Voir toutes les partitions de Sergei Prokofiev
SKU: HL.234540
9.0x12.0x0.09 inches. English.
'This set of miniatures is based on traditional dance songs of the Yupik Eskimo people of Western Alaska. In their original forms, these melodies would be sung in unison. The first, third and fifth songs would be accompanied by frame drums. The second and fourth are game songs, for jumping rope and juggling pebbles. Aside from the obvious difference in instrumentation, my settings of these songs differ from the Yup'ik originals in other respects. I have extended and varied the melodies, and added countermelodies, ostinato figurations, introductions, interludes and codas. The first four melodies are drawn from the collection Yup'ik Eskimo songs, compiled by Thomas F. Johnston, and Tupou L. Pulu, and published by the University Of Alaska. The fifth was 'loaned' to me by Yup'ik singer and dancer Chuna McIntyre, who learned it in his village of Eek, Alaska. The poems preceding each piece are rough translations of the words to the songs. These verses are often cryptic and enigmatic. Their obscurity is increased because some of the words or their meanings have been lost, over time.' - John Luther Adams.
SKU: AP.36-M181291
UPC: 660355185809. English.
Maurice Ravel (1875-1937) wrote the first of his CINQ MÉLODIES POPULAIRES GRECQUES (Five Greek Folk Melodies) in 1904 at the urgent request of Pierre Aubry, who wished to illustrate a lecture he was giving on Greek folksong. Initially given five folksongs from which to choose, Ravel supplied a piano accompaniment for them in only thirty-six hours. Having impressed those who supplied the original five, three more were produced, which Ravel also quickly set to piano accompaniment, in a style imitative of the Mediterranean lands, but remaining distinctly French in its execution. The five melodies in this collection were selected from those eight. Ravel had started orchestrating all five as well, completing two, leaving Manuel Rosenthal to complete the remaining three. Songs in the collection: I. Le Réveil de la Mariée (Wake Up, My Dear), II. Là -bas, vers l'église (Out There, Where the Church Tower), III. Quel galant m'est comparable (Which Gallant Can Compare With Me?), IV. Chanson des cueilleuses de lentisques (Song of the Lentisk Gatherers), and V. Tout gai! (Be Gay!). The Ravel/Rosenthal orchestrations have been edited by Clinton Nieweg in an edition available from E.F. Kalmus.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: HL.134327
8.25x11.5x0.074 inches. Author: Lutoslawski.
Folk Melodies (Melodie Ludowe), composed in 1945, initiated a few year long period of Witold Lutoslawski's interest in Polish folk music. These twelve piano miniatures full of peculiar charm are based on simple folk melodies from different regions of Poland (taken from Jerzy Olszewski's collections of folk melodies) which were perfectly set into a sophisticated harmonic substance and pulled into interesting metro-rhythmic adventures. In principle, as they were thought for pedagogical purposes and were bringingthe young performers closer to contemporary music, thanks to a unique take-on and sublime artistic values, Folk Melodies are impressive stage compositions. Five melodies from this cycle (nos 1-2, 10-12) were instrumentalised by the composer to a string band.
SKU: HL.233157
9.25x12.0x0.13 inches.
Includes two copies of the performance score These pieces are inspired by the music and spirit of the Athabascan people of Alaska's boreal forest. The first and third dances are based on songs by Joe Beetus, a Koyukon elder from the village of Huslia. The second dance is based on a short traditional song of the Dena'ing people of the Kenai Peninsula, as remembered by the late Peter Kalifornsky and transcribed by the late Thomas F. Johnston. In their original setting these melodies would be sung in unison, with no harmony or counterpoint. Working as a composer in the Western tradition, I have extended and transformed them in many ways. I have 'borrowed' and 'set' these melodies with permission and with the hope that my treatment of them conveys my profound respect for their origins. The second and third pieces are derived from my setting of poems by Adeline Peter Raboff written in the dialect of her Gwich'in people, who inhabit the country from Arctic Village to Old Crow. I offer this music as a gesture of respect to the first peoples of the Northern Interior and the Kenai Peninsula. - John Luther Adams.
SKU: HL.44007105
ISBN 9789043126342. UPC: 884088163020. 9x12 inches. English-German-French-Dut ch.
Dedicated to the first worldwide hit in 5/4 - Take Five, Gimme Five! uses a rhythm that is identical to the classic jazz hit. It also reflects the semi-modal approached used by saxophonist Paul Desmond when he performed one of the few jazz melodies that is instantly recognisable. This swinging piece will bring back memories of the Dave Brubeck Quartet and will be extremely popular with both players and audiences. Dit is een ode aan de eerste wereldwijde hit in de 5/4 maatsoort - Take Five van saxofonist Paul Desmond. Het basisritme is identiek aan dat van Take Five, namelijk een groepje van drie gevolgd door een groepje van tweekwartnoten. Behalve het ritme weerspiegelt Gimme Five de semi-modale benadering van Desmonds klassieker. In de openingspassage komen frasen van steeds twee maten naar voren, die op elkaar worden gestapeld, waardoor hetmodale effect wordt gecreeerd. Een geslaagde compositie, die niet onderdoet voor Desmonds klassieker!Gim me Five! ist dem ersten weltweiten Hit im 5/4-Takt gewidmet - Take Five vom Saxophonisten Paul Desmond. Ausser der rhythmischen Ahnlichkeit, spiegelt sich in Gimme Five! auch der semi-modale Ansatz von Desmonds Klassiker wider. In den Eroffnungstakten erzeugen zweitaktige ubereinander gelagerte Ostinato-Phrasen den modalen Effekt. Eine gelungene Komposition, die sich hinter Desmonds Klassiker nicht zu verstecken braucht! Gimme Five! e un omaggio musicale al primo grande successo in 5/4, Take Five del sassofonista Paul Desmond. La pulsazione fondamentale e identica a quella del jazz classico. Oltre all'assomiglianza ritmica, i due brani condividono l'approccio semi-modale utilizzato da Paul Desmond.
