SKU: HL.49006187
ISBN 9790001067270. UPC: 884088099282. 8.25x11.75x0.41 inches. German - English.
4 (1., 2. auch Picc., 3., 4. auch Altfl.) * 1 * Ob. d'am. * Engl. Hr. * Heckelphon * Es-Klar. * 1 * Altklar. (oder Bassetthr.) * Bassklar. * Sopransax. * Tenorsax. * 2 * Kfg. - 4 * Picc.-Trp. * 2 * Basstrp. * Altpos. * 1 * Basspos. * Alt-Ofikleide (oder Bombardino) * Bass-Ofikleide (oder Pos. mit Quartventil) * Bombardino (oder Tb. in F) * Wagnertb. * 1 * Kb.-Tb. - P. S. (3 Trgl. * 3 hg. Beck. * Beckenpaar * 3 Gongs * Kuhgl. * 5 Tamt. * Tamb. * Mil. Tr. * 3 Bong. * Tabla * orient. Woodbl. * gr. Tr. * 2 Tempelbl. * Metallbl. * Woodbl. * Mar. * Guiro * Bambusbundel * 3 Metallplatten * Shell-Chimes * Vibr. * Marimba * Rohrengl.) (12 Spieler) - E-Git. * E-Bassgit. * 2 Hfn. * Klav. * E-Org. - Str. (12 * 0 * 8 * 6 * 4).
SKU: HL.49006579
ISBN 9790001071291. 9x12 inches. German - English. Text: Ernst Schnabel.
4 (1., 2. auch Picc., 3., 4. auch Altfl.) * 1 * Ob. d'am. * Engl. Hr. * Heckelphon * Es-Klar. * 1 * Altklar. (oder Bassetthr.) * Bassklar. * Sopransax. * Tenorsax. * 2 * Kfg. - 4 * Picc.-Trp. * 2 * Basstrp. * Altpos. * 1 * Basspos. * Alt-Ofikleide (oder Bombardino) * Bass-Ofikleide (oder Pos. mit Quartventil) * Bombardino (oder Tb. in F) * Wagnertb. * 1 * Kb.-Tb. - P. S. (3 Trgl. * 3 hg. Beck. * Beckenpaar * 3 Gongs * Kuhgl. * 5 Tamt. * Tamb. * Mil. Tr. * 3 Bong. * Tabla * orient. Woodbl. * gr. Tr. * 2 Tempelbl. * Metallbl. * Woodbl. * Mar. * Guiro * Bambusbundel * 3 Metallplatten * Shell-Chimes * Vibr. * Marimba * Rohrengl.) (5 Spieler) - E-Git. * E-Bassgit. * 2 Hfn. * Klav. * E-Org. - Str. (12 * 0 * 8 * 6 * 4).
SKU: BT.AMP-058-140
This is a great opportunity to incorporate a modern concerto into your band's repertoire, which will provide a fresh and appealing concert item for your upcoming season. The work follows the standard 3-movement concerto form witha syncopated, rag-like opening movement contrasting with a slower, beautifully English-sounding second movement. The third movement is based on a bebop style to show off the jazzier qualities of the clarinet. This substantial workis suitable for a Grade 4 standard band.Mozart schreef zijn bekende klarinetconcert voor de virtuoos Anton Stadler, met wie hij bevriend was. Stadler was verantwoordelijk voor veel technische verbeteringen aan zowel de klarinet als de bassethoorn, hij voegde extra kleppentoe aan beide instrumenten, waardoor het bereik van de klarinet in de laagte werd uitgebreid. Mozart schreef dit concerto voor een klarinet met een lager bereik in vergelijking tot het moderne instrument. Ondanks de beperkingenvan de klarinet van nu komt het origineel in deze bewerking prima tot zijn recht. opname op cd: The Magic of Mozart (DHR 11-011-3)Ein Konzert in drei Sätzen, das den vielfältigen Facetten des Instrumentes Rechnung trägt. Der Eröffnungssatz ähnelt im Stil fast einem Rag. Der langsamere zweite Satz erforscht zunächst das Chalumeau-Register der Klarinette in einem Thema, das später vom Orchester aufgenommen wird, während der Solist einen filigranen Diskant entwickelt. Dieser leitet direkt zum dritten Satz über, dessen Stil an Be-Bop erinnert und die jazzigere Seite der Klarinette in den Vordergrund treten lässt. Modern und vielseitig!
