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Composing The Finale
Sheetmusic to print
33 sheet music found
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1
26
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
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The First Spring Day (SATB, a cappella) - original choral piece by Sarah Jaysmith, text by Christina
The First Spring Day (SATB, a cappella) - original choral piece by Sarah Jaysmith, text by Christina
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Choral SATB
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INTERMEDIATE
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Sarah Jaysmith
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The First Spring Day
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Sarah Jaysmith
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SheetMusicPlus
Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.849291 Composed by Sarah Jaysmith. A Cappella,Contemporary. Octavo. 12 pages. Sarah Jaysmith #49...
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Choral Choir (SATB) - Level 3 - Digital Download SKU: A0.849291 Composed by Sarah Jaysmith. A Cappella,Contemporary. Octavo. 12 pages. Sarah Jaysmith #4969183. Published by Sarah Jaysmith (A0.849291). This is a delightful setting of the text by Christina Rossetti. It is an accessible piece for intermediate choir, and will appeal to all ages. This piece was one of several pieces chosen to be Recommended by The C7 Prize for choral music. It is written in a classical style, but also has a modal quality and uses hemiolas for rhythmic interest. The text celebrates the joy of Spring, and the fact that it can be a time of personal growth. The music reflects this in a lilting theme that builds to an exuberant finale.The piece is for SATB, and the duration is c. 4 minutes. This excerpt is from a recording of the piece performed by the Sainte-Anne Singers (Quebec, Canada). Sarah Jaysmith has been composing and arranging choral music for many years. Find her at www.sarahjaysmith.com
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Composing The Finale (from Chevalier)
Composing The Finale (from Chevalier)
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Violin
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Film/TV
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Joseph Bologne
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Composing The Finale
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Hal Leonard - Digital
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SheetMusicPlus
Composed by Joseph Bologne (Chevalier de Saint-Georges) and Kris Bowers. This edition: Interactive Download,scorch. Classical. 1 pages. Hal Leonard - ...
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Composed by Joseph Bologne (Chevalier de Saint-Georges) and Kris Bowers. This edition: Interactive Download,scorch. Classical. 1 pages. Hal Leonard - Digital #347858. Published by Hal Leonard - Digital
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$4.03
Six Sonatas for Violin & Basso
Six Sonatas for Violin & Basso
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Violin, Cello (duet)
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Leopold Hofmann
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Allan Badley
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Basso
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Six Sonatas for Violin & Basso
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Artaria Editions
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SheetMusicPlus
Cello,Instrumental Duet,Violin - Digital Download SKU: A0.1488233 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 83 pages. Artaria Edi...
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Cello,Instrumental Duet,Violin - Digital Download SKU: A0.1488233 Composed by Leopold Hofmann. Arranged by Allan Badley. Classical. 83 pages. Artaria Editions #1065120. Published by Artaria Editions (A0.1488233). A near contemporary and rival of Haydn, Leopold Hofmann was held in the highest regard in his native Vienna where he served as Kapellmeister at St Stephen's Cathedral, a position to which Mozart might have succeeded had he lived. Hofmann was a prolific composer of instrumental music and he wrote a good deal of chamber music although much of it has been lost. Hofmann also composed a substantial body of chamber music for strings and among the most interesting of these works are the Six Sonatas for Violin & Basso. The sonatas are as a whole more technically difficult than any of the composer's other chamber works with violin. In some respects, particularly in their extensive use of double-stopping and two-part textures in the violin part, they are more technically demanding than his violin concertos. There is no attempt, however, to involve the basso in the presentation of thematic material and in this respect the sonatas are quite unlike Hofmann's one extant Duo for Violin and Violoncello (Badley II.D2) in which the two parts are treated equally. In view of their technical difficulty and limited dissemination it is difficult to understand Hofmann's motivation for composing the sonatas. Their exploration of multiple-voicing, particularly in first and second movements, and the use of a Minuet with variations for five of the finales – all of which follow a similar pattern of technical exploitation – suggests that the sonatas may have been composed by Hofmann in the first instance as teaching pieces.
