June 1978 – a period identical to the stepwise understanding of an existence as that of Jakob Lenz. Yet the more the historical figure became precisely attendant in my intellect in terms of data and atmosphere, the more it retreated in favour of a cipher of disturbance as I began to understand Lenz. Thence the explanation for the failure of the attempts to approach him – including my attempt to interpret him via musical representation – because, essentially, Lenz himself is the failure. Only the naked stages of that failure remain portrayable, i.e. including the failure of those who wish to “help” Lenz, for example, while Lenz himself is already trapped inextricably in a state of complete destruction. I tried to compose my way into that situation as far as possible; the insistence of several rhythmic and harmonic configurations is the palpable expression of the main character’s ever-recurring rigidity. One sound pervades the entire work. The musical stage For me, this is a place where very magical and very human things take place. In Jakob Lenz, the human aspects often switch to magical ones, since the realism of a self-suasive, unhinged soul takes on surreal traits – or we simply cannot understand that otherwise except as not being real. A character like Jakob Lenz on the stage is complex due to the fact alone that it harbours many stages within itself, and music must represent those constantly present stages. I have tried to do so in the most direct way – by not cleanly separating the musical layers, but keeping them constantly in evidence until they must break forth, each in accord with its own dramaturgy. In an overview, the large form takes on aspects of a rondo, performed in overlapping layers – a type of rondo relief, since perspectives of psychological proximity and distance are indeed formulated musically as atmospheric relations. Above all: the thread on which Jakob Lenz hangs is the current onto the listeners’ hearts. Wolfgang Rihm (January 1979)/ Répertoire / Chant et Piano
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String Quartets For Begin 3 - String Quartet
28.50
String Quartets For Begin 3 - String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
Alfred Publishing
Comprised of works from Volumes 1, 2 and 3 of the Suzuki Violin School, which ha...
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Comprised of works from Volumes 1, 2 and 3 of the Suzuki Violin School, which have been arranged for string quartet by violinist/arranger Joseph Knaus. With lower string parts providing melodic and rhythmic counterpoint to set off the simple melodies (which match the Suzuki Method® repertoire), these quartets are nevertheless simple enough for beginning level players ready for their first chamber music experience. String Quartets for Beginning Ensembles are sold in sets including full score and one part book per instrument. Volume 3 contents are: Gavotte (P. Martini) * Minuet, BWV Anh. II 114/Anh. III 183/Anh. II 115 (J.S. Bach) * Gavotte in G Minor, Gavotte en Rondeau from Suite in G Minor for Klavier, BWV 822 (J.S. Bach) * Humoresque, Op. 101, No. 7 for Piano (A. Dvorák) * Gavotte (J. Becker) * Gavotte from Orchestral Suite No. 3 from Overture in D Major, BWV 1068 (J.S. Bach) * BourrEe, BourrEes I and II from Suite III in C Major for Violoncello, BWV 1009 (J.S. Bach).
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Brian Easdale: Ubi Caritas Et Amor (Novello New Choral Series): SATB: Vocal
2.99
Brian Easdale: Ubi Caritas Et Amor (Novello New Choral Series): SATB: Vocal
Chorale SATB
SATB, Orgue
Novello & Co Ltd.
An inspiring selection of new works from a range of contemporary composers the ...
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An inspiring selection of new works from a range of contemporary composers the Novello New Choral Series offers pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles.Ubi caritas et amor is a simple reflective anthem for mixed-voice choir and organ.Brian Easdale was educated at Westminster Abbey Choir School and attended the Royal College of Music where he won the Foli Scholarship for composition. He wrote his first opera Rapunzel when only 17 and went on to composer many other dramatic andorchestral works including the chamber opera The Sleeping Children. The Missa Coventriensis is one of his larger choral works composed for the consecration of Coventry Cathedral in 1962. Easdale is perhaps most famous for his film music including Black Narcissus and The Red Shoes for which he won an Academy Award for best original music score in 1948.'Ubi Caritas is the work of a craftsman steeped naturally in the musical culture of the inter-war years. It commends itself in its quiet yet muscular and expansive response to the text. With minimal divisi it is within the capability of a good church choir.' - Howard Layfield Mastersinger
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Ubi Caritas Et Amor
5.30
Ubi Caritas Et Amor
Chorale SATB
SATB, Orgue
Novello & Co Ltd.
An inspiring selection of new works from a range of contemporary composers, the ...