SKU: BT.AMP-058-010
Mozart schreef zijn bekende klarinetconcert voor de virtuoos Anton Stadler, met wie hij bevriend was. Stadler was verantwoordelijk voor veel technische verbeteringen aan zowel de klarinet als de bassethoorn, hij voegde extra kleppentoe aan beide instrumenten, waardoor het bereik van de klarinet in de laagte werd uitgebreid. Mozart schreef dit concerto voor een klarinet met een lager bereik in vergelijking tot het moderne instrument. Ondanks de beperkingenvan de klarinet van nu komt het origineel in deze bewerking prima tot zijn recht. opname op cd: The Magic of Mozart (DHR 11-011-3)Ein Konzert in drei Sätzen, das den vielfältigen Facetten des Instrumentes Rechnung trägt. Der Eröffnungssatz ähnelt im Stil fast einem Rag. Der langsamere zweite Satz erforscht zunächst das Chalumeau-Register der Klarinette in einem Thema, das später vom Orchester aufgenommen wird, während der Solist einen filigranen Diskant entwickelt. Dieser leitet direkt zum dritten Satz über, dessen Stil an Be-Bop erinnert und die jazzigere Seite der Klarinette in den Vordergrund treten lässt. Modern und vielseitig!
SKU: CA.5165205
ISBN 9790007314286. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartâs Requiem. âAnother one?â you might ask, since this publication is only the latest in a long line reaching back to the traditional SüÃmayr version. Yet such is the enormous power of Mozartâs score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanâs additions to Mozartâs great original show the requisite care and respect while incorporating many new insights.Armanâs approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartâs brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentâs unique sound is given an opportunity to shine. Armanâs Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather â in the spirit of Mozart â on creating a sense of drama and illuminating the theme in all its possible facets. Mozartâs fragment ends with the Hostias, and so does Armanâs completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to SüÃmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanâs version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike â and celebrated as offering a scholarly, entirely fresh perspective on Mozartâs masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
SKU: CA.5165219
ISBN 9790007313883. Key: D minor. Latin.
SKU: CA.5165209
ISBN 9790007313838. Key: D minor. Latin.
The English conductor and composer Howard Arman has presented us with a completed version of Mozartââ¬â¢s Requiem. ââ¬ÅAnother one?ââ¬Â you might ask, since this publication is only the latest in a long line reaching back to the traditional Süßmayr version. Yet such is the enormous power of Mozartââ¬â¢s score that the challenge and appeal of completing it remain undiminished. After two decades of intensive study, Howard Armanââ¬â¢s additions to Mozartââ¬â¢s great original show the requisite care and respect while incorporating many new insights.Armanââ¬â¢s approach is particularly fruitful. Always aware of the appropriate limits to such re-creative work, he orients himself towards the typical characteristics of Mozartââ¬â¢s brilliant composing style: The masterly compositional technique, the search for innovative solutions to every problem, and even the terse treatment of the text with extremely suggestive harmonies. All of this leads to a number of new listening experiences. In the Tuba mirum, for example, we enjoy a warm, cohesive ensemble sound, supported by the bassoons, which depart from the bass line. The Confutatis presents a quite different picture: Even the basset horns are drawn down into the infernal depths. This effect is reinforced by the independence of the trombones; rather than simply following the choral parts, the instrumentââ¬â¢s unique sound is given an opportunity to shine. Armanââ¬â¢s Lacrimosa achieves a lively Mozartian feel by granting the voices considerable freedom rather than following a rigid pattern. And he concludes the movement with a fugal Amen, whereby the focus is not so much on the counterpoint itself, but rather ââ¬â in the spirit of Mozart ââ¬â on creating a sense of drama and illuminating the theme in all its possible facets. Mozartââ¬â¢s fragment ends with the Hostias, and so does Armanââ¬â¢s completion. For the four following movements (Sanctus to Communio) we have nothing from Mozart, and so here, where the master is silent, Arman finally returns to Süßmayr, the man who was closest to Mozart at the time of his death and whose efforts to fill the blank manuscripts still garner our respect today.Armanââ¬â¢s version has already proven its practical value. The premiere with the Bavarian Radio Choir was enthusiastically received by audiences and press alike ââ¬â and celebrated as offering a scholarly, entirely fresh perspective on Mozartââ¬â¢s masterpiece.- World premiere by the Bavarian Radio Choir- Enthusiastically received by audience and press.
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