Click & collect / Partitions & Méthodes

Four Dialogues PW5670 Tadeusz Baird Oboe and Chamber Orchestra PWM
15,00 € 15,00 € 15.0 EUR

''Four Dialogues'', from 1964, is scored for oboe and chamber orchestra comprised of 27 instrumentalists. The ''Dialogues'' were commissioned by German oboist Lothar Faber, and are also dedicated to him. In the works sound plane, the composer selects and combines timbres with unusual care, as well as with enormous taste and refinement. The intense, saturated tone and the essential role of sound expression bring this work closer to the Romantic tradition. According to the composers words, the title represents the best, sufficient commentary concerning the workís form. In 1966, for Four Dialogues, Tadeusz Baird received 1st Prize at the UNESCO IMC International Rostrum of Composers in Paris.
Comme au bord de la mer...pour ensemble instrumental...sur les paroles de Paul Valery Knapik PW8284 PWM
36,10 € 36,10 € 36.1 EUR

The sound layer of this work consists of three elements: ''live'' music, tape music and recitation (from tape). At the beginning those three elements occur separately, but as the work develops they are gradually assimilated and form, in the coda, materially and emotionally uniform sound tissue. I have used extensive excerpts from Paul Valery's poem in the work.

Comme au bord de la mer
Sur le front de séparation,
Sur la frontière pendulaire
Le temps donne et retire ,
Assène, étale,
Vomit, ravale,
Livre regrette,
Touche, tombe, baise et gémit
Et rentre à la masse,
Rentre à la mère,
Eternellement se ravise !
Sur le front battu de la mer
Je m’abîme dans l’intervalle de deux lames…
Ce temps à regret
Fini, infini…
Qu’enferme ce temps ?
Quoi se resserre, quoi se rengorge ?
Que mesure, et refuse, et me reprend ce temps ?
Imposante impuissance de franchir, O Vague !
La suite même de ton acte est se reprendre,
Redescendre pour ne point rompre
L’intégrité du corps de l’eau !
Demeurer mer et ne point perdre
La puissance du mouvement !

suite du texte de Paul Valéry
Il faut redescendre
Grinçante, à regret,
Se réduire et se recueillir,
Se confondre au nombre immuable,
Comme l’idée au corps retourne,
Comme retombe la pensée
Du point ou sa cause secrète
L’ayant osée et élevée,
Elle ne peut toujours qu’elle ne s’en revienne
A la présence pure et simple,
A toutes choses moins elle-même,
Quoi que ce soit non elle-même,
Elle-même jamais longtemps,
Jamais le temps
Ni d’en finir avec toutes choses,
Ni de commencer d’autres temps…
Ce sera toujours pour une autre fois !
Une infinité de fois!
Un désordre de fois !

Entends indéfiniment, écoute
Le chant de l’attente et le choc du temps,
Le bercement constant du compte,
L’identité, la quantité,
Et la voix d’ombre vaine et forte,
La voix massive de la mer
Se redire : Je gagne et perds,
Je perds et gagne…
Oh !Jeter un temps hors du temps !

Plus que seul au bord de la mer,
je me livre comme une vague
A la transmutation monotone
De l’eau en eau
Et de moi en moi

Paul Valéry
"Comme au bord de la mer"
Tel quel,Autres Rhumbs
Third Book Pw8421 Andrzej Krzanowski Concert Accordion (With A Bass Melodic M Pw
26,70 € 26,70 € 26.7 EUR
Table of contents:

Krzanowski Andrzej

Krzanowski Andrzej
Four Bagatelles

Krzanowski Andrzej

Krzanowski Andrzej

Krzanowski Andrzej
Nocturne and Scherzo

Krzanowski Andrzej

Krzanowski Andrzej
Sonata di concerto

Krzanowski Andrzej

Krzanowski Andrzej

Krzanowski Andrzej

Krzanowski Andrzej
Three Meditations
Orawa Pw8912 Wojciech Kilar Chamber String Orchestra Pwm
30,80 € 30,80 € 30.8 EUR