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Here Comes The Light (SSAA with piano) - original choral piece by Sarah Jaysmith, text by Gil Jaysmi
Here Comes The Light (SSAA with piano) - original choral piece by Sarah Jaysmith, text by Gil Jaysmi
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Choral SSAA
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INTERMEDIATE
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Contemporary
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Sarah Jaysmith
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Here Comes The Light
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Sarah Jaysmith
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SheetMusicPlus
Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.849294 Composed by Sarah Jaysmith. Contemporary. Octavo. 15 pages. Sarah Jaysmith #4969685. Publ...
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Choral Choir (SSAA) - Level 3 - Digital Download SKU: A0.849294 Composed by Sarah Jaysmith. Contemporary. Octavo. 15 pages. Sarah Jaysmith #4969685. Published by Sarah Jaysmith (A0.849294). This stunning piece for SSAA and piano tells the story of starlight - how it journeys through the universe and comes to rest in our eyes. The piece begins sparsely, evoking the grandeur of space, but builds into a passionate finale. It is suitable for early to advanced intermediate SSAA choirs, and would also be suitable for an advanced choir. The piece is approximately 4'22'' in duration. The ranges are perfectly suited for a choir of women's voices. This recording is an excerpt from the piece played by MIDI instruments.Sarah Jaysmith has been composing and arranging choral music for many years, and has received several commissions from women's choirs, including Elektra Women's Choir, a very highly regarded choir in Vancouver, BC. Find her at www.sarahjaysmith.com
$2.50 ≈
$3.37
String Quartet n.1 "Et expecto" in memoriam Gyorgi Ligeti
String Quartet n.1 "Et expecto" in memoriam Gyorgi Ligeti
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String Quartet: 2 violins, viola, cello
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ADVANCED
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Panagiotis Theodossiou
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String Quartet n.1 "Et expecto
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Panagiotis Theodossiou
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SheetMusicPlus
String Quartet String Quartet - Level 5 - Digital Download SKU: A0.886701 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and p...
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String Quartet String Quartet - Level 5 - Digital Download SKU: A0.886701 Composed by Panagiotis Theodossiou. Concert,Contemporary,Standards. Score and parts. 58 pages. Panagiotis Theodossiou #3579277. Published by Panagiotis Theodossiou (A0.886701). String Quartet in memoriam Gyorgi Ligeti (2006) The work is written in the memory of G. Ligeti. It goes from strict atonal to tonal and almost neoclassical idiom, from inner intense expression to parody and grotesque humour. Elements so characteristic in the musical language of the honored composer.The 5 parts are: 1. Introduction: Strange Visitors (Lento misterioso), 2. Scherzo I: Interrupted cha-cha : Faith's Dance (Andantino scherzando), 3.Intermezzo: Et expecto...(Larghetto semplice), 4. Scherzo II: Devil's Dance (Allegro giocoso), 5. Finale: Flames (Feroce) There is also a programmatic scenario behind the five mouvements of the work: Strange visitors appear threatening or cheating. And suddenly Faith start to dance an interrupted cha –cha. Expectation stands in the center of the work and in the soul of our hero. Devil’s dance leads to the final test. Flames. Flames of purification or flames of hell?It has been performed by the ensemble ALEA III under Theodor Antoniou at Tsai Performance Centre, Boston University in 2007. Parts of the work have been performed by Athens Bridge Quartet at Faculty Lounge, Deree College under the project Composing the String Quartet of Deree Arts Festival in 2013.Athens Bridge Quartet recorded it ion CD (MOTIVO BQ1070) among Greek Composers Works in 2017.
$25.00 ≈
$33.69
Vistas (score - vln, vla, cel)
Vistas (score - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861811 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 24 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861811 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 24 pages. Mark O'Connor Musik International #6202301. Published by Mark O'Connor Musik International (A0.861811). Vistas (score – vln, vla, cel) MO143AScore (parts available)Music by Mark O’Connor20 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalVistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO143ACopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$7.50 ≈
$10.11
Vistas (viola part - vln, vla, cel)
Vistas (viola part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861809 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861809 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202313. Published by Mark O'Connor Musik International (A0.861809). Vistas (viola – vln, vla, cel) MO143CViola Part (score and parts available)Music by Mark O’Connor7 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony Classical Vistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony Classical Catalogue Number MO143CCopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Vistas (violin part - vln, vla, cel)
Vistas (violin part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861810 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861810 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202307. Published by Mark O'Connor Musik International (A0.861810). Vistas (violin part – vln, vla, cel) MO143BViolin Part (score and parts available)Music by Mark O’Connor6 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalVistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony Classical Catalogue Number MO143BCopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Vistas (cello part - vln, vla, cel)
Vistas (cello part - vln, vla, cel)
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Mark O’Connor
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Mark O'Connor
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Vistas
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Mark O'Connor Musik International
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SheetMusicPlus
String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861812 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pa...
