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Full Orchestra - Digital Download SKU: A0.961993 Composed by Ma Shui Long 馬水龍. Contemporary. Score and parts. 95 pages. SpringAutumnmusic #47111. Published by SpringAutumnmusic (A0.961993). 1979年《台灣傳奇-廖添丁管弦樂組曲》，管弦樂 　　本曲改編自「舞劇廖添丁」，為1979年雲門舞集委託之作品。除序曲之外，分為五個樂章，每個樂章樂曲的形式與結構，均與劇情發展有關，其主要人物與樂曲主題動機如下： 　　(一)廖添丁: 作曲者以兩個不同的主題動機來表示他的內心氣概悲壯和行俠仗義輕鬆詼諧的一面，藉著有關廖添丁的各種傳說及劇情的發展，決定以兩個不同的主題來表示他的內心氣慨悲壯和行俠仗義時輕鬆詼諧的一面，如a與b。 　　(二)一位被日警侮辱的少女： 雖然不是主角，但也是很重要的角色，她象徵著日據時代台灣同胞的命運與遭遇，如c。 　　全曲先由序曲根據a與c之主題動機發展，以暗示劇中主人翁-廖添丁的命運與遭遇，而後再依序發展整曲。 　　第一樂章：大稻埕夜巷/第二樂章：日人宅第/第三樂章：霞海城隍廟會/第四樂章：淡水河畔/第五樂章：遇難。 ※本曲1979年5月由舞蹈家林懷民編舞、馬水龍指揮國立藝專管弦樂團、韻德錄音公司錄音，於台北國父紀念館舉行世界首演。 　　 1979：Legend of Taiwan-Orchestral Suite of Chivalrous Liao Tain-Ding 　　This work was originally composed for a dance drama named Liao, Tand-Ding, and later on, recomposed as an orchestra work, and it was commissioned by the Cloud Gate Dance Foundation. Excepting the Overture, the work is divided into five movements. The form and structure of each movement all relate to the story basis. The roles and music themes are as follows: First: Liao Tain-Ding: The composer created two themes a and b, to express both Liao Tain-Ding’s heroically tragic character and also his humorous character. Please see below: Second: A young lady humiliated by the Japanese Police: Although the young lady is not played as a heroine, she is significant here. She symbolizes the experiences and fates of Taiwanese citizens during the colonial period. For example c: 　 The work begins with an Overture by developing subjects a and c, to imply the fate of hero Liao Tain-Ding and what he has gone through. 　　 　　1st Movement: Night Lane in Ta Tao Cheng / 2nd Movement: The Japanese Mansion / 3rd Movement: Festival at the Hsia Hai Cheng Huang Temple / 4th Movement: Tamshui Riverside / 5th Movement: Martyrdom ※In May 1979, The dance of Legend of Taiwan-Orchestral Suite of Chivalrous Liao Tain-Ding arranged by Huai-ming Lin, was premiered by the National Taiwan Junior College of Art Orchestra, conducted by the composer Shui-long Ma, recorded by the Yun-de Company, and was premiered at the Taiwan National Dr. Sun Yat-sen Memorial Hall.
1979年《台灣傳奇-廖添丁管弦樂組曲》管弦樂 1979：Legend of Taiwan-Orchestral Suite Orchestre

