SKU: HL.267548
This work is based on the biblical story of the martyrdom of Saint Stephen, traditionally regarded as the first Christian martyr, asrecounted in the Acts of the Apostles. Stephen was a member of the early Church in Jerusalem. He was an inspired and charismatic preacher, but he aroused great hostility among the members of the various synagogues by his teachings, and he was accused of blasphemy. At his trial he looked up to heaven and declared that he saw God in his Glory, with Jesus standing at his right hand. This so enraged the authorities that he was flung from the city and stoned to death. As he died, he prayed that the Lord Jesus would receive his spirit, and that his killers would beforgiven. In this setting the choir recounts the story in Latin, whilst the solo horn music depicts the violence of the stoning. The work endswith a quotation from Chopin's Ballade No. 2 in F, Op. 38. Commissioned by the Metropolitan and Cathedral Chapter of St. Stephen's Cathedral, Vienna. First performed on 16th March 2015 at St Stephen's Cathedral, Vienna, by the Cathedral Choir conducted by Markus Landerer.
SKU: BT.AMP-352-400
ISBN 9789043138703. 9x12 inches. English-German-French-Dutch.
Philip Sparke’s Super Solos is the third volume of a progressive series of solo books that takes the young wind player from beginner to accomplished musician. Following on from the first two books in the series (Starter Solos and Skilful Solos) this collection generally contains longer pieces suitable for the developing young musicians. Specifically tailored for each instrument, Super Solos extends technical and musical demands, takes the player into new keys with larger instrumental ranges and adds new notes in a gradual and logical manner.The books provide invaluable additional material to complement any teaching method. Including play-along CD.Na Starter Solos en Skilful Solos sluit Philip Spark deze reeks met het nieuw verschenen boek Super Solos. De solos in deze boeken zijn qua mogelijkheden en moeilijkheidsgraad perfect toegesneden op het betreffende instrument.Bovendien vult het de vorige uitgaven in deze reeks gestructureerd aan, waardoor het de instrumentalist een zinvol en motiverend vervolg biedt. Elk boek bevat een cd met begeleiding. Het voordeel hiervan is dat jonge muzikanten de belangrijkeaspecten van het samenspel al vanaf het begin kunnen ervaren. Zo ontwikkelen ze essentiële vaardigheden, zoals het luisteren tijdens het spelen en het handhaven van een strak tempo.Nach STARTER SOLOS und SKILFUL SOLOS vollendete Philip Sparke seine Reihe Solobücher mit SUPER SOLOS. Die Soli in jedem Buch sind genau auf die Bedürfnisse und Anforderungen des jeweiligen Instruments zugeschnitten, im Schwierigkeitsgrad angepasstund schaffen somit einen Rahmen, in dem sich Instrumentalschüler neue Elemente in sinnvoller Reihenfolge aneignen können. Dank der im Buch und auf CD enthaltenen Klavierbegleitung lernen sie außerdem wichtige Aspekte des Ensemblespiels.SUPER SOLOS für fortgeschrittene Schüler hält mitreißende Stücke parat, mit denen neue technische und musikalische Schwierigkeiten gemeistert und ein größerer Tonumfang sowie neue Tonarten gelernt werden können.
Inhalt: Little Overture - Berceuse - March of the Toy Soldiers - Air and Variations - Chicago Blues - Moto Perpetuo - Song of Farewell - Promenade - September Song - Scherzo Finale
SKU: BR.DV-8109
ISBN 9790200482898. 10 x 13 inches.
Johann Matthias Sperger, no doubt the leading double bass player of his time, was born on 23 March 1750 in the Lower Austrian town of Feldsberg (today Valtice, Czech Republic). After studying in Vienna and occupying various posts in Pressburg and Eberau, he was hired by Grand Duke Friedrich Franz I of Mecklenburg-Schwerin for the Duke's court ensemble in Ludwigslust. There Sperger died on 13 May 1812, a highly esteemed man. His extensive compositional oeuvre (which includes 45 symphonies, chamher works, church music and concertos) found its climax in his works for double bass solo. His 18 concertos, sonatas and chamber works for various instrumental comhinations off er the soloist gratifying musical tasks both from a musical as well as a technical point of view. The Adagio for Double Bass and String Quartet was composed around 1796/97, no doubt for the composer's own use. The autograph belongs to the Landesbibliothek Mecklenburg-Vorpommern (class. no. Mus. 5179). The work is based on thematic material from the second movement of Anton Franz Hoffmeister's Double Bass Concerto No. 3. The relationship between the two works and the mutual influence of both composers is plainly visible.In order to allow a performance of this charming little work without a string quartet, we are also offering a version with piano accompaniment (DVfM 8109) as well. Since the original solo part was written for a double bass tuned in thirds and a fourth (Viennese tuning: A-D-F sharp-A), it was necessary to arrange the enclosed for the solo tuning customary today: F sharp-B-E-A. The editor and publisher wish to thank the Landesbibliothek Mecklenburg-Vorpommern for its permission to print this first edition. Klaus Trumpf, Munich, Spring 1997 Klaus TrumpfSperger, musician at the Mecklenburg court in Ludwigslust, achieved fame above all with his works for double bass. Thematically, the A major Adagio closely recalls Anton Franz Hoffmeister's Double Bass Concerto No. 3.
SKU: BT.AMP-369-400
ISBN 9789043138888. 9x12 inches. English-German-French-Dutch.
SKU: HL.48186484
UPC: 888680828844. 9x12 inches.
“English Horn (or flute or clarinet or alto), Violin & Cello Rarely has a musical work been better characterized by its subtitle than Nicolas Bacri's Lyric Interlude: 'A Study in Pastoral Style'. When, in 2008, the composer received the commission for a piece with English horn from Cecilia Benner, patron of the Chamber Music Society of Detroit, he immediately thought of the duo between this instrument and the oboe that Berlioz, in the Symphonie fantastique, placed at the beginning of the 'Scène aux champs', making suddenly appear a nocturnal country landscape where two shepherds carry on a dialogue on their pipes. First performed in March 2009 at one of the Scarab Club Concerts in Detroit, the Lyric Interlude for English horn, violin and cello (Op.110a) nonetheless proclaims another tradition: that of British pastoralism, illustrated by the music of Ralph Vaughan Williams (1872-1958), the 50th anniversary of his death having just been celebrated. This score pays him homage of rare sensitivity: set off by refined counterpoint, the undulating lament of the beginning, rhythmically supple, evokes the waving wheat, as does Vaughan Williams in the opening undulation of his Symphony No.3. The lyrical effusion, briefly interrupted by a scherzo in 6/8, again pours out, making the work evolve towards a slow, ecstatic atmosphere, close to the last of the English composer's Three Preludes on Welsh Hymn Tunes. Far from bucolic, postcard clichés and servile imitation, this Lyric Interlude opens the doors to a realm where pure beauty reigns. The composer also wrote another version of this work for English horn (or flute, clarinet, or viola) and piano, Op.110b (AL 30 750)&rdquo.
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