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String Ensemble,String Trio - Level 5 - Digital Download SKU: A0.861812 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 12 pages. Mark O'Connor Musik International #6202317. Published by Mark O'Connor Musik International (A0.861812). Vistas (cello – vln, vla, cel) MO143DCello Part (score and parts available)Music by Mark O’Connor8 pages - 10:20 minutes in length Vistas for violin, viola and cello (1999), was composed by Mark O’Connor and is featured on the Appalachian Journey album, recorded with Yo-Yo Ma and Edgar Meyer. In describing Vistas, Mark O’Connor explains the works initial inspiration came from his home studio in Vista, California. From his studio he has three magnificent views. In composing the piece he contemplated the three different views of the musicians, their three personalities and how they come together to speak the same language to say the same thing. In his liner notes for the album, respected classical producer and author John Schaefer describes the work as sprawling, almost narrative. A very small theme is explored separately by all three instruments, each arriving at the same melodic conclusion but at different points. Put together in almost a symphonic form, Vistas suggests a journey beneath big skies and far-off horizons, and finally, a return home. The music is suited for advanced and intermediate levels. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1999 Composed By Mark O’ConnorOriginally released on Appalachian Journey featuring Mark O’Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalVistas can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridgesAlso on The Essential Mark O’Connor Sony ClassicalCatalogue Number MO143DCopyright © 1999 by Mark O’Connor Music InternationalFor more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$4.50 ≈
$6.06
Élégie
Élégie
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Guitar
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INTERMEDIATE
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Contemporary
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Francis Bebey
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Ingrid Riollot
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Élégie
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Les Editions Doberman-Yppan
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SheetMusicPlus
Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Ypp...
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Guitar - Intermediate - Digital Download SKU: ZY.DO-1522 Composed by Francis Bebey. Arranged by Ingrid Riollot. Score. 5 pages. Les Editions Doberman-Yppan (digital) #DO 1522. Published by Les Editions Doberman-Yppan (digital) (ZY.DO-1522). Francis Bebey est né à Douala en juillet 1929, dans une grande famille où son père, pasteur, luttait pour nourrir ses enfants. Mais Francis a eu l'opportunité d'aller à l'école. Admirant son frère aîné, Marcel Eyidi Bebey, il s'est éduqué, s'est distingué, et a finalement reçu une bourse pour passer son baccalauréat en France.Nous approchions de la fin des années 1950 lorsqu'il est arrivé à La Rochelle. Plus que jamais, dans cette France où les Africains étaient regardés avec curiosité, condescendance ou dédain, Francis s'appuyait sur ses ressources intellectuelles. Travailleur assidu, il a obtenu son baccalauréat, puis s'est installé à Paris où il a commencé des études d'anglais à la Sorbonne. Un jour, il a su ce qui l'attirait vraiment : il voulait faire de la radio. Francis a appris son métier en France et aux Ã?tats-Unis.Après avoir travaillé quelques années comme reporter, il a été embauché en 1961 en tant que fonctionnaire international au Département de l'information de l'UNESCO.Parallèlement, Francis a toujours été attiré par la création musicale. Son activité diurne très sérieuse ne l'empêchait pas de fréquenter les clubs de jazz le soir. Ã? Paris, le jazz, la musique à la mode à cette époque, mais aussi la rumba et la salsa l'attiraient. Il collectionnait les disques et assistait à de nombreux concerts. Avec son complice Manu Dibango, Francis montait sur scène et jouait de la musique.Francis aimait la musique classique depuis son enfance. Il avait grandi en écoutant les cantates et les oratorios de Bach ou Handel que son père chantait au temple. Il s'est passionné pour la guitare, impressionné par les maîtres espagnols et sud-américains, et a décidé d'apprendre à jouer de l'instrument lui-même.Il a commencé à composer des pièces pour guitare, mêlant les diverses influences qui le traversaient avec la musique traditionnelle africaine qu'il portait en lui depuis son enfance. Son approche a captivé le directeur du Centre culturel américain (alors situé dans le quartier de Saint-Germain à Paris), qui lui a offert l'opportunité de se produire devant un public. Francis y a donné son premier récital de guitare (1963) devant un public hypnotisé. Son premier album solo est sorti peu de temps après.Progressivement, Francis est devenu reconnu comme musicien et compositeur. Plusieurs albums de l'ambassadeur africain de la