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Electric guitar, viola, cello and double bass - Digital Download SKU: S9.Q19149 For electric guitar, viola, cello and double bass. Composed by Gavin Bryars. This edition: score and parts. 70s - jazz - nature - pop - rock - seventies - the beach boys - weather. Downloadable, Score and parts. Duration 5 minutes. Schott Music - Digital #Q19149. Published by Schott Music - Digital (S9.Q19149). It Never Rains is a short piece written in the summer of 2010 that was commissioned by Jim Fox for the Californian label Cold Blue Music and is dedicated to them. The title comes from two sources: the Beach Boys song It never rains in Southern California and the English expression It never rains but it pours that is used whenever pressing matters arrive from all sides at the same time. It was written specifically for Jim to record, though the first live performance was by players in my own ensemble at a concert in Orléans, France in January 2011.Gavin Bryars (2011).
It Never Rains

$22.99 19.65 € PDF SheetMusicPlus

Male choir - intermediate to advanced - Digital Download SKU: S9.Q19070 For male choir. Composed by Gavin Bryars. This edition: choral score. Choral Music of Our Time. Downloadable, Choral score. Op. 5. Duration 8 minutes. Schott Music - Digital #Q19070. Published by Schott Music - Digital (S9.Q19070). Italian.My collection of laude has its origins in the world of early music, being based in spirit and feeling on the unaccompanied vocal “laude†found in a collection from 13th century Cortona. The people who originally sang such things - the ‘laudesi’ - banded together in confraternities but were not usually associated with any particular church and this music was not part of any liturgy. The first laude that I wrote were, like the mediaeval originals, for unaccompanied voice - for the soprano Anna Maria Friman. I then wrote some for two voices, adding the tenor John Potter, and some for three sopranos, the Trio Mediaeval. Gradually I added more for other vocal combinations as well as some with instrumental accompaniment. But I do return from time to time to the ‘purer’ solo or duo lauda. In 2006 I wrote a number of pieces for the Estonian National Men’s Choir (RAM) chiefly through my friendship and collaborations with its conductor Kaspars Putnins who, as well as conducting the Latvian Radio Choir, was director of RAM. I wrote two laude for them. Lauda 31 was completely new, while Lauda 32 is a new version of Lauda 19 “Omne homoâ€. Both make full use of the special quality of the Estonian choir and Lauda 32 in particular deliberately aims to have the sound of singers in a Russian Orthodox tradition.Whatever vocal approach I use for setting lauda texts, I treat them with great respect in relation to the original lauda. I adhere as far as possible to the same number of notes to a syllable that are in the mediaeval versions, frequently following the melodic contours and sometimes quoting individual phrases. I still relish the challenge of writing vocal music which is quite exposed, and which retains something of the austerity of the original. Gavin Bryars (2012).
Laude Cortonese

$6.99 5.97 € PDF SheetMusicPlus

Soprano saxophone/clarinet in Bb, violin, cello and piano - Digital Download SKU: S9.Q6377 For soprano saxophone or clarinet and piano trio. Composed by Gavin Bryars. This edition: score and parts. Downloadable, score and parts. Duration 20 minutes. Schott Music - Digital #Q6377. Published by Schott Music - Digital (S9.Q6377). This quartet arrangement of Allegrasco was originally planned for clarinettist Roger Heaton and violinst Alexander Balanescu - two members of the Gavin Bryars Ensemble - to perform outside the context of the group. Allegrasco, which features solo clarinet with violin obligato, is a companion arrangement to that of The Old Tower of Löbenicht where the roles are reversed and the bass clarinet is an obbligato instrument to the solo violin. In both cases the additional instruments are piano and cello, giving the same instrumentation as Messiaen's Quartet for the End of Time.
Allegrasco
Violoncelle, Piano

$29.99 25.63 € Violoncelle, Piano PDF SheetMusicPlus

Mixed choir (SSATTBar) - Digital Download SKU: S9.Q6323 For six voices. Composed by Gavin Bryars. This edition: Sheet music. Choral Music of Our Time. Downloadable. Duration 35 minutes. Schott Music - Digital #Q6323. Published by Schott Music - Digital (S9.Q6323). Italian.Like many Englishmen I had sung madrigals for pleasure – usually late at night with friends, after several glasses of wine. While these madrigals have their charm, and many are extremely beautiful, I found, as I began an extended exploration of the madrigal as a creative venture, that the richest source lies in the Italian Renaissance. In 1998 I embarked on a project to write a series of madrigals, eventually deciding to collect them in ‘books’ in the manner of Italian madrigalists, such as Monteverdi or Gesualdo. The Second Book is for an unusual six-part group – the Scandinavian Trio Mediaeval (3 sopranos) and three tenors (John Potter plus two from the Hilliard Ensemble) – and sets Petrarch in the original 14th century Italian. I focused on those sonnets known as the Rima Sparsi (scattered verses) and added one extra Petrarch setting – originally a radiophonic piece (Marconi's Madrigal) for CBC's Marconi Day. Gavin Bryars.
Second Book of Madrigals

