SKU: H2.MH3160

En innforing i trommeslatteknikk, trommeslatthistorikk, ulike slattetyper og utvalgte slatter etter forskjellige tamburer.
m/CD
For fire hundre ar siden ville man som i dag, gjerne danse i festligelag. Skal man danse er det kjekt a ha musikk som man kan danse til. Detvar ikke sa mange som drev med musisering pa et hoyt og aktivt niva, saman brukte gjerne det som fantes av musikere.

Trommen og trommeslagere var spredd over det ganske land og degikk en god skole. De norske trommeslagerne var anerkjente i Kobenhavnsom drivende dyktige musikere og det var mang en tambur som fikkdarlige knaer fordi de drev med torrtrening med trommestikkene paknaerne. Trommeslagerne hadde en anerkjent posisjon innen haeren.Militaere signaler var utganspunktet for tamburenes spill. Nar dissetrommeslagerne skulle spille verdslig musikk, var det med den norskefolkemusikken som musikalsk utgangspunkt, og de militaere signalene medunderliggende virvel som teknisk grunnlag. Resultatet ble at en spilteden rytmiske tematikken til slattene med den underliggende virvelen ibunnen.

Slattespilltradisjonen holdt seg lengst pa Vestlandet. Pamidten av 1800-tallet var det normalt med bade felespiller og tambur ibryllup her. Et bryllup uten tambur kalte en hundasjaund. Heilt framtil 1940 var tromma a hoyra i bryllup, og trommelyden motte gjestanelenge for dei kom til bryllupsgarden - (Maeland 1997:52).

SKU: MN.10-462

UPC: 688670104626.

We swept our past catalogs for charming, stand-alone pieces for use as prelude music, processionals, and recessionals. Some you might know and some will be brand new to you, as the title suggests. A useful volume to keep by the console when consulting with brides or playing weddings!

Contents:
Preludes
Allegro from La Primavera Spring - Vivaldi / Wolff
Jesu, Joy of Our Desiring - Bach / Burkhardt
Prelude on When Love is Found - John Ferguson
Adagio on Ode to Joy - Charles Callahan
Aria on O Perfect Love - Michael Burkhardt
The King of Love - Wilbur Held
Prelude on Blest Be the Tie - Charles Callahan
Rhosymedre (Lovely) - Ralph Vaughan Williams

Processionals
Prince of Denmark's March (Trumpet Voluntary in D) - Clarke / Christiansen
Rigaudon - Bohm / Biery
Trumpet Tunes from King Arthur - Purcell / Potts
Trumpet Tune on Westminster Abbey - Jerry Westenkuehler
Trumpet Tune in C - Mark Shepperd

Recessionals
Psalm XIX - Marcello / Hyslop
Postlude on Lobe den Herren - Raymond Haan
Allegro Maestoso (Water Music) - Handel / Burkhardt
A Rejoicing - Alfred V. Fedak
Now Thank We All Our God - Paul Manz
Toccata on A Theme of Beethoven - Charles Callahan.

SKU: GI.G-5621A

Lutheran setting based on an Argentine folk song. Prefaces and eucharistic prayer by Susan Briehl, Spanish translations by Jaime Cortez and Jeffrey Judge. Contents: Preface Dialog - Prefaces - Holy, Holy - Eucharistic Prayer - We Proclaim - Through Him - Amen - Our Father - Lamb of God - Communion Song: Bread of Life from Heaven - Apertura del Prefacio - Prefacios - Santo, Santo, Plegaria Eucarística - Anunciamos - Por Christo - Amén - Padre Nuestro - Cordero de Dios - Canto de Comunión: Pan de Vida Eterna - Bilingual Refrain/Estribillo Bilingüe.

SKU: BT.GOB-000283-020

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

SKU: BT.GOB-000037-030

Composed during the summer of 1988. Commissioned by The Norwegian Brass Band Club First performed in the Grieg Hall¬? at the 10th Anniversary Concert for the Norwegian Championship, Bergen, February 1989. EBML conducted by Michael Antrobus.

The work is important for me because it was my first piece to be played outside Norway. Black Dyke/David King performed it and did a recording of it in 1991.

The composer:
In the original score I quote a Swedish bishop (Olaus Mangnus) who lived in the 15th century. He travelled around Scandinavia and drew maps - very important historic material.

When he came to the north of Norway (where I come from) hedescribed the wind from the north as Ciricus: (something like) Worst of all winds is Circius, that revolves(?= turn upside down) heaven and earth. (Well, not a good translation I¬?m afraid).

The fast sections reflects the mighty winds from the north. In the middle section, I borrowed a folksong-like tune (by C. Elling, a norwegian composer).
The text (by Kristoffer Janson) tells about old times when the fishermen used open boats: they had to put their lives in the hands of God. De opening en het slot van dit werk beschrijven 'Circius' de wind die hemel en aarde verwoest.
Het middendeel is een bewerking van het Noorse volkslied 'The fisherman's speech to his son'. De inhoud van het lied komt overeen met Circius. De vader verzoekt zijn zoon de krachten van de natuur te trotseren, maar bovenal te respecteren.
Een kort doch spectaculair concertwerk dat het gehele orkest in de greep heeft.

Gobelin Music Publications.

SKU: PE.EP14437

ISBN 9790014134525. German.

AGNI by Bernd Franke is a 17-minute work for Bass Clarinet and Orchestra. Agni is the Hindu god of fire and at the same time the elemental and transformative force inherent in everything. In illustrations, Agni is depicted with seven tongues, which stand for the different aspects of his being: creating, sustaining, purifying, priestly, warlike, devastating, destroying, consuming. In the eponymous concerto for bass clarinet and orchestra, Bernd Franke traces the transformation processes initiated by the divine fire in compositional terms. The work was first performed on 23 November 2019 in Großenhain by Volker Hemken (bass clarinet) and Elbland Philharmonie conducted by Ekkehard Klemm.

