Format : Sheet music
Le Cantique des Cantiques, adressé à Sulamith et attribué à Salomon, est un des textes les plus mystérieux de la Bible. Si le personnage de Salomon est énigmatique, celui de la 'fiancée' l'est plus encore. Saint Augustin et de nombreux autres exégètes on / Violoncelle Et Orgue / 32 pages / niveau : Intermédiaire à Avancé / Partition
SKU: SU.28120090
Orchestra Duration: 46' Composed: 2004 Published by: Alla Pavlova Music Alla Pavlova has written music for the ballet Sulamith, based on the 1923 story by Russian writer Alexandre Kuprin about the love of King Solomon for Sulamith, a servant from his vineyard. Instrumentation is for full symphony (winds: 3.2.3.2.; brass: 4.; 4.3.1.; Timp.; Perc. (Bells; Bass-dr.; Snare-dr; Susp.cymb.; Triangle; Tambour.; Tom-tom; Tam-tam; Vibroph.; Glock.); Hp; Pn; Organ (or Harmon.); Strings). The Sulamith Suite (which has been recorded by the Moscow Philharmonic for Naxos) can be heard at http://www.allapavlova.com/listen.html. Performance materials available on rental only:.
SKU: PR.114406980
UPC: 680160010806.
Shulamit Ran’s second string quartet, subtitled “Vistas,†occupies a large canvas that is cast in a traditional fourmovement mold, where the outer movements present, explore, and later return to the work’s principal musical materials, surrounding a slow movement and scherzo-type third movement with a trio. In addition to tempo-based titles, the individual movements have subtitles that are evocative of each movement’s character, as follows: I. Concentric: from the inside out II. Stasis III. Flashes IV. Vistas.My second string quartet, “Vistasâ€, is a work cast in a traditional four-movement formal mold, with the outer movements, presenting and later returning to the work’s principal musical materials, surrounding a slow movement and a scherzo-type third movement.While the four movements’ “proper†names -- Maestoso con forza, Lento, Scherzo impetuoso, and Introduzione; Maestoso e grande – give some indication of the general character of the individual movements, I have also subtitled, less formally, each movement as follows: 1) Concentric: from the inside out 2) Stasis 3) Flashes 4) Vista. The images evoked by these titles tell one, I think, a bit more about the inner workings of the quartet.In the first movement, a prominently presented opening pitch (E) reveals itself, as the movement unfolds, to be a center of gravity from which ever-growing cycles of activity gradually evolve. While various important themes come into being as the movement progresses, their impact on the listener has, I believe, a great deal to do with their juxtaposition and relationship to the initial central point of gravity.Stasis is, as the name implies, a movement where activity seems, at times, almost suspended. Being also, as Webster’s Dictionary reminds us, “a state of static balance and equilibrium among opposing tendencies or forces,†it develops various materials, including ones from the first movement, without bringing them to points of resolution.Flashes is short and very fast, evoking in my mind the quick shimmer of fireflies, a “sudden burst of lightâ€, but also a “brief timeâ€. Perhaps, even, a “smileâ€?Finally, the last movement, Vista, is not only “a view or outlookâ€, but also “a comprehensive mental view of a series of remembered or anticipated events.â€Â After a brief recall of the opening of the second movement, this movement brings back all the important themes of the first movement in their original order. But just as going back can never really mean going back in time, the movement is much more than recapitulatory. By cutting through previously transitory passages and presenting the main ideas in a fashion more direct yet more evolved, it also sheds new light on earlier events, offering a retrospective, synoptic view of the first movement as it brings to culmination the work as a whole. “Vistas†was commissioned by C. Geraldine Freund for the Taneyev String Quartet of what was then Leningrad. It was the first commission given in this country to a Soviet chamber ensemble since the 1985 cultural exchange accord between the Soviet Union and the United States.
SKU: PR.114422650
ISBN 9781491134528. UPC: 680160685004.
Charmingly packed with wit, grace, symbolism, and irony, Shulamit Ran’s THE FLIGHT OF THE BRAVE CHICKEN celebrates the life and work of a graphic artist and illustrator (who played clarinet), who lost her battle with cancer as a young adult. The six-minute duo begins as a dramatic dialog for bass clarinet and piccolo, gradually evolving to peaceful resolution for flute and clarinet. The work may be performed with projections of the original art panels that inspired the work.Brave Chicken was a character developed by Nina Frenkel, gifted illustrator, graphicartist, and beloved friend to many, who passed away at the age of 43 having lost adifficult battle with cancer. Her parents, Marcel and Anne Frenkel, approached mein May 2017 about composing a short work in Nina’s memory, suggesting that it bebased on four delightful panels that Nina had painted in 2014 before she knew of therecurrence of the disease.Titled “Brave Chicken Meets the Ogre,†“Brave Chicken Fights the Ogre,†“BraveChicken Flees to Safety,†and “Brave Chicken in the Healing Hut,†the four panelsdepict a progression from darkness to light. And while my composition does notattempt to follow the four panels literally, I did aim to create two distinctly differentmusical characters who are posed against one another with one clearly perceived asdominant and threatening, and trace the evolving change in the balance of power,and with it the journey from darkness to light.Inspired by the knowledge that Nina herself greatly enjoyed playing the clarinet, Idecided to pair bass clarinet with piccolo, eventually switching the piccolo over toflute, with clarinet appearing in time for the work’s peaceful conclusion. Though I hadnever met Nina, I felt honored to compose this work in her memory.