Matériel : Conducteur d'étude / Miniature
SKU: AP.47433
UPC: 038081544687. English.
Expose your students to one of the great compositions of the 19th century. This arrangement contains three of the more popular pieces from the original suite: Promenade, Baba Yaga (The Hut on Fowl's Legs), and The Great Gate of Kiev. A great contest or concert piece!
SKU: AP.47433S
UPC: 038081544694. English.
SKU: HL.49046544
ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches.
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).
SKU: HL.14000908
ISBN 9788759854648. 12.0x16.0x0.677 inches. English.
The title Marchenbilder, or Fairy-tale Pictures, borrowed from Schumann, awakens notions of music which in itself has a pictorial quality. In all, the score comprises six Fairytale Pictures, the first three of which form the first movement, the next two the second, whilst the sixth forms the last movement which is linked with the second without a break. The first two pictures have the same duration - one minute each - whilst the remainder hesitantly inerease in length until the final picture is almost five minutes long. For 14 instruments.
SKU: HL.50510054
ISBN 9790080400562. UPC: 073999670943. 5.75x8.0x0.221 inches. Bela Bartok.
'Composed in 1910, Bartok's 'Two Pictures' for orchestra, too, draws on Debussy and folk music. Indeed, the title itself is a reference to Debussy's famous piano cycle, 'Images'. The two movements, 'In Full Flower' and 'Village Dance' represent two Bartokian movement types. The first one is the delicate and intimate music of nature. Debussy's influence is most tangible here. The second movement, 'Village Dance' is only related to the previous movement through its tonal system. It is, rather, a sort of 'bone and muscle' music that belongs to the barbaro type of movements, and as such, consists of possibly the simplest elements. Long sections consist of the continual repetition of a primitive motif. The work was first performed three years after its completion, on 25 February 1913, by the Budapest Philhamonic Orchestra, under the baton of Istvan Kerner.' (HCD 32505 Bartok New Series Vol. 5, Virag Buky).
SKU: HL.283507
Exit Music for Orchestra was composed by Bent Sorensen in 2006-07. Exit Music was commissioned by the Bergen International Festival for the Bergen Philharmonic Orchestra, and is dedicated to Per Norgard on the occasion of his 75th birthday. Programme note It began with a dream, as it always does when I compose. I dreamt that I was standing in an open doorway on a hill in an otherwise open landscape. I do not know what was behind the door, but in front of it - towards the landscape - I saw my music disappearing. I stood looking for the music, and started to hear it, to remember it in time with its disappearance. The dream continued to recur as strange pictures in my daydreams, and I continued to try to write down the music that had vanished. It was also the dream that gave the piece its title- Exit Music. Exit Music is based on three simple songs (the songs that vanish through the doorway): a little lullaby, which continues to reappearin fragments; a strange polyphonic pop song that refers to a section of my opera Under the Sky; and a passionate little love song, which concludes the piece on the strings, very quietly and in unison. These simple songs are then constantly overpainted by enervating repeated motes in fairly simple rhythms, which push the songs out of the room. (Bent Sorensen).
SKU: HL.49004105
ISBN 9790001042611. UPC: 884088585600. 9.0x12.0x0.122 inches.
SKU: HL.4008703
UPC: 196288190837.
Strat oscape, by Swiss composer Gauthier Dupertuis, is a colorful and contrasting work for wind orchestra, depicting the view of our earth as seen from the stratosphere. This voyage into the sky is pictural, but also metaphorical, as it is also about distancing from our world. The work is divided into five sections: I Ignition!, II Broadness & The Big Blue, III Stars Shining from Down to Above, IV Destructive Forces, V One and Only Home Five contrasting movements, starting with Ignition in which Gauthier Dupertuis tries to musically convey the majesty of our planet seeing if from the atmosphere, ending with One and Only Hope, as the title say, a message of hope. In between three movements that depict the broadness of the landscapes of our planet (second movement), the fragility of our earth at night with only the stars shining (third movement). But also sheer reality in the fourth movement when the composer translates into music the damage caused toour planet by us human beings. Stratoscape: a fantastic view of Planet Earth!