guitare, comme le décrivait la presse, sont sortis. Il a également écrit des livres, au point que sa carrière artistique est devenue difficile à concilier avec sa carrière de fonctionnaire. En 1974, même s'il était devenu le directeur général chargé de la musique à l'UNESCO, il a fait le saut audacieux et a démissionné de cette prestigieuse institution pour se consacrer aux trois activités qui l'intéressaient : la musique, la littérature et le journalisme.Il a exploré le patrimoine musical traditionnel du continent africain, notamment à travers le piano à pouce sanza et la musique polyphonique des pygmées d'Afrique centrale, ou en chantant dans sa langue maternelle et en composant des chansons humoristiques en français !Le succès a suivi. Francis Bebey a parcouru le monde : de la France au Brésil, du Cameroun à la Suède, de l'Allemagne aux Caraïbes, ou du Maroc au Japon... la liste des pays où il a été invité à se produire, à donner des conférences ou à rencontrer des lecteurs est très longue. En plus de la reconnaissance publique, il bénéficiait de la reconnaissance de ses collègues musiciens, tels que le guitariste John Williams ou le Vénézuélien Antonio Lauro, qui l'ont invité à faire partie du jury d'un concours de guitare classique à Caracas.Sa vie était le voyage d'un pionnier africain, un homme enraciné dans son patrimoine culturel et portant un message de partage et d'espoir pour le monde. Son originalité continue de résonner dans le monde entier depuis son décès à la fin du mois de mai 2001.Francis Bebey was born in Douala in July 1929, into a large family where his father, a pastor, struggled to feed his children. But Francis had the opportunity to go to school. Admiring his elder brother, Marcel Eyidi Bebey, he educated himself, distinguished himself, and eventually received a scholarship to go and take his baccalaureate in France.We approached the end of the 1950s when he arrived in La Rochelle. More than ever, in this France where Africans were looked at with curiosity, condescension, or disdain, Francis relied on his intellectual resources. A diligent worker, he obtained his Baccalaureate, then moved to Paris where he started English studies at the Sorbonne. One day, he knew what truly attracted him: he wanted to do radio. Francis learned his craft in France and in the USA.After working for a few years as a reporter, he was hired in 1961 as an international civil servant in the UNESCO Information Department.In parallel, Francis had always been drawn to musical creation. His very serious daytime activity didnâ??t prevent him from frequenting jazz clubs in the evenings. In Paris, the Jazz, the trendy music of that time, but also rumba and salsa attracted him. He collected records and attended numerous concerts. With his accomplice Manu Dibango, Francis took the stage and played music.Francis liked classical music since his childhood. He grew up listening to the cantatas and oratorios of Bach or Handel that his father had sung in the temple. He became passionate about the guitar, impressed by the Spanish and South American masters, and decided to learn to strum the instrument himself.He started composing guitar pieces, blending the various influences that flow through him with the traditional African music he had carried within since childhood. His approach captivated the director of the American Cultural Center (then located in the Saint-Germain neighborhood of Paris), who offered him the opportunity to perform in front of an audience. Francis gave his first guitar recital there (1963) in front of a mesmerized audience. His first solo album was released shortly thereafter.Gradually, Francis became recognized as a musician and composer. Several albums of the African guitar ambassador, as described by the press, were released. He also wrote books, to the point that his artistic career became challenging to reconcile with his career as a civil servant. In 1974, even though he had become the General Manager in charge of music at UNESCO, he took the bold leap and resigned from this prestigious institution to dedicated himself to the three activities that interested him: music, literature, and journalism. He explored the traditional musical heritage of the African continent, notably through the thumb piano sanza, and the polyphonic music of the Central African pygmies, or singing in his native language and composing humoristic songs in French!Success followed. Francis Bebey traveled the world: from France to Brazil, Cameroon to Sweden, Germany to the Carribean, or Morocco to Japan... the list of countries where he was invited to perform, gives lectures, or meets readers is very long. In addition to public recognition, he enjoyed the recognition of his fellow musicians, such as guitarist John Williams or Venezuelan Antonio Lauro, who invited him to be a part of the jury for a classical guitar competition in Caracas.His life was the journey of an African pioneer, a man rooted in his cultural heritage and carrying a message of sharing and hope for the world. His originality continues to vibrate around the world since his passing at the end of May 2001.