$23.99 20.51 € PDF SheetMusicPlus

Mixed voices (STTTBarB) - Digital Download SKU: S9.Q42747 (The I Tatti Madrigals). Composed by Gavin Bryars. Choral Music of Our Time. Downloadable, Choral score. Schott Music - Digital #Q42747. Published by Schott Music - Digital (S9.Q42747). Italian.The choice of 16th century texts, by Bronzino and Battiferri, reflects the interests of the dedicatee of these sonnets - Craig Hugh Smyth, a fine art historian and former director of the Villa I Tatti, who was a specialist in Bronzino and Pontormo. Bronzino's sonnet is a lament on the death of Pontormo, his teacher; Laura Battiferri's poem is a direct response to that of Bronzino. As I was also asked to set sonnets by Petrarca, I chose two of his closely linked sonnets, numbers 229 and 230 in the Rime Sparse. I had written a work for I Tatti some five years earlier setting Petrarca (A qualunque animale, the first in my Fourth Book of Madrigals) and was familiar with the context. However, through correspondence with Kathryn Bosi, Music Librarian at I Tatti and, through her, Craig Smyth's family, I became increasingly aware of his unusual and quite special character. From his undergraduate days at Princeton and indeed throughout his life, although a great scholar and writer, he was at the same time an aficionado of jazz, loving above all Louis Armstrong, being photographed with Duke Ellington, taking his children to see Thelonious Monk, listening to Ben Webster and playing the tenor saxophone himself. Indeed, he had told Kathryn Bosi that he had been proud to walk in procession at the funerals of black musicians in New Orleans. In some ways his life was almost an obverse mirror image of parts of my own - I was a professional jazz musician but found myself teaching art history for a time. As Fiorella Superbi of I Tatti has said: Craig was a maestro di vita. I raise a glass in his memory and dedicate these sonnets to him. Gavin Bryars.
Fifth Book of Madrigals ("I Tatti")

$16.99 14.52 € PDF SheetMusicPlus

4 male voices (CtenTTBar) - Digital Download SKU: S9.Q19219 For four male voices. Composed by Gavin Bryars. This edition: score. Downloadable, Score. Duration 15 minutes. Schott Music - Digital #Q19219. Published by Schott Music - Digital (S9.Q19219). Latin.Glorious Hill may be performed by a male choir. Text by Pico della Mirandola (1463-1497) from De Hominis Dignitate. Glorious Hill was commissioned by the Hilliard Ensemble and first performed by them at its summer Festival of Voices in Lewes, Sussex, in August 1988. It was the first piece I wrote for the ensemble and I focused on the singers' unique ability to move with ease from early music to tonal music of the present day. There were techniques which I asked for which I hardly needed to notate - the staggered breathing of the two tenors to supply a continuous unbroken held note for example - and the piece moves between passages for solo voices and sections of highly chromatic homophony, almost as if the music were switching between the 12th century of Perotin and the 16th century of Gesualdo. Each of the four voices is given its own solo passage, sometimes accompanied, sometimes quietly supported by the other voices. The title, Glorious Hill comes from the name of the small-town Mississippi setting of Tennessee Williams' Summer and Smoke. I wrote the music for the 1987 production of this play at the Leicester Haymarket Theatre, the first time I had written any incidental music for the stage. Williams makes very specific demands in terms of music and there is one particularly powerful scene, the penultimate one, throughout which music and atmospheric sound effects are continuous. The principle character Alma argues passionately about the vital importance of human choice with the man to whom she has, too late, admitted her love. I watched this section every night throughout the 4 week run of the play watching the different ways in which the actress, Frances Barber, played the scene. There is a powerful emotional and philosophical connection between the imagery of this scene and a passage from the Renaissance philosopher Pico della Mirandola's Oration on the Dignity of Man which forms the text of Glorious Hill. This passage has been described as one of the few passages in Renaissance philosophy to treat human freedom in a modern way. The text, which is sung in Latin, is addressed by God to Adam before the fall from grace. Gavin Bryars.
Glorious Hill

$6.99 5.97 € PDF SheetMusicPlus

2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chamber orchestra - Digital Download SKU: S9.Q47174 (Farewell to St. Petersburg). Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 28 minutes. Schott Music - Digital #Q47174. Published by Schott Music - Digital (S9.Q47174). Russian.This concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinka’s song cycle Farewell to St Petersburg. Bryars writes ‘The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass).’.
Double Bass Concerto
Orchestre de chambre

$16.99 14.52 € Orchestre de chambre PDF SheetMusicPlus

Countertenor, 2 tenors and baritone; solo voices or men's choir - intermediate - Digital Download SKU: S9.Q6253 For four unaccompanied voices or male choir (CtenTTBar). Composed by Gavin Bryars. This edition: choral score. Choral Music of Our Time. Downloadable, choral score. Duration 7 minutes. Schott Music - Digital #Q6253. Published by Schott Music - Digital (S9.Q6253). Latin.Commissioned by the York Early Music Foundation for the Orlando Consort, Super Flumina focuses on a legend associated with St Mary’s Abbey in York where in 1377 fisherman brought the lifeless body of a 14 year-old girl who had fallen into the Ouse to the chapel. The monks prayed that the girl would intercede and had begun to sing the anthem Ave Regina Caelorum when she regained consciousness and went on to recover completely that same evening. This work for four male voices or male choir demonstrates Bryars’ vocal writing at its best and breathes new life into early musical traditions. A treat for both amateur and professional singers or choirs.
Super Flumina

$4.99 4.27 € PDF SheetMusicPlus






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