''''Orawa'' for chamber string orchestra crowns a series of Wojciech Kilars compositions inpsired by highland folklore. Since its first performance in Zakopane in 1986 it has been a hit in concert halls, delighting with its spontaneity, energy and temperament. In an interview the composer mentioned that he had ''dreamed of creating a piece inspired by highlander band and realized this dream in Orawa. ''It is pretty much a piece for a magnified folk band and one of the rare examples where Ive been happy with my work.'' (K. Podobińska, L. Polony Cieszę się darem życia)
Symphony No. 3 PW8762 Witold Lutosławski PWM
46,30 € 46,30 € 46.300000000000004 EUR
Witold Lutosławski Symphony No. 3 [3.Symfonia] (1983)

My Symphony No. 3 was commissioned by the Chicago Symphony Orchestra who as long ago as 1972 had asked me to write a work for them. Shortly after that, I wrote some sketches for the Symphony but only in January 1983 did I complete the score. The Premiere was given by the Chicago Symphony Orchestra conducted by Sir Georg Solti on 29 September 1983 in Chicago.

The work consists of two movements, preceded by a short introduction and followed by an epilogue and a coda. It is played without a break. The first movement comprises three episodes, of which the first is the fastest, the second slower and the third is the slowest. The basic tempo remains the same and the differences of speed are realised by the lengthening of the rhythmical units. Each episode is followed by a short, slow intermezzo. It is based on a group of toccata-like themes contrasting with a rather singing one: a series of differentiated tuttis leads to a climax of the whole work. Then comes the last movement, based on a slow singing theme and a sequence of short dramatic recitatives played by the string group. A short and very fast coda ends the piece.

© Witold Lutoslawski

The symphony is a strong, logical, clear-eyed work, typical of the composer’s care for balance and form. The element of violence that is embedded within the music never seems gratuitous, but structural, and therefore pointful. The work begins with a cannonade of four rapidly repeated E naturals: loud, brassy, peremptory, a summons to order and attention. After a flurry of whirling triplets in the strings, the stern summons is heard again – and a third and fourth time; later on, the figure is multiplied, extended and harmonized, while a world of orchestral colour and device springs up and plays around this harsh motif. A sense of impatience seems to hang over the music, modified by episodes of song-like melody for the strings. At the very end of the three continuous movements that make up the symphony, the repeated E’s have spread to the whole orchestra, and are hammered out for the last time with an effect of absolute finality.
Desmond Shawe-Taylor, Sunday Times,25/03/1984
The 30 minute symphony is so dazzling in its originality, so powerful in its use of the orchestra’s resources and so remarkable in its ability to communicate that a person had to think of it immediately as a 20th Century masterwork – dare I say a landmark to stand beside masterpieces by Bartok, Prokofiev and Shostakovich? The music is unique. It sounds like nothing else. The orchestra flows from one splendid tone cluster to another with never the feeling that a moment is bland, dreary, repetitious, or overly derivative. Mr. Lutoslawski has composed music which sounds so new, yet, amazingly, he has avoided amidst this experimentation any sounds which are offensive to the ear. Instead, we get a challenging, completely intensive journey in sound which consistently surprises us and grabs us up in its visceral sweep.
Joe Cunniff, The Chicago Leader,03/10/1983
E For E (1991) - Solo E for E Harpsichord Pw9167 Hanna Kulenty Pwm
40,00 € 40,00 € 40.0 EUR

Operetta Favourites Pem26 Carl Millöcker Jacques Offenbach Johann Strauss I Pa
9,30 € 9,30 € 9.3 EUR
Ich Setz Den Fall duet from Der Bettelstudent
Ensemble from Un mari a la Porte
Minuetto from The Tales of Hoffmann
Terzetto from Die Fledermaus
Bachianas Brasileiras No. 1; Set of Parts HL50242110 Heitor Villa-Lobos Viola, Cello 1/2, Cello 3/4, Cello 5/6
35,80 € 35,80 € 35.800000000000004 EUR
1 set for each part: Viola, Cello 1/2, Cello 3/4, Cello 5/6, Cello 7/8. Can be played either 2 violas & 6 cellos or 8 cellos.
Four Songs of Solitude; HL50482199 John Harbison Violin Schirmer
16,00 € 16,00 € 16.0 EUR
For unaccompanied violin. Composed in 1985 as a gift to his wife, who gave the first performance the following winter.