$3.95 ≈
$5.32
Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
Six Sonates d'un genre facile et agréable à violoncello et basso, op. 28
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Cello, String Bass (duet)
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BEGINNER
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Jean-Baptiste Breval
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Yuriy Leonovich, Michele Galva
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Six Sonates d'un genre facile
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leo...
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Instrumental Duet Cello,Double Bass,Instrumental Duet - Level 1 - Digital Download SKU: A0.841356 Composed by Jean-Baptiste Breval. Arranged by Yuriy Leonovich, Michele Galvagno. Classical,Instructional,Standards. Score and parts. 106 pages. Artistic Score Engraving di Galvagno Michele #6029285. Published by Artistic Score Engraving di Galvagno Michele (A0.841356). Jean-Baptiste Sebastien Bréval (1753-1823) was a French cellist and composer, who is, perhaps, best known for his cello sonatas, namely the ones in C major (Op. 40, No. 1) and G major (Op. 12, No. 5). Bréval was one of the last students of the cellist and composer Martin Berteau (1691-1771), continuing his teacher’s tradition of composing sonatas for cello with bass accompaniment. With both composers, the bass part was to be played by a second cello, very likely by the cello teacher. Many cellists opt in to have Berteau’s unfigured bass part realised by a harpsichord. However, the two-cello layout was common in the late Classical Era, especially in method books, such as Bréval’s own Traité du violoncelle (where Bréval states that the bass and the cello are one and the same), as well as Romberg’s, Dotzauer’s, et al. Romberg and Dotzauer even composed sonatas for cello and basso (second cello) accompaniment as well, Op. 43 and Op. 103, respectively. Our current publication presents student cellists with a beautifully engraved edition of Bréval’s 6 Cello Sonatas, Op. 28 and Air de Malborough, Op. 13. Bréval composed the Sonatas in c1795, most likely in conjunction with Op. 40, since Op. 28, No. 1 picks up right where Op. 40, No. 6 leaves off. Whereas Op. 40 and Op. 28, Nos. 1-4 are in two fast movements, Op. 28, Nos. 5 and 6 include a slow middle movement, No. 6 even using the thumb. The autograph, which the editor used as the primary source, and the first edition both present each sonata on four pages in score form. Our volume includes a score and parts for each player. The cello part includes fingering and bowing suggestions by Yuriy Leonovich. Each sonata begins with an Allegro movement in sonata form. The finales vary from five-part rondos (Nos. 1, 3, 5), to sonata form (Nos. 2, 6), to theme and variations (No. 4). The slow movement of No. 5 is in simple binary form, and No. 6 is in simple ternary. The six keys Bréval used for Op. 28 are the same as the ones he used for Op. 40, only in a different order. Op. 40 uses the following order: C, F, G, B-flat, A, D. Op. 28 uses the following order: D, C, A, G, B-flat, F. The Op. 28 sonatas are primarily written in tenor clef, whereas Op. 40 is primarily written in bass clef. The playing range is identical for both sets, with the exception of the high B-flat in m. 46 in the slow movement of No. 6, and high B and C in m. 37 of the finale of No. 6. Bréval explores more advanced bow techniques as well.