SKU: P2.PZA90187
Concert Duets is a collection of 14 arrangements of works by prominent 18th-century composers, mostly taken from Trio Sonatas. Duet 11 is a Jim Self original work in the Rococo style; and Duets 12, 13 and 14 are arrangements of the three-movements of the Bach Concerto for Two Violins. Included with this edition are play-along recorded tracks by tubist Zach Collins, who also served as editor of the current edition.I created these duets as Christmas gifts for my tuba playing friends, with the first duet being arranged in 1976. All 14 of the duets are challenging and fun to play and are especially effective as concert pieces.As a young musician I had the privilege of playing duets with many of the world’s finest tubists including Harvey Phillips, John Fletcher, Bob Pallansch, Chester, Schmitz, Dan Perantoni, Toby Hanks, Ron Bishop, Winston Morris and Tommy Johnson. I learned more about playing music in these duo sessions than from any other musical activity I have ever experienced. Duets are powerful teaching tools for learning and mastering rhythm, phrasing and intonation and for developing overall musicianship.Jim Self:Self (b. 1943) is a Los Angeles free-lance musician, a veteran of thousands of Hollywood motion pictures, television shows and records, and tuba soloist on many prominent movies. His tuba was the “Voice of the Mothership†in Close Encounters of the Third Kind. He is Principal Tuba/Cimbasso with the Pacific and Pasadena Symphonies and the Los Angeles Opera and Hollywood Bowl Orchestras. Formerly he was in The U.S. Army Band and tuba / euphonium professor at the University of Tennessee. He holds a DMA from the USC Thornton School of Music where he is Adjunct Professor of Tuba and Chamber Music. His compositions and arrangements include works for solo tuba, brass quintet, other brass, string and woodwind chamber music, wind band and orchestra. Jim has produced many solo jazz and classical recordings. His music and recordings are available from Potenza Music and www.jimself.com. Jim Self is a Yamaha Performing Artist.Zach Collins, editor:Zach Collins is professor of Tuba and Euphonium at Indiana University of Pennsylvania. In 2019, he released his first solo album, Chronicle. It was recognized with the 2021 ITEA Roger Bobo Award for Excellence in Recording for the best Solo Tuba Album.His interpretation of William Kraft’s Encounters II for Solo Tuba was released on Cambria Master Recordings. Zach performs with Eastern Standard, a horn, tuba, piano trio he formed with Heidi Lucas and Jacob Ertl. The ensemble has released two commercial albums, Eastern Standard and Wanderlust.Zach regularly performs with the Keystone Chamber Winds, Altoona Symphony Orchestra, and West Virginia Symphony Orchestras. His compositions and arrangements for brass and for tuba and euphonium can be purchased from Cimarron Music and Eighth Note Publications. Zach earned degrees from Texas Christian University and the University of Southern California. His primary teachers have been Richard Murrow, Jim Self, Tommy Johnson, and Norm Pearson. Zach Collins is a Miraphone artist.
SKU: PR.415411560
UPC: 680160642946. 9 x 12 inches.
The Mythology Suite consists of three movements of my Mythology Symphony, which I arranged for large wind ensemble. The arrangements of The Lovely Sirens and Penelope Waits were commissioned by James Ripley and Carthage College for the Carthage Wind Orchestra's 2017 Japan tour. I added Pandora Undone to complete the set; Stephen Squires and the Chicago College of Performing Arts gave the premiere of the entire Suite in February 2017. Movement 1: The Lovely Sirens The Sirens were sea nymphs, usually pictured as part woman and part bird, who lived on a secluded island surrounded by rocks. Their enchanting song was irresistible to passing sailors, who were lured to their deaths as their ships were destroyed upon the rocks. The Lovely Sirens presents three ideas: the Sirens' beautiful song, an unfortunate group of sailors whose course takes them near the island, and the disaster that befalls the sailors. The sailors' peril is represented by the Morse code S.O.S. signal (three dots, three dashes, and three dots--represented musically by short and long rhythms). The S.O.S. signal grows increasingly more insistent and distressed as it becomes obvious that the sailors, smitten with the voices of the Sirens, are headed for their demise. Movement 2: Penelope Waits This quiet movement represents Queen Penelope, the faithful wife of Odysseus, as she patiently waits twenty years for her husband's return from fighting the Trojan Wars. Penelope herself is represented as an oboe. She is accompanied by the ensemble as she keeps at bay the suitors who wish to marry her and inherit her riches. Movement 3: Pandora Undone This movement is, in turns, both lighthearted and serious. The music depicts a young, naive Pandora who, while dancing around her house, spies a mysterious box. She tries to resist opening it, but her curiosity ultimately gets the best of her. When she cracks the lid open and looks inside, all evils escape into the world. Dismayed by what she has done, she looks inside the box once more. She discovers hope still in the box and releases it to temper the escaped evils and assuage mankind's new burden.The Mytholo gy Suite consists of three movements of my Mythology Symphony, which I arranged for large wind ensemble. The arrangements of The Lovely Sirens and Penelope Waits were commissioned by James Ripley and Carthage College for the Carthage Wind Orchestra’s 2017 Japan tour. I added Pandora Undone to complete the set; Stephen Squires and the Chicago College of Performing Arts gave the premiere of the entire Suite in February 2017.Movement 1: The Lovely SirensThe Sirens were sea nymphs, usually pictured as part woman and part bird, who lived on a secluded island surrounded by rocks. Their enchanting song was irresistible to passing sailors, who were lured to their deaths as their ships were destroyed upon the rocks. The Lovely Sirens presents three ideas: the Sirens’ beautiful song, an unfortunate group of sailors whose course takes them near the island, and the disaster that befalls the sailors. The sailors’ peril is represented by the Morse code S.O.S. signal (three dots, three dashes, and three dots—represented musically by short and long rhythms). The S.O.S. signal grows increasingly more insistent and distressed as it becomes obvious that the sailors, smitten with the voices of the Sirens, are headed for their demise.Movement 2: Penelope WaitsThis quiet movement represents Queen Penelope, the faithful wife of Odysseus, as she patiently waits twenty years for her husband's return from fighting the Trojan Wars. Penelope herself is represented as an oboe. She is accompanied by the ensemble as she keeps at bay the suitors who wish to marry her and inherit her riches.Movement 3: Pandora UndoneThis movement is, in turns, both lighthearted and serious. The music depicts a young, naïve Pandora who, while dancing around her house, spies a mysterious box. She tries to resist opening it, but her curiosity ultimately gets the best of her. When she cracks the lid open and looks inside, all evils escape into the world. Dismayed by what she has done, she looks inside the box once more. She discovers hope still in the box and releases it to temper the escaped evils and assuage mankind's new burden.
