Epitaphs

Contents: The Earth Goeth on the Earth £ Hymnus Circo Exsequias Defuncti £ Two Epitaphs from Arbroath Abbey £ Colours of Rain and Iron. Duration: ca. 14 minutes.

Five Epitaphs. Par RHODES PHILLIP. SATB a cappella - Durée: 7. 5 min / Contemporain / Feuillet / A Cappella

Book 3 in this very special series of song cycles by Timothy Bowers is for baritone and piano. The work explores texts that are by turns witty ironic and uplifting. The subjects are the poet Dylan Thomas William Pitt the Younger Oscar Wilde and Broadway impresario Florenz Ziegfeld; and settings of two comic/ironic epitaphs by Byron - one addressed to the much-despised politician Castelreagh the other a poignant salute to the poet's dog Boatswain.

The last words of famous people whether real or invented exert a strange fascination. Breaking with the tradition that a song cycle is a setting of poetry Timothy Bowers has chosen the last words of fourteen famous (in one case infamous) characters from history and two comic/ironic epitaphs by Byron as his texts. Each collection provides a short (c 7’) concert work with settings ranging from fifteen seconds to five minutes duration.Book 1 is for Soprano and Piano. Two poets (Gertrude Stein and Emily Dickenson) followed by two martyrs - St Joan of Arc and Anne Boleyn.

Voici une partition musicale pour Orchestre et plus spécialement pour Grande Formation que vous pouvez acquérir pour moins de 10C. Classée dans la catégorie Classique, cette partition dont le titre est EPITAPHE - PARTITION a été composée par le célèbre compositeur Devogel Jacques. C'est l'éditeur Billaudot sous la référence EDFR0038 1 qui a les droits pour éditer cette partition. / Grande Formation / Partition

Epitaph is a work for unaccompanied SSATBB chorus by Gordon Crosse. It is a setting of words by Sir Walter Raleigh.

Complete – Full Score-Epitaph written for a 31-piece ensemble was the masterwork of composer/bassist Charles Mingus. The extended suite is comprised of multiple movements reflecting a wealth of compositional styles (not just jazz) thatdemonstrate Mingus' invaluable contribution to 20th-century American music. Since its last performance 15 years ago additional movements have been discovered that were originally intended to be a part of the work. This unique500-page score includes these “missing movements” along with historical and program notes. Prepared and edited under the guidance of Gunther Schuller and Sue Mingus it provides a monumental resource for study andanalysis. The first jazz composition of such magnitude ever to be published it is presented in this edition as he left it: a summary work a portrait for all time of his life in music. “I wrote it for my tombstone.”- Charles Mingus