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An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Ubi caritas et amor is a simple, reflective anthem for mixed-voice choir and organ. Brian Easdale was educated at Westminster Abbey Choir School and attended the Royal College of Music, where he won the Foli Scholarship for composition. He wrote his first opera, Rapunzel , when only 17, and went on to composer many other dramatic and orchestral works, including the chamber opera The Sleeping Children. The Missa Coventriensis is one of his larger choral works, composed for the consecration of Coventry Cathedral in 1962. Easdale is perhaps most famous for his film music, including Black Narcissus and The Red Shoes, for which he won an Academy Award for best original music score in 1948. 'Ubi Caritas is the work of a craftsman steeped, naturally, in the musical culture of the inter-war years. It commends itself in its quiet yet muscular and expansive response to the text. With minimal divisi, it is within the capability of a good church choir.' - Howard Layfield, Mastersinger / Choeur SATB Et Orgue
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Thomas Hyde: Sweet Was The Song (Novello New Choral Series): SATB: Vocal Score
2.99
Thomas Hyde: Sweet Was The Song (Novello New Choral Series): SATB: Vocal Score
Chorale SATB
SATB
[Vocal Score]
Novello & Co Ltd.
Sweet was the song was composed in 2003 as a commission from the Hampstead Chamb...
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Sweet was the song was composed in 2003 as a commission from the Hampstead Chamber Choir and their then director Eamonn Dougan. It is a short and simple SATB setting of a familiar Christmas text.The Novello New Choral Series is an inspiring selection of new works from a range of contemporary composers offering pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an exciting variety of styles. This collection is perfect for choirs looking to broaden their repertoire and explore some of the best new music around.Thomas Hyde(b.1978) studied at Oxford University where he gained a doctorate in composition in 2008 and the Royal Academy of Music. His teachers have included David Matthews Simon Bainbridge Peter Maxwell Davies and Robert Saxton. In October 2008 he was appointed Lecturer in Music at Worcester College Oxford and since September 2009 has been visiting lecturer in composition at City University London. Prizes include finalist in English National Opera’s young composer festival ‘New Visions New Voices’ (1992) the National School Band Association Prize (1993) and a Wingate Scholarship (2004-5). His music is performed regularly in Britain at festivals including Spitalfields City of London Presteigne Deal and Little Missenden as well as abroad and has been broadcast on BBC Radio 3. Recent works have included a string quartet for the Allegri Quartet and the one-man opera That Man Stephen Ward for the Hampstead & Highgate Festival.
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Poul Ruders: Final Nightshade - An Adagio Of The Night: Orchestra: Score
60.99
Poul Ruders: Final Nightshade - An Adagio Of The Night: Orchestra: Score
Orchestre
[Partition]
Wilhelm Hansen
Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fish...
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Premiered by The New York Philharmonic conducted by Lorin Maazel at Avery Fisher Hall Lincoln Center New York City 10th June 2004. Orchestration 3 Flutes 3rd dbl. Piccolo2 Oboes1 English Horn in F3 Clarinets in Bb 3rd dbl. Bas Clarinet in Bb2 Bassoons1 Contra Bassoon4 Horns in F3 Trumpets in Bb3 Trombones1 Tuba1 (set of) Timpani2 Percussion (two players)1: Bass Drum (large) Chinese Cymbal Mark Tree2: TamTam (large) Vibraphone Antique Cymbal1 Harp1 Piano dbl. CelestaStringsAll non-octave transposing instruments are notated in their relevanttranspositions.Horns notated in bass clef sound a fourth above the notated pitch.All accidentals apply to each single note only except tied notes. Naturals for 'safety'. Programme Note This piece marks the conclusion of what could now be called 'The Nightshade Trilogy' three pieces which explore the contrasting worlds of Light and Darkness. As opposed to the earlier chamber work Nightshade which dealt with extremes of high and low pitches and the chamber orchestra composition Second Nightshade a two-fold piece contrasting darkness/anxiety and light/calm Final Nightshade for full symphony orchestra takes us on a journey in which the forces of dark and light struggle - and co-exist - in a predominantly polyphonic web with brooding undertones. The melodic point-of-departure is not surprisingly to be found in either of the two preceding pieces of the Trilogy but in an older piece Corpus Cum Figuris from 1985. Over the ensuing years I've dreamt on and off of 'doing something' with the opening measures of this older work perhaps even building a new composition on that very simple inward-looking time was ripe and there's a nice nostalgia angle to the idea: Corpus Cum Figuris was the first piece of mine to be
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Piers Hellawell: A White Room: Piano: Score and Parts
Piano Facile
[Partition]
Cadenza Music
Piers Hellawell's A White Room for Piano Quartet.a white room was the second sho...