$24.95 ≈
$33.62
Volcán
Volcán
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Jazz combo
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INTERMEDIATE/ADVANCED
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Latin/World Music
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Eduardo Arolas
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Mike Strand
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Volcán
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Michael M. Strand
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SheetMusicPlus
Jazz Combo - Level 4 - Digital Download SKU: A0.970739 Composed by Eduardo Arolas. Arranged by Mike Strand. Concert,Jazz,Latin,World. Score and parts. 3 ...
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Jazz Combo - Level 4 - Digital Download SKU: A0.970739 Composed by Eduardo Arolas. Arranged by Mike Strand. Concert,Jazz,Latin,World. Score and parts. 3 pages. Michael M. Strand #4895835. Published by Michael M. Strand (A0.970739). Arranged by Mike Strand, ASCAPâ??This is a lead sheet for a jazz or Latin combo or ensemble. It may serve as the basis for a variety of arrangements, improvisations, or contrafacts.The audio sample is a jazz bossa nova iReal Pro accompaniment, combined with the lead sheet melody in Finale PrintMusic. In this arrangement, you will hear acoustic guitar and violin, often heard in tango ensembles in the early 20th century. This bossa nova is inspired by Eduardo Arolasâ??s never-published tango, Volcán (Volcano). At least itâ??s never been published according to the todotango.com web site. Eduardo Arolas is a famous tango composer who is well documented on that web site. Also on that web site, you can listen to Osvaldo Requenaâ??s piano performance of Volcán from Arolasâ??s original piano sheets (written circa 1917). Years ago, I developed and wrote a tango quintet arrangement of Volcán by listening carefully to Requenaâ??s recorded piano performance on the web site. My quintet arrangement, in turn, was my source for writing this bossa nova arrangement. So, now Volcán has finally been published, but as a bossa nova! Wherever Señor Arolas may be, I hope he understands. In this bossa nova arrangement, I believe I've preserved the spirit of Arolas's original tango.Without knowing exactly what was in Eduardo Arolas's mind when he wrote the original tango, this is my personal idea of the message behind the music:Introduction: Let me tell you a story about a volcano that happened long ago.Part A (bars 5-20): It's a sad tale about human helplessness and suffering in the face of natural catastrophe.Part B (bars 21-36): The people living in a town below a volcanic peak were going about business, leisure, and play, experiencing the ordinary cares and pleasures of life.Part C (bars 41-52): One day, without warning, the volcano erupted, with smoke, falling hot rocks and ash, and hot lava flows. Some folks got away, but others were killed, buried or injured, and all that was left of the town was devastation, suffering, and, eventually, calm.Part A' (bars 53-end): A sad tale, but may we learn from it, and may the souls of the poor victims rest in peace.If you listen to and read the lyrics of Arolas's great tango, La Cachila, or listen to another superb tango of his, El Marne, you will witness further his talent and skill in composing dramatic music. My piano arrangement of La Cachila is for sale on this web site.
$2.50 ≈
$3.37
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (wind parts – symphony orchestra)
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Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861960 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 176 pages. Mark O'Connor Musik International #6209395. Published by Mark O'Connor Musik International (A0.861960). Americana Symphony Variations on Appalachia Waltz (wind parts – symphony orchestra) MO164B-IWind Parts (score and parts available)Music by Mark O’Connor164 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
$107.81
Americana Symphony "Variations on Appalachia Waltz" (string parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (string parts – symphony orchestra)
#
Orchestra
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ADVANCED
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Mark O'Connor
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Americana Symphony "Variations
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Mark O'Connor Musik International
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861963 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 163 pages. Mark O'...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861963 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 163 pages. Mark O'Connor Musik International #6209407. Published by Mark O'Connor Musik International (A0.861963). Americana Symphony Variations on Appalachia Waltz (string parts – symphony orchestra) MO164U-ZString Parts (score and parts available)Music by Mark O’Connor163 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American. Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
$107.81
Americana Symphony "Variations on Appalachia Waltz" (brass parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (brass parts – symphony orchestra)
#
Orchestra
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ADVANCED
#
Mark O'Connor
#
Americana Symphony "Variations
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Mark O'Connor Musik International
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861961 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 162 pages. Mark O'...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861961 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 162 pages. Mark O'Connor Musik International #6209399. Published by Mark O'Connor Musik International (A0.861961). Americana Symphony Variations on Appalachia Waltz (brass parts – symphony orchestra) MO164J-PBrass Parts (score and parts available)Music by Mark O’Connor162 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$80.00 ≈
$107.81
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (percussion parts – symphony orchestra)
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Orchestra
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ADVANCED
#
Mark O'Connor
#
Americana Symphony "Variations
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Mark O'Connor Musik International
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'C...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861962 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 99 pages. Mark O'Connor Musik International #6209401. Published by Mark O'Connor Musik International (A0.861962). Americana Symphony Variations on Appalachia Waltz (percussion parts – symphony orchestra) MO164Q-TPercussion Parts (score and parts available)Music by Mark O’Connor99 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$50.00 ≈
$67.38
Americana Symphony "Variations on Appalachia Waltz" (score – symphony orchestra)
Americana Symphony "Variations on Appalachia Waltz" (score – symphony orchestra)
#
Orchestra
#
ADVANCED
#
Mark O'Connor
#
Americana Symphony "Variations
#
Mark O'Connor Musik International
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.861959 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 93 pages. Mark O'C...