SKU: FG.55011-807-2
ISBN 9790550118072.
Ahti Sonninen's brisk arrangements of Nordic melodies are set for string orchestra without violas (violin I, II, III, cello I, II and double bass). Idiomatic, variable writing and short movements make the the five-movement-series perfect for for young string players. This product includes the full score and a set of parts (3-3-3 violin parts, 2-2 cello parts and 1 double bass part). Movements: I Merimiestanssi – Folk melody from Iceland II Je beder eder, alle mine maend – Folk song from Denmark III Pål sine høner – Folk song from Norway IV Värmlandsvisan – Folk melody from Sweden V Karjalan kisa – Folk melody from Finland.
SKU: HL.50510086
ISBN 9790080400715. UPC: 073999621211. 5.5x8.0x0.091 inches. Hungarian, English, German. Bela Bartok.
'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartok had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartok explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartok was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).
SKU: BT.EMBZ40071
English-German-Hungari an.
'Dances of Transylvania is the orchestral version of 'Sonatina' (1915). In Sonatina, Bartók had arranged Romanian instrumental (chiefly bagpipe) music. The three movements of the work, 'Bagpipers', 'Bear Dance' and 'Finale' comprise five melodies. Bartók explained that each of the two melodies of the first movement had been played by two pipers, the second by a peasant violinist using the lower strings of the instrument to reproduce the sounds of a bear, and the two melodies of the 'Finale' again by two violinists. In the orchestral version Bartók was out to reproduce the original sonority created by the peasants.' (HCD 32505 Bartók New Series Vol. 5, Virág Büky).
SKU: SS.50009360
Transcribed from Five Pieces for String Quartet.
SKU: SU.50009350
Transcribed from Five Pieces for String Quartet Published by: Seesaw Music.
SKU: AY.FG04
ISBN 9790302102144.
An original work for flute and guitar that includes five distinct movements including flowing melodies, rhythmic sections, and a bit of humor. Excellentfor recital programming, the movements may be played as a whole orindividually.
SKU: UT.ODH-35
ISBN 9790215322578. 9 x 12 inches.
L’am orosa caccia is a collection of 24 madrigals for five voices, created specially by as many composers originating from Mantua. All were distinguished professional people, working within the church, at court or in the Palatine basilica of Saint Barbara, and music lovers of noble birth from the area who were somehow connected to the Academy of the Invaghiti, or perhaps part of the same. Among the established musicians of the collection are to be mentioned: G.M. Bacchino, H. Baccusi, P. Cantino, A. Coma, G. Moro, S. Nascimbeni, A. Nuvoloni, N. Parma, G.B. Recalchi, F. Rovigo, A. Striggio, R. Trofeo. The lesser-known, however, seem to be: C. Accelli, E. Ceruti, S. Cressoni, P. Marni, A. Preti, while the following: H. Borelli, C. Ceruti, O. Grassi, P. Massari, G.B. Orto, F. Ramesini, C. Zucca have become known as composers only thanks to L’amorosa caccia. The realization in score of the madrigals has made it possible to bring to light this collection, establishing its actual musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer. If some of them have proved to be completely in line with the practices of the time, verging on Augenmusik, others stand out for the wide variety of their harmonies, melodies and rhythms, seeking the best musical expressions to express the affetti contained in the text. There are no major breakthroughs, but, if the contrapuntal procedures are as to be expected, the body of voices, the experimentation, the interplay between the parts and the harmonic sensitivity show familiarity with the vocal virtuosity of the concerti di dame of Ferrara and Mantua, bringing out what was most modern at the time. The possibility that these madrigals may actually have been performed by that very group of talented singers is enchanting and entirely plausible.
SKU: FG.55011-648-1
ISBN 9790550116481.
Lars Karlsson's Five Aphorisms (1973, originally for piano) combines playful characters with long-lined melodies. Kari Jamback's arrangement for flute and guitar is suitable also for pedagogical use. The set includes a full score and separate parts. Duration c. 6' 1. Prelude 2. Romans 3. Humoresque 4. Canon 5. Final.
SKU: SS.50009350
SKU: GI.G-9657
UPC: 785147965763.
Chara cteristic of Powellâ??s writing style, Five Organ Preludes on Plainsong Tunes is very musical and expressive throughout. The melodies flow smoothly in and outâ?? sometimes in a polyphonic texture and sometimes clearly stated with a solo organ stop. The unmeasured notation and beaming of each tune matches the style of the original chants. Most of the sections are written for three manuals, but they can easily be adapted to a two-manual instrument. Registration suggestions are provided.