$44.99 38.49 € Orchestre PDF SheetMusicPlus

Percussion Ensemble - Digital Download SKU: A0.961994 Composed by Ma Shui Long 馬水龍. 20th Century,Contemporary. Score and parts. 20 pages. SpringAutumnmusic #48525. Published by SpringAutumnmusic (A0.961994). Introduction:The Lament of Tou-Ehr, for Suona, Timpani, Percussion, and Chorus 　　This work was composed for a Chinese dance drama Snow Festival. The drama was based on an extremely touching story about a lady named Doue E, and was written by the author Guan Hanqing during the Yuan Dynasty. It is divided into three sections in a cyclic form, with one theme. The instrumentation includes voices for male and female, suona (Chinese cornet), there are more than ten traditional Chinese percussions are used, such as the wind gong, large and small luo (as used in Beijing opera), and the Chinese clapper, Paiban. The sound of suona indicates the lady Dou E with her battle cry and strong faith. The music begins after lady Dou E’s faint narrative. ※The Lament of Tou-Ehr was commissioned by the Neo Classical Music Group. The dance was arranged by Fon-xuei Liu, with orchestra and chorus conducted by the composer, Shui-long Ma himself. It was recorded by the Yun-de Company, and premiered at the Taiwan National Dr. Sun Yat-sen Memorial Hall in April 1981. 《竇娥冤》本曲改編自「舞劇雪祭」，取材自中國元代戲曲中關漢卿的作品-「感天動地竇娥冤」。本曲略分三段，連樂章形式，樂曲結構為一貫性的主題延展。作曲者在編制上使用人聲(男女混聲)、嗩吶，以及十多件傳統擊樂器，如風鑼、平劇大小鑼、拍板等等。在整曲進行中，凡是有竇娥出現之處，嗩吶也將隨之奏出，那是天理的吶喊、精神信念之所在。全曲在一段竇娥幽幽的道白之後，徐徐展開。※本曲為新古典樂團委託創作之作品，由舞蹈家劉鳳學編舞、馬水龍指揮樂團與人聲、韻德錄音公司錄音，於1980年4月在台北國父紀念館舉行世界首演。 .
The Lament of Tou-Her 竇娥冤 Ensemble de Percussions

$14.99 12.82 € Ensemble de Percussions PDF SheetMusicPlus

String Quartet Cello,String Quartet,Viola,Violin - Digital Download SKU: A0.961998 Composed by Ma Shui Long 馬水龍. 20th Century,Contemporary. Score and parts. 49 pages. SpringAutumnmusic #2341873. Published by SpringAutumnmusic (A0.961998). 《弦樂四重奏》1983年   這首連樂章體式的四重奏，可分為：生氣蓬勃的快板、吟詩般的慢板、如歌的行板及生動活潑的終曲這四部分。在曲子進行上，樂章與樂章之間是相連不斷的，一章的結束是下一章的開始，在綿延與連繼之間，樂念流暢地發展下去。  第一樂章是以強而有力的撥奏來揭開序幕，並且以中國傳統的鑼鼓節奏來進行，之後主題由大提琴導入。第二樂章是整曲最大的對比與張力點，是以「吟詩」的樂念來發展。第三樂章整合了第一、第二樂章之後，發展到終曲。整曲在內容上，第一、第三與第四樂章的關係是非常密切，其間不同之處只是由於經由各種手法的變化所致。 音樂的內容就是一種風格，作曲者在形式的侷限下，運用新的理念及手法，呈現了四重奏的另一種境界。  ※本曲係文建會委託創作，於1983年完成之作品，1987年樂譜初版，並於2016年再版。 1985年1月4日首演於台大學生活動中心大禮堂，由台大愛樂社主辦之「馬水龍室內樂之夜」。演奏家為第一小提琴江維中、第二小提琴洪千貴、中提琴巫明俐、大提琴孫琬玲。   《String Quartet》（1983）     String Quartet is divided into four movements (sections): I. Allegro con brio, II. Dichterisches Adagio, III. Andante cantabile, IV. Lebendiges Finale. The composer designed this piece to play continuously between sections and makes the composition a quasi-single-movement. Due to the continuity, the musical elements and compositional concepts are connected smoothly through out the piece.     The vigorous pizzicato opens up the first movement of this piece, imitates the traditional Chinese Gong-and-Drum rhythmic patterns. The cello solo main theme flows in later and develop the music to the following sections. The second movement is inspired from the concept of poetry reading. It is the most intensive section and holds the greatest contrast of this piece. The third movement combines elements from the earlier movments and leads to the fourth movement, Lebendiges Finale. The musical ideas between these four movments of the composition are strongly revelent to each other.     The musical content in a composition sets up the style for itself. Even under some restrictions of tradional musical forms, the composer tried to develop few new compositional ideas in order to achieve a new sphere of string quartet with this piece.     String Quartet was commissioned by the Council for Cultural Affairs, finished in 1983, premiered on 4th of January 1985 in the National Taiwan University Student Activity Center. It was programed in the event A Night of Shui-Long Ma’s Chamber Music, held by Asian Composers’ League-Taiwan Section and NTU-Philharmonic Club. The premiered musicians were: Wei-Chung Chiang (Violin I), Chin-Kuei Hong (Violin II), Ming-Li Wu (Viola) and Wan-Ling Sun (Cello).     The first edition of the score was published in 1987, and the second edition published in 2016.
String Quartet《弦樂四重奏》 Quatuor cordes: 2 violons, alto, violoncelle