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Full Orchestra - Level 5 - Digital Download SKU: A0.861959 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 93 pages. Mark O'Connor Musik International #6209393. Published by Mark O'Connor Musik International (A0.861959). Americana Symphony Variations on Appalachia Waltz (score – symphony orchestra) MO164AScore (parts available)Music by Mark O’Connor86 pages – 33:00 minutes in length Americana Symphony Variations on Appalachia WaltzFor Large Symphony Orchestra3333/4331/timp/perc/pno/harp+stringsComposed and orchestrated by Mark O’Connor 1st Movement: Brass Fanfare: Wide Open Spaces2nd Movement: New World Fanciful Dance3rd Movement: Different Paths Towards Home4th Movement: Open Plains Hoedown5th Movement: Soaring Eagle, Setting Sun6th Movement: Theme: Splendid HorizonsNote: Any movement or combination of the movements can be singled out or re-organized for performance. Most any order of movements is acceptable. Suggestions for consideration included I., II., III., and IV., all recommended as stand alone pieces. Most an order of movements is acceptable. The composition was designed for maximum flexibility. Three or four movements combine to make a shorter variation Symphony. What is American Classical music? This CD contains Mark O'Connor's latest orchestral works: Americana Symphony Variations on Appalachia Waltz(2006) and Concerto No. 6 Old Brass (2003). Sony Classical//BMG label director Gilbert Hetherwick explains; Dvorak and Copland painted symphonic landscapes using melodies inspired by the Americana tradition, and Mark O'Connor actually comes from that tradition itself. He's lived it every day of his life. And you hear it in every note of his Americana Symphony. For the majority of his solo career, O'Connor has dedicated himself to composing for orchestra: he has written six full-length concertos, several orchestral suites and string orchestra compositions, and most recently his first Symphony.David Wallace, Juilliard School faculty member and Senior Teaching Artist with the New York Philharmonic, comments on the overall characteristics of O'Connor's music: The Americana Symphony combines historical narrative with classical and folk variation principles. The Symphony contains instrumental virtuosity, rhythmic drive, poignant lyricism, and probing counterpoint. With the Americana Symphony, Mark O'Connor provides his answer to a question that has intrigued U. S. composers since the debut of Dvorak's New World Symphony in 1892: How do you write the great American Symphony?William Intrilligator, artistic director of the Dubuque Symphony, conducted one of the first performances of the Americana Symphony: Very few pieces of new music have the same emotional and visceral effect as this Symphony, he writes. It has such power and beauty, and these traits are expressed in original ways that are pure O'Connor and truly American.Marin Alsop, artistic director of the Baltimore Symphony Orchestra and this recording's conductor of the Americana Symphony, calls the Symphony simply A hit! Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 - 2007 Composed by Mark O’ConnorCommissioned by: Cabrillo Music Festival and Marin Alsop, Colorado Symphony, Dubuque Symphony, Fargo Moorhead Symphony, Fox Valley Symphony, Garrett Lakes Arts Festival, Greater Anderson Musical Arts Consortium, Imperial Symphony, Reading Symphony, Richmond Symphony, Rockford Symphony, Santa Fe Symphony, Springfield Symphony, Springfield Symphony, Symphony Silicon Valley, Youngstown Youth Symphony. Can be heard on Americana Symphony! OMAC RecordsBaltimore Symphony Orchestra, Marin Alsop
$40.00 ≈
$53.90
Harmony (string parts – violin and string orchestra)
Harmony (string parts – violin and string orchestra)
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String Orchestra
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ADVANCED
#
Mark O'Connor
#
Harmony
#
Mark O'Connor Musik International
#
SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.861939 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 59 pages. Mark O...