The full score is available for sale as part of the Peters Contemporary Library. The performance material is available for rent.

About Peters Contemporary Library

Mark Andre
Milton Babbitt
Daniel Bjarnason
Earle Brown
John Cage
Henry Cowell
James Dillon
Jonathan Dove
Brian Ferneyhough
Roxanna Panufnik
Rebecca Saunders
Erkki-Sven Tuur
Charles Wuorinen

These are just a few of the composers whose most adventurous scores are now available to purchase through the Peters Contemporary Library. A new global initiative of the Edition Peters Group, the Peters Contemporary Library is a project designed to put these bold 20th- and 21st-century works, once available only for rental, into the collections of libraries, performers, scholars, and conductors alike.

Kicked off in 2016, the Peters Contemporary Library already contains many cutting-edge works and is constantly expanding. We are proud to offer these bold new scores for sale, for the first time ever, to modern musicians and students of music all around the world.

SKU: BR.EB-9345

World premiere: Berlin, Januar 20, 2019 (Compulsory piece for the Prizewinner Concert of the Felix Mendelssohn Bartholdy Conservatory Competition, Berlin 2019)Commissioned by the Felix Mendelssohn Bartholdy Conservatory Competition 2019ISBN 9790004188095. 12 x 9 inches.

Lar in Roman mythology refers to the so-called Lares, gods of households, fields and pathways, deified souls of the deceased and tutelary deities, especially of the house and its inhabitants. Lar is also the fireplace in a house - and thus a place where you feel protected. Lar II is part of a cycle. Each piece focusses on a kind of movement or transition between the interior (the house) and the unknown (the outside, the adventure). Gilles Deleuze speaks of deterritorialization; it is precisely this process that is also used in music as a metaphor. For Deleuze, a melody can act as a ritornello, for example, representing the house, the acquainted. Lar II plays with ritornellos which are developed alternatingly - like breathing- with certain movements to the outside and back again. Musically, the instrument organ opens/introduces as a topos something within a space and focusses on the concept of space as the central point of a continuous musical transition. (Jose M. Sanchez-Verdu, 2018)

World premiere: Berlin, Januar 20, 2019 (Compulsory piece for the Prizewinner Concert of the Felix Mendelssohn Bartholdy Conservatory Competition, Berlin 2019) Commissioned by the Felix Mendelssohn Bartholdy Conservatory Competition 2019.

SKU: CA.1039505

ISBN 9790007188139. Language: German.

Beethoven's Meeres Stille und Gluckliche Fahrt (Calm Sea and Prosperous Voyage) op. 112 for four-part mixed chorus and symphony orchestra - his setting of a pair of poems by Johann Wolfgang von Goethe - defies straightforward categorization, but can best be described as a choral ode. Beethoven in fact never voyaged by sea, but his composition, premiered in 1815, continues to surprise even today. He depicted in music the smooth surface of the motionless water and the oppressive calm, which meant nothing other than being becalmed, a delayed voyage, and short rations in the era of sailing, with the same intensity as a freshening increasing wind, with which Aeolus, the God of the winds, ultimately enabled the longed-for prosperous voyage to take place. The composed calmness of the motionless sea is conveyed in the low register used throughout, in which the chorus sings the first poem accompanied by washes of pianissimo sounds on the strings. There is a surprising moment with the musical portrayal of the ungeheuere Weite (immense breadth), at which the vocal-instrumental writing suddenly crescendos to forte and unfolds into a texture of over five octaves. By contrast Gluckliche Fahrt is written in restlessly-compiled meters, whose musical setting in flowing movement with diatonic scale passages evokes happy excitement and confidence. The work was dedicated to Johann Wolfgang von Goethe, whom Beethoven greatly admired throughout his life. The work has now been published in a new critical edition based on the first printed edition and the performance score which Beethoven himself checked and corrected. Score available separately - see item CA.1039500.

SKU: CA.1039511

ISBN 9790007245337. Language: German.

Beethoven's Meeres Stille und Gluckliche Fahrt (Calm Sea and Prosperous Voyage) op. 112 for four-part mixed chorus and symphony orchestra - his setting of a pair of poems by Johann Wolfgang von Goethe - defies straightforward categorization, but can best be described as a choral ode. Beethoven in fact never voyaged by sea, but his composition, premiered in 1815, continues to surprise even today. He depicted in music the smooth surface of the motionless water and the oppressive calm, which meant nothing other than being becalmed, a delayed voyage, and short rations in the era of sailing, with the same intensity as a freshening increasing wind, with which Aeolus, the God of the winds, ultimately enabled the longed-for prosperous voyage to take place. The composed calmness of the motionless sea is conveyed in the low register used throughout, in which the chorus sings the first poem accompanied by washes of pianissimo sounds on the strings. There is a surprising moment with the musical portrayal of the ungeheuere Weite (immense breadth), at which the vocal-instrumental writing suddenly crescendos to forte and unfolds into a texture of over five octaves. By contrast Gluckliche Fahrt is written in restlessly-compiled meters, whose musical setting in flowing movement with diatonic scale passages evokes happy excitement and confidence. The work was dedicated to Johann Wolfgang von Goethe, whom Beethoven greatly admired throughout his life. The work has now been published in a new critical edition based on the first printed edition and the performance score which Beethoven himself checked and corrected. Score and part available separately - see item CA.1039500.