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Different Worlds
$19.95
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By Tyler Kline. For Flute, Alto Saxophone. Chamber music, 20th century. Published by Potenza Music
Instrumentation :
Flûte, Saxophone (duo)
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Potenza Music
Extrait de partition
Different Worlds
$ 19.95
Extrait de partition
Different Worlds
$ 19.95
Different Worlds is a dynamic, two-part work for flute and alto saxophone written for Morehead State University faculty duo Awea Duo. The piece is a reflection of a trip to China I was fortunate enough to take in the early summer of 2012. I had never been out of the United States, and visiting eastern Asia was quite a culture shock - definitely different from the world I'm used to. While there, I recorded street and temple sounds that directly influenced the melodic material of this work. From the slow and meditative first part to the aggressive and exciting second part, Different Worlds is a kaleidoscope of mood and style.
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Thomas Simaku: a2 (a): Viola & Cello: Score
13.00
Thomas Simaku: a2 (a): Viola & Cello: Score
::
[Partition]
University Of York Music Press
For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFir...
(+)
For Viola and Cello.Published 2008.Dedicated to Garth Knox and Rohan de SaramFirst performance: Intrasonus Festival Venice 3 May 2008'This music was composed during my DAAD residency in Berlinin October ? November 2007. If I were to describe it in one sentence I would say that it is based on the idea of 'two things seen/heard as one'.'a2 (a due) is a well-known term to musicians; it is often found in orchestralscores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family the literal implementation of the term a2 as a'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly this never happens in this work; in fact the opposite is true: regardless of how itappears on paper (i.e. on one or two staves) the music for each instrument is constantly based on two layers.'This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates.However this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracingthe wall across where it once stood ? a clear reminder of what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border death-strip killing and escape to freedom had aparticularly evocative resonance especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There there was a nameless road whose destination the authorities did notwant you to know but the locals called it the 'death-road'.'In no way programmatic in this context the extra-musical dimension of the principal idea is very much part of the piece. Here the musical and extra-musical
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Thomas Simaku: a2 (b): Violin & Cello: Score
13.00
Thomas Simaku: a2 (b): Violin & Cello: Score
::
[Partition]
University Of York Music Press
For Violin and Cello.Published 2008.Dedicated to Peter Sheppard Skaerved and Nei...
(+)
For Violin and Cello.Published 2008.Dedicated to Peter Sheppard Skaerved and Neil Heyde.'This music was composed during my DAAD residency in Berlin in October ? November 2007. If I were to describe itin one sentence I would say that it is based on the idea of 'two things seen/heard as one'.'a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be playedby two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!)for a piece of chamber music consisting of no more than two players. Not surprisingly this never happens in this work; in fact the opposite is true: regardless of how it appears on paper (i.e. on one or two staves) the musicfor each instrument is constantly based on two layers.'This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However this was by no means the only thought that'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer StraÃ?e and the cobbled two-stone line tracing the wall across where it once stood ? a clear reminderof what not so long ago there were two different worlds in one city ? provoked a strikingly dramatic effect. Border death-strip killing and escape to freedom had a particularly evocative resonance especially of the time when Ilived for three years in a remote town in Southern Albania right at the border with Greece. There there was a nameless road whose destination the authorities did not want you to know but the locals called it the'death-road'.'In no way programmatic in this context the extra-musical dimension of the principal idea is very much part of the piece. Here the musical and extra-musical interpretations cannot easily be separated for they
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Disney On Broadway - 2Nd Edition
31.50
Disney On Broadway - 2Nd Edition
Piano, Voix et Guitare
Hal Leonard
26 chansons extraites de 9 comédies musicales des studios Disney ont été adap...
(+)
26 chansons extraites de 9 comédies musicales des studios Disney ont été adaptées pour Piano/Voix/Guitare. Retrouvez les grands standards de Broadway avec Written in the Stars (from A´da) - Proud of Your Boy (from Aladdin) - If I Can't Love Her (from Beauty and the Beast) - True Love (from Frozen) - They Live in You (from The Lion King) - One Step Closer (from The Little Mermaid) - Anything Can Happen (from Mary Poppins) - Watch What Happens (from Newsies) - Two Worlds (from Tarzan) et bien plus encore. / TV, Film, Comédie musicale / Recueil / Piano, Chant et Guitare
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Edward Gregson: Tributes (Clarinet/Piano): Clarinet: Instrumental Work
19.99
Edward Gregson: Tributes (Clarinet/Piano): Clarinet: Instrumental Work
Clarinette et Piano
-
Intermédiaire
Novello & Co Ltd.
Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes...
(+)
Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes there are five pieces in the set each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and as a tribute to them Gregson tried to invade indeed imitate their stylistic worlds in these pieces.They are as follows:To Francis Poulenc (for Emma Johnson) a rather dreamy toccata lyrical in feel but interrupted by typically quirky and disruptive rhythmic episodes.To Gerald Finzi (forJohn Bradbury) slow and lyrical with long melodic arches.To Igor Stravinsky (for Linda Merrick) asymmetric rhythms dominate with wide leaps in the solo line and bitonal harmony on the Piano.To Olivier Messiaen (for Nicholas Cox) based on the ravishing slow movement for Cello in his Quartet for the End of Time a seamless melody is woven around ever-changing repeated chords on the Piano.To Béla Bartók (for Michael Collins) the most virtuoso of the set; after a slow introduction a swirling folk-like dance unfolds mirroring Bartok?s penchant for simple modal shapes and ostinati rhythms.
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Tributes (Clarinet And Piano)
33.10
Tributes (Clarinet And Piano)
Clarinette et Piano
Novello & Co Ltd.
Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes...
(+)
Edward Gregson completed Tributes in the summer of 2010. Lasting some 16 minutes, there are five pieces in the set, each dedicated to a different composer and a different clarinettist (with whom Gregson had long musical associations). Each of the dedicatee composers wrote wonderfully for the Clarinet and, as a tribute to them, Gregson tried to invade, indeed imitate, their stylistic worlds in these pieces. They are as follows: To Francis Poulenc (for Emma Johnson) - a rather dreamy toccata, lyrical in feel, but interrupted by typically quirky and disruptive rhythmic episodes. To Gerald Finzi (for John Bradbury) - slow and lyrical with long melodic arches. To Igor Stravinsky (for Linda Merrick) - asymmetric rhythms dominate, with wide leaps in the solo line and bitonal harmony on the Piano. To Olivier Messiaen (for Nicholas Cox) - based on the ravishing slow movement for Cello in his Quartet for the End of Time, a seamless melody is woven around ever-changing repeated chords on the Piano. To Béla Bartók (for Michael Collins) - the most virtuoso of the set - after a slow introduction, a swirling folk-like dance unfolds, mirroring Bartok's penchant for simple modal shapes and ostinati rhythms. / Clarinette Et Piano
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Niels Rosing-Schow: Alliage III: Violin & Cello: Parts
57.50
Niels Rosing-Schow: Alliage III: Violin & Cello: Parts
VLN/VLC/ACDN::Violon/Violoncelle/Accor d‚on
[Partition]
Wilhelm Hansen
Set of parts for Alliage (Alloy) III for Violin Cello Classical Accordion and...
(+)
Set of parts for Alliage (Alloy) III for Violin Cello Classical Accordion and two Kokles (2010). Programme note The instruments of this quintet are very different in appearance and in the way of playing as well as tone production: strings to be bowed strings to be plucked confronted with the airborne tone of the Accordion. The origins and the traditions of the instruments are also very diversified reaching from traditional folkmusic (the Kokle) and popular music (the Accordion) to art music of the classical tradition (the Violin and Cello). Acknowledging these references and connotations I refrain nevertheless froman obvious ‘casting’ of the instruments since I have always been fascinated by the less evident by transitions and gradual displacement by the intangible places between one and the other. I search for this ‘terrain vague’ of fruitfull incertainty andpermanent genesis. To arrive there I have in this piece created a musical expression which makes hidden relations and unexploredsonorous paths come forward between the different sound worlds of the instruments. Bringing together these musical substances I look for something deeper than just common sounds: a fresh musical place. And the lively and bright sound world that emerges form this instrumental and textural ’in-between’ I associate to alloys inparticular the silvery amalgamations of mercury. The work was composed to musicians from the Latvian ensemble Altera Veritas and of Ensemble Aleph (France) was a part of the project European Instrumental Laboratory. Niels Rosing-Schow
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Niels Rosing-Schow: Alliage III: Violin & Cello: Score
22.99
Niels Rosing-Schow: Alliage III: Violin & Cello: Score