$18.99 16.24 € Quatuor cordes: 2 violons, alto, violoncelle PDF SheetMusicPlus

Cello Solo - Digital Download SKU: A0.961997 Composed by Ma Shui Long 馬水龍. 20th Century,Contemporary. Individual part. 17 pages. SpringAutumnmusic #2341883. Published by SpringAutumnmusic (A0.961997). 《水墨畫之冥想》（九支大提琴室內樂曲） 1994年  作曲者自幼喜愛繪畫與音樂。爾後，雖然選擇了音樂為終身志業，但對繪畫的興趣與狂熱，始終有增無減。在已完成的音樂作品中，幾首均與繪畫有密切的關係。作曲者認為，所有的藝術創作，雖然因其使用的素材不同或表現的技法相異，但最後所要呈現的藝術本質，應是殊途同歸，音樂與繪畫更是不例外。   本曲創作的動機，來自於傳統水墨畫中的「虛實相生」觀念。古人笪重光「畫筌」云：實處之妙，皆因虛處而生，也就是無虛不易顯實，無空不能存虛。無疏不能成密，無密不能見疏，是以虛實相生，疏密相用。作曲者試圖以此繪畫手法，呈現在此首樂曲結構中，如時間與空間的對比，織度與密度的互換，實體與空靈的轉變等，以求音畫之意境。 ※本曲由文建會委託創作，首演於1995年11月25日於國家演奏廳，由財團法人邱再興文教基金會主辦之「春秋樂集95秋 · 室內樂之夜」。由涂惠民擔任指揮，大提琴演奏家為孫琬玲、黃智瑛、鄭佩玲、曾史妃、洪婉容、黃韻宇、劉姝嫥、蘇千芳、王佩瑜。   《Meditation on Ink Painting》for Nine Cellos （1994）     Music and painting are two beloved arts for Professor Ma since he was a kid. Even he finally decided devoted to music composing for his life, he always had the passion for painting. Several Professor Ma’s compositions were highly inspired from the concepts and techniques of painting. Professor Ma believed that all the arts, although they present differently on the usages of materials or techniques, the essence and highest acheivement of all arts must be the same, including both music and painting.     Meditation on Paintings in Ink was directly inspired by the techniques of Chinese traditional ink painting and the concept of the mutuality in virtuality and reality. The composer attempted to transform the philosophy that derive from the virtuality-reality relationship into the composition, presented it as the contrast between time and space, the alternation of texture and density, or, the changing of emptiness and fullness, etc., in order to establish an artistic atmosphere of musical painting.     Meditation on Paintings in Ink was commissioned by the Council for Cultural Affairs, premiered in the National Concert Hall, on 25th of November 1995. It was programed in the Euterpe: Spring and Autumn concert series Autumn 1995: A Night of Chamber Music, held by the Chew’s Culture Foundation. The world premiere was conducted by Hwei-Ming Twu and the nine cellists were Wan-Ling Sun, Jyh-Ing Huang, Pei-Ling Cheng (Yi-Chin Cheng) , Shih-Fei Tseng, Wan-Rong Hung, Yun-Yu Huang, Chu-Chuan Liu, Monica C.F. Su and Pei-Yu Wang.
Meditation on Ink Painting《水墨畫之冥想》 Violoncelle