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String Orchestra - Level 5 - Digital Download SKU: A0.861939 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 59 pages. Mark O'Connor Musik International #6208193. Published by Mark O'Connor Musik International (A0.861939). Harmony (string parts – violin and string orchestra) MO168C-GString Parts (score and parts available)Music by Mark O’Connor39 pages - 12:00 minutes in length Harmony Musicians For Harmony, an organization founded in response to the tragic events of 9/11, asked me to compose a chamber orchestra piece for their September 11, 2006 concert in New York City . I have composed Harmony for this remembrance concert. What I wished to do in composing this music was to reveal a more Middle Eastern tonality to my style which is derived from American folk fiddle music. As I become more and more familiar with American music in my own musical journey, I also learn that the music I like so much has many layers. It exposes mystery in its origins when one cares to peel back these layers. It is likely these Middle Eastern cultures play more of a role in American fiddling (and American music in general) than previously thought.In Harmony I use descriptive phrases printed in the score to indicate the temperament and journey of the music. Reaching Out begins the piece with its inviting and inquisitive drones. Throughout the piece there are several interpretations of the material with canonic and fugal writing. The music of Harmony is based on the same material constructed in a slow tempo in the beginning, a moderate tempo in the middle of the piece, and a fast fiddling tempo near the end. With hope in heart and music, I contribute Harmony on this painful day of remembrance. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorCommissioned by Musicians For HarmonyFor the 5th Anniversary Concert for Peace 2006Merkin Hall, New York, NY – September 11th, 2006 Catalogue Number MO168C-GCopyright © 2006 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$22.50 ≈
$30.32
Harmony (violin solo part – violin and string orchestra)
Harmony (violin solo part – violin and string orchestra)
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String Orchestra
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ADVANCED
#
Mark O'Connor
#
Harmony
#
Mark O'Connor Musik International
#
SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.861938 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O...
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String Orchestra - Level 5 - Digital Download SKU: A0.861938 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6208191. Published by Mark O'Connor Musik International (A0.861938). Harmony (violin solo part – violin and string orchestra) MO168BViolin Solo Part (score and parts available)Music by Mark O’Connor6 pages - 12:00 minutes in length Harmony Musicians For Harmony, an organization founded in response to the tragic events of 9/11, asked me to compose a chamber orchestra piece for their September 11, 2006 concert in New York City . I have composed Harmony for this remembrance concert. What I wished to do in composing this music was to reveal a more Middle Eastern tonality to my style which is derived from American folk fiddle music. As I become more and more familiar with American music in my own musical journey, I also learn that the music I like so much has many layers. It exposes mystery in its origins when one cares to peel back these layers. It is likely these Middle Eastern cultures play more of a role in American fiddling (and American music in general) than previously thought.In Harmony I use descriptive phrases printed in the score to indicate the temperament and journey of the music. Reaching Out begins the piece with its inviting and inquisitive drones. Throughout the piece there are several interpretations of the material with canonic and fugal writing. The music of Harmony is based on the same material constructed in a slow tempo in the beginning, a moderate tempo in the middle of the piece, and a fast fiddling tempo near the end. With hope in heart and music, I contribute Harmony on this painful day of remembrance. Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 2006 Composed by Mark O’ConnorCommissioned by Musicians For HarmonyFor the 5th Anniversary Concert for Peace 2006Merkin Hall, New York, NY – September 11th, 2006 Catalogue Number MO168BCopyright © 2006 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$12.00 ≈
$16.17
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