SKU: CA.1035349
ISBN 9790007190330. Language: German. Text: Lehms, Georg Christian. Text: Georg Christian Lehms.
Born in Saxony and originally trained at the St. Thomas school in Leipzig, Christoph Graupner (1683-1760) celebrated great success at the Hamburg Opera on the Gansemarkt. In 1709 he was lured away to a position in Darmstadt, where he remained for the rest of his life. The sacred composition Gott will mich auch probieren (GWV 1121/14) was written during the early years of his tenure as Music Director at the Court of the Landgraves. In it he attempted to make the genre of the motet useful for church music in Darmstadt through innovative design and varied structure. The present chorale motet is a markedly charming and catchy piece of choral music (easy to mid-level difficulty) which manages totally without solo arias and recitatives and through its compact dimensions can excellently be suited for use in today's worship services. Score and part available separately - see item CA.1035300.
SKU: PE.EP72698A
ISBN 9790577010519. 210 x 297mm inches. English.
Commissioned by Making Music with funds from the Nicholas Berwin Charitable Foundation
First performance: 12th March 2016, Waltham Singers, conducted by Andrew Fardell, King Edward's Grammar School, Chelmsford.
Music runs through the story of Arion, which begins with a singing competition in Sicily. Arion wins the prize, and this puts his life in danger: his newfound wealth excites the Greed of the sailors who are supposed to be bringing him back to Corinth, and they threaten to kill him. They allow Arion to sing one last song, and the power of his singing attracts dolphins to the ship. At The End of his song, he jumps overboard, and one of the dolphins carries him to safety. So Arion’s musical gift gets him into trouble, but it is also his salvation.
The idea of being rescued by a music-loving dolphin is very appealing. In Robert Graves’ account of the myth, the dolphin could not bear to be parted from Arion, and accompanied him back to court, where “it soon succumbed to a life of luxury.” However, Herodotus says that, after his rescue and return to Corinth, Arion failed to return the dolphin to the sea, and it died there. Apollo placed the dolphin among the stars, and next to it, Arion’s lyre, in recognition of his musical skill. This is one of the mythical explanations of the origins of the constellations Delphinus and Lyra.
It seems natural to sing a story that has singing at its heart. When I was asked by the Nicholas Berwin Charitable Trust to write a choral work for Making Music, something that would be within reach of many choirs, and involve children, this story struck me as ideal: the men of the chorus could be the bloodthirsty sailors, and the women could create an atmosphere of mystery for the arrival of the dolphins, represented by children’s voices. There would be one solo voice: Arion, the marvellous singer. Andrew Fardell, the conductor who was advisor to this commission, had suggested that I might use the same instrumentation as a popular arrangement of Orff’s Carmina Burana, a work that, as well as using children’s chorus, features a solo countertenor. I thought the magical, otherworldly quality of this voice would help to convey the extraordinary effect Arion’s singing had on all who heard it.
- Jonathan Dove
SKU: BA.BA06863
ISBN 9790260105317. 34.2 x 27 cm inches. Text Language: Church Slavic.
“The Glagolitic Massâ€, one of the 20th century masterpieces of sacred music, has a very complex genesis and constitutes an intricate editorial challenge. This new critical edition presents two different versions of the work in two separate volumes (B/5-I, BA 6862 und B/5-II, BA 6863): the “September 1927†version which the composer completed before the first rehearsals and subsequent premiere in Brno and the version he partly reworked for the first Prague performance in April 1928. This second version was then revised further and published after Janacek’s death by Universal Edition Wien in 1930. Known as the “final authorised version“, it has been newly edited for this publication which is based on the engraver’s copy of the score prepared by Janacek’s regular copyist Václav Sedlacek. The new Barenreiter edition also contains an informative preface (Cz/Eng/Ger/Fr/Ru) as well as detailed critical commentary. The “September 1927†version can be seen more as a supplement and appears without text commentary.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.48181881
UPC: 888680849115. 9.0x12.0x0.046 inches.