$13.99 11.97 € Violoncelle PDF SheetMusicPlus

Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Digital Download SKU: A0.961996 Composed by Ma Shui Long 馬水龍. 20th Century,Contemporary. Score and parts. 47 pages. SpringAutumnmusic #2341877. Published by SpringAutumnmusic (A0.961996). 《木管五重奏》2002年（賴德和撰寫）   本曲是2002年馬水龍教授特地為次子婚禮現場演出所譜寫。  這一首活潑愉悅的曲子概分為五段：第一主題五聲音階徵調式，主旋律出現在長笛聲部。這個主題轉到五度上的調，先後輪流出現在雙簧管、豎笛及巴松管。由法國號吹奏卑南族的「婚禮之歌」是形成對比的慢板第二主題。接著活潑愉悅的第一主題再現，調性轉到降D音徵調式，出現在雙簧管聲部，接著在豎笛聲部加以變奏。第三主題速度加快，出現在巴松聲部的主旋律是泰雅族的「口簧對歌」。這是一首男女青年一面吹奏單簧口琴，一面演唱情歌的舞曲。這個熱情的舞曲先後在雙簧管和豎笛聲部加以變奏之後結束第三主題。最後第一主題再現，堆疊出高潮式的尾聲。   值得重視的是，父親送給兒子的結婚禮物，還費盡巧思精挑細選了兩首原住民跟愛情結婚有關的音樂，揮灑出一闕別緻的婚禮迴旋曲。  ※本曲於2002年首演於台北亞都飯店，演奏家為長笛黃馥茗、雙簧管洪千智、單簧管黃貞華、低音管郭怡芬、法國號黃義敦。 《Woodwind Quintet》（2002）     The piece was composed for the wedding ceremony of the composer’s second son. This pleasant and lively composition is divided into five parts, a small rondo form. The first theme is in Zi-pentatonic mode, mainly play by flute. The main theme is later transposed a fifth higher and orchestrated between the oboe, clarinet and bassoon parts.     The second theme is in a slower, more sentimental mood. It builds up as a contrast section to the first theme. French horn plays the traditional Wedding Song of the Puyuma tribe and dominates in this section.     In the third part of this composition, the melodic line returns to the first theme, transformed to D-flat Zi-pentatonic mode. The oboe plays the main theme and later the clarinet plays the variations of this melodic line.     The fourth section brings out the third theme of this piece: a traditional Atayal tribe’s Jew Harp Song melody that plays by the bassoon. This passionate, fast-tempo dancing theme is then composed into several variations and plays by oboe and clarinet.     In the last section of the composition, the first theme returns again. Building up and reaches the climax then leads to the final of the piece.     Professor Ma selected two aboriginal tribal songs, related to weddings and love, and quoted them in this piece and presented as a wedding gift for his beloved son. This father-son relationship and love, and also this unique composition, made that wedding ceremony a memorable event for the guests.     This piece was premiered in 2002 at The Landis Taipei Hotel by Fu-Ming Huang (Flute), Chien-Chih Hung (Oboe), Jen-Hwa Huang (Clarinet), Yi-Fen Kuo (Bassoon) and Yih-Duen Huang (Horn).
Woodwind Quintet《木管五重奏》 Quintette Vent: flte, Hautbois, basson, clarinette, Cor

$15.99 13.68 € Quintette Vent: flte, Hautbois, basson, clarinette, Cor PDF SheetMusicPlus

Small Ensemble - Digital Download SKU: A0.961992 Composed by Ma Shui Long 馬水龍. Contemporary. Score and parts. 33 pages. SpringAutumnmusic #47109. Published by SpringAutumnmusic (A0.961992). 《尋》古箏與管弦樂 　　在傳統樂器系列中，箏、琴、琵琶…等，其起源發展均有上千年以上悠久的歷史與豐富的彈奏技法，如吟、猱、按、放、走吟、壓吟、飛吟、點頓等等各具獨特的表現風格與韻味，為西方樂器所不能及，作曲者多年來意圖從這些不同特性的傳統樂器中，以不同的形式與美學思維，探尋另一層面的音樂意涵。本曲應古箏演奏家黃好吟委託之作品，先以獨奏曲型態呈現，完成於2005年4月中旬，並由黃好吟於「亞洲作曲家聯盟第25屆會議」在泰國曼谷全球首演。之後作曲者再以古箏與管弦樂合奏方式，尋求東、西方樂器不同的音色特質，在主、從兩者交錯中，融合與對話。 ※古箏與管弦樂初稿完成於2006年10月間、美國波士頓Acton寓所。2007年12月中旬由指揮家邱君強指揮國立台灣交響樂團及古箏演奏家黃好吟分別於台中國立台灣交響樂團演奏廳、高雄市文化中心至德堂及台北國家音樂廳舉行世界首演。 Searching - for Cheng and Orchestra The history of some Chinese traditional musical instruments, such as Cheng, Qin, Pipa, etc., has seen their performing techniques evolved over a thousand years. Many of them have developed their unique stylistic expression and zest with sorts of articulation, which are not to be completed by those of many Western instruments. The composer has long been delving into the characteristics of these traditional instruments, attempting to ferret out further musical meanings from different formal and aesthetic angles. Searching for Cheng and Orchestra, commissioned by the Cheng player Hao-Yin Huang, was originally a solo Cheng piece. It was completed in mid-April, 2005, and was premiered in the same year at the 25th meeting of the Asia Composers’ League held in Bangkok, Thailand. The composer later expanded it into an ensemble piece for Cheng and orchestra, trying to integrate different timbral characters of the Eastern and Western instruments within their dominant-subordinate interactions and dialogues in the piece.
《尋》古箏與管弦樂 Searching - for Cheng and Orchestra
$29.99 25.65 € PDF SheetMusicPlus