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Piers Hellawell's A White Room for Piano Quartet.a white room was the second short piece to be commissioned by the Schubert Ensemble for Chamber Music 2000. It was written in spring of 1999 during the composition of Inside Story a double concerto for the 1999 BBC Proms. a white room complements its predecessor in that it is a hushed scherzo rather than a slow aria; the latter type was by 1999 becoming rather prevalent among Chamber Music 2000 commissions and the Schubert Ensemble suggested that I tackle the challenge of writing 'easy' fast music. It turned out to be a challenge indeed; my solution to creating rapid movement using players of unknown technique wasto employ ostinato repetition of simple fragments largely using open strings - materials of a sort that in any case feature in my wider musical language. In addition I supplemented the rhythmic drive by percussive drumming on piano and cello (also aspects typical of me).These features add up to a sound picture in which rhythmic momentum predominates over line - though a chorale fragment persistently tries to establish itself. The title a white room indicates that this piece is an uncluttered space a location in sound perhaps free of the more exotic images in Hall Of Mirrors. - Piers HellawellCommission made possible by Keith Nimmo.
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Hugo Wolf: Fußreise: Mixed Choir: Vocal Score
3.00
Hugo Wolf: Fußreise: Mixed Choir: Vocal Score
[Vocal Score]
Carus Verlag
Hugo Wolf set a total of 53 songs by Eduard Mörike all in the year 1888. The c...
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Hugo Wolf set a total of 53 songs by Eduard Mörike all in the year 1888. The composer wrote in a letter: 'Once you have heard this song it can only inspire one wish ? to die.' In the artistic-metaphysical milieu of the late 19th century this was regarded as the highest ideal especially for Hugo Wolf who believed in the body as a ?wretched piano case? from which the soul can only break free like harmonies dying away. And yet 'Fußreise' (Journey on Foot) begins as a simple happy elated song of travel revolving around the key of D major over an ostinato piano rhythm. 'Old Adam' believes he senses the 'bliss of paradise' in this but he continues to be caught in the tensionbetween earthly suffering and eternal longing as the rest of Hugo Wolf's setting clearly shows: it remains a pious hope that a whole life 'would be such a morning journey bathed in gentle perspiration'. These art songs were originally composed not for chamber choir but for solo voice and piano. Denis Rouger has carefully adapted them to suit the requirements and expressive possibilities offered by a larger ensemble without losing the any of the qualities of the original in the process. Each part in the choir has a melodic line drawn from the harmonic and rhythmic framework. In the process the variety and refinement of the choral language combines with an enormous flexibility in form and expression as French melodies or German art song demand from a soloist and pianist. The songs have been recorded by the figure humaine chamber choir on the CD 'Kennst du das Land ...' (Carus 83.495).
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Graham Ross: Lullay My Liking (Novello New Choral Series): 2-Part Choir: Vocal
2.99
Graham Ross: Lullay My Liking (Novello New Choral Series): 2-Part Choir: Vocal
Chorale 2 parties
2 parties, Piano
Novello & Co Ltd.
Lullay my liking is scored for accompanied two-part choir allowing for various...
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Lullay my liking is scored for accompanied two-part choir allowing for various upper-/lower-voice combinations: two-part trebles or sopranos upper voices only (S/A) or men only (T/B). If performed by a four-part choir sopranos and tenors should read the upper line and altos and basses read the lower. The keyboard part can be played on piano or organ or harp.An inspiring selection of new works from a range of contemporary composers the Novello New Choral Series offers pieces for all types of choirs including sacred and secular works from simple four-part settings to more expansive yet accessible repertoire in an excitingvariety of styles.Graham Ross (b. 1985) is Director of Music and Fellow of Clare College Cambridge and Principal Conductor and co-founder of the Dmitri Ensemble. A composer and conductor of a wide range of repertoire he has had works performed throughout Europe and beyond. He has recorded many rarely performed and newly composed works including pieces by Ralph Vaughan Williams (Albion Records); James MacMillan Judith Bingham and Giles Swayne (Naxos); and Imogen Holst (Harmonia Mundi). He guest-conducts throughout the UK and abroad with recent engagements in Palestine Australia Nigeria Denmark Aldeburgh and Glyndebourne. As a composer recent performances have been given by among others Aurora Orchestra Australian Chamber Orchestra comedian Barry Humphries BBC Concert Orchestra Choir of London City of London Sinfonia National Youth Choir of Great Britain O Duo and the Solstice Quartet.