Violin Solo - Level 5 - Digital Download SKU: A0.961982 Composed by 馬水龍 Ma Shui-Long. Contemporary,World. 28 pages. SpringAutumnmusic #2010515. Published by SpringAutumnmusic (A0.961982). 1974年，《小提琴與鋼琴的對話》 「與好友暢談的情趣」為本曲創作的動機，由鋼琴獨自地敘述開始，隨著小提琴的一聲呼應，二者進入閒談話題；鋼琴與小提琴有各自不同性格的主題律動，先由鋼琴與小提琴分別傾訴，進而展開問句與對答，雖然偶有意見不合及爭論，但為時甚短；速度的變化暗示著兩者情緒的轉變，自由地暢談是不拘於形式的。「與好友促膝暢談，是彌足珍貴的情趣。」這實為作曲者由衷之感，亦為每位聽眾所曾嚐過的經驗。全曲化於融洽的傾談中，最後小提琴與鋼琴輕聲地告辭而離去。 ※本曲1974年完成，1975年1月15日於德國雷根斯堡天主教音樂學院音樂廳世界首演，演出者：小提琴家Winfried Wenzel，鋼琴家Konrad Pfeiffer。 Dialog between Violin and Piano My inspiration came from the delight of having an open conversation with good friends. A piano solo begins the conversation, followed by a response by the violin and two of them enter into the conversation. The piano and violin each performs different themes and rhythms with individual personality. First they take turns to express themselves, and then their monologues interact with each other. Although there might be disagreement and argument between them, this do not last long. The changes in speed imply the transitions of their emotions. An open conversation is free of forms. I honestly believe that sitting close together and having an open conversation is extremely precious and delightful, and is a common experience shared by everyone. The whole piece is immersed in a harmonious atmosphere of peaceful conversation. The violin and piano gently wave their goodbyes at the end.
小提琴與鋼琴對話 Dialog for Violin and Piano Violon

$12.99 11.11 € Violon PDF SheetMusicPlus

Flute Solo - Level 4 - Digital Download SKU: A0.961987 Composed by 馬水龍 Ma Shui Long. 20th Century,Contemporary. Individual part. With 2013-07-22. 32 pages. SpringAutumnmusic #431429. Published by SpringAutumnmusic (A0.961987). 《梆笛協奏曲》 1981年，《梆笛協奏曲》，梆笛與管弦樂團 「梆笛協奏曲」分為兩個樂章，採用連樂章形式。第一樂章：開始莊嚴雄渾的管絃序奏(第一主題)是表現漢民族堅忍不拔的精神。接著導入輕快活潑的第二主題，由梆笛主奏，呈現純樸的民風與樂觀進取的態度。由第一主題及第二主題，可以發覺其間的關聯性，因為第二主題是由第一主題縮影、變化而來的。同時，第二主題也成為這個樂章開展的主軸。 第二樂章：轉為優雅的慢板，第一樂章中的第一主題層次重現在低音弦樂部分，引展出梆笛嶄新的樂思；恬靜、詳和，像首詩篇，緩緩的描述出漢民族悠遠的文化與寬宏博大的氣度。終曲與尾聲再現了第一樂章中的第一、二主題，但略加變化，使其交互發展，並逐漸的將之推至本曲的最高潮。 ※本曲1981年應中國廣播公司委託創作之作品，同年於台北國父紀念館舉行世界首演，由張大勝指揮台北世紀交響樂團擔任演出。 Completed in 1981, <Concerto For Bamboo Flute and Orchestra> is composed of two continuous movements. The first movement begins with a solemn prelude for wind and string instruments, establishing the first theme which expresses the fortitude of the Han Chinese spirit. The second theme, mainly performed by the bangdi flute, is lively and fast, expressing the purity and rusticity of folk culture with an eager, optimistic attitude. As a condensed variation of the first theme, the second theme's relationship to the first is evident, and becomes the heart of the first movement.
梆笛協奏曲 Concerto For Bamboo Flute and Orchestra Flte traversire

$20.99 17.96 € Flte traversire PDF SheetMusicPlus






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