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Divertimenti For 2 Oboes, 2 Horns And 2 Bassoons
28.50
Divertimenti For 2 Oboes, 2 Horns And 2 Bassoons
2 Hautbois, 2 Cors et 2 Bassons
G. Henle
Mozart wrote the five Divertimenti for Wind Sextet between the years 1775 and 17...
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Mozart wrote the five Divertimenti for Wind Sextet between the years 1775 and 1777 when he was living in Salzburg. The Italian title is reminiscent of simple 'light? music, but the pieces' melodic ingenuity and colourful writing for winds show it to be chamber music of the highest quality. / 2 Hautbois, 2 Cors Et 2 Bassons
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Die Musik bleibt stets treu Dir (RUTTER JOHN)
4.69
Die Musik bleibt stets treu Dir (RUTTER JOHN)
Chorale SATB
SATB, Piano
Oxford University Press
(The Music's Always There With You). Par RUTTER JOHN. for SATB (with divisions) ...
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(The Music's Always There With You). Par RUTTER JOHN. for SATB (with divisions) and piano or chamber orchestra Rutter's charming piece sets a secular text by the composer that emphasises the significance of music and harmony in an ephemeral world. A simple accompaniment figure in the piano provides the backdrop to alternating unison and polyphonic verses. / Date parution : 2023-06-01/ Répertoire / SATB et Piano ou Orchestre
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Rory Boyle: In Times Past: Piano: Instrumental Album
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Rory Boyle: In Times Past: Piano: Instrumental Album
Piano seul
ABRSM Publishing
Easier Piano Pieces 82-A terrific collection for Piano solo by Rory Boyle. Boyle...
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Easier Piano Pieces 82-A terrific collection for Piano solo by Rory Boyle. Boyle studied composition with Lennox Berkeley has written many orchestral chamber and choral works. He has also composed a considerable variety of music for children including this collection of simple and attractive character pieces which though modern in style take a nostalgic look back into the Victorian past.
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Lully, Lullay (Novello New Choral Series)
5.30
Lully, Lullay (Novello New Choral Series)
Chorale SATB
Novello & Co Ltd.
Lully, Lullay was written at the request of Philip Reed, music director of the B...
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Lully, Lullay was written at the request of Philip Reed, music director of the Bury St Edmunds Bach Choir, which gave the first performance on 17 December 2011 at Holy Trinity Church, Long Melford, Suffolk. Inspired by the familiar medieval text of the Coventry Carol , it is sung a cappella and invokes the sense of a lullaby through its metre and lilting melody. The fragility and bittersweet tonality of the opening verse is reflected in the continuous interaction between the tonic and dominant keys and resolving dissonances. This develops into broader passages of increased range and dynamics during the second and third verses, where the melody is passed between the upper and lower voices, clearly invoking the poignancy of the text. The last verse returns to the original theme with subtle harmonic changes and a reflective final cadence. An inspiring selection of new works from a range of contemporary composers, the Novello New Choral Series offers pieces for all types of choirs, including sacred and secular works from simple, four-part settings to more expansive, yet accessible, repertoire in an exciting variety of styles. Harriet Wybor was born in Leeds in 1986 and read music as an undergraduate at Durham University, followed by an M.A. in composition with Martyn Harry and António Pinho Vargas. Harriet's main compositional interests are sacred and secular contemporary choral and chamber music, and the relationship between music and time. Her work reflects a wide range of influences from renaissance choral music and medieval texts to 20th-century literature and art. Harriet has had works performed by the Northern Sinfonia (conducted by H K Gruber), Psappha, the Allegri String Quartet, St John's College Choir, Durham, the Bury St Edmunds Bach Choir and the Fishburn Band - broadcast on BBC Radio 2's Listen to the Band . After graduating from Durham University, Harriet continued her studies at the University of Edinburgh, where she read for an LL.M. in innovation, technology and the law. She has subsequently pursued a career in music publishing where she works in copyright and composes in her spare time. / Choeur SATB
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