Yves de la Casinière: Berceuse (Oboe & Piano).
SKU: HL.124612
ISBN 9781603209632. UPC: 884088968168. 8.0x10.88x0.402 inches. The editors of Guitar World magazine.
Some died young. Some died old. All paid their dues with guitar in hand. Rock in Peace looks at the lives of the late, great guitarists of blues, metal, rock, and jazz. Comprehensive profiles of legends like Jimi Hendrix, Kurt Cobain, George Harrison, Frank Zappa, Bob Marley along with the Ultimate Guitar Hero Gravesite Tour make this a definitive collectors' item. It is the final word on rock history - complete with rare photos of the artists and their often surprising tombstones.
SKU: HL.14008415
UPC: 884088808242. 8.5x11.0x0.261 inches.
This work, written by Maxwell Davies in 1983 for chamber orchestra, was commissioned to celebrate the quartercentenary of Edinburgh University. The first performance was given by the Scottish Chamber Orchestra conducted by Edward Harper in October 1983. Duration c. 29mins. This work was thought through in outline following a visit to the ruined pre-Reformation church of Hoy in Orkney, on a fine Spring afternoon after Maxwell Davies had played the harmonium for the tiny congregation in its large bleak Victorian replacement. The old church was surrounded by the graves of centuries, the more recent ones with familiar names, largely of people who lived in houses now ruinous - crofters, fishermen, clerics, sea-captains. Next to it stood the chief farmhouse, the Bu, going back to Viking times. He thought of the lives and deaths encompassed there, expressed through hundreds of years of music in the church, and in the big barn of the farm. The plainsongs 'Dies Irae' and 'Victimae Paschali Laudes' are used throughout the work - the first concerning the Day of Judgement, from the Mass for the Dead, the second particular to Easter Sunday and the Resurrection. These are subject to constant transformation - the intervallic contour slowly changes from one into the other, and their notes are made to dance through Renaissance astrological 'magic square' patterns. The orchestra consists of double woodwind, two horns, two trumpets and strings.
SKU: M7.AV-5108-30
ISBN 9790203914174.
Did this tune come to his mind on a mild summer evening? The perky 'Glühwürmchen-Idyll' that slightly changes into the ironic is one of the unforgotten hits by the Berlin composer Paul Lincke and the main song of his operetta 'Lysistrata' composed in 1902. Lincke's evergreens testify to his imaginativeness and his brilliant sense of catchy tunes that appeal to the wide public and engrave themselves on our musical mind forever.
SKU: BT.DHP-1114950-120
9x12 inches. English-German-French-Dutch.
Albastum is a proud, stately concert march written in classic A-B-A form. It opens with a festive fanfare in the brass section, followed by a lively, bright theme, symbolising the joy of playing music together at each weekly rehearsal. Following a melodious trio, a counter theme develops and the march comes to an exciting close with a reprise of the original theme. Albastum is een majestueuze concertmars. Stijn Roels schreef hem in de klassieke A-B-A-vorm. De vreugde die muzikanten aan musiceren beleven, komt bijzonder goed tot uitdrukking. Orkestrale wisselingen tussen de bas en de discantin het eerste deel laten de bijzondere klankkleuren van de verschillenden instrumentgroepen goed zien. Een melodieus trio en de reprise van deel A ronden de mars af. Echt zo’n mars waaraan iedereen plezier beleeft!In diesem stolzen, majestätischen Konzertmarsch, der in einer klassischen A-B-A-Form geschrieben ist, kommt die Freude aller Musiker an ihrem Spiel zum Ausdruck. Orchestrale Wechsel zwischen Bass und Diskant im ersten Teil heben die besonderen Klangfarben der einzelnen Instrumentengruppen sehr schön hervor. Ein melodiöses Trio und die Reprise von Teil A runden diesen Marsch ab, der dem gesamten Fanfareorchester und Publikum Freude bringen wird! Albastum est une majestueuse marche de concert, conforme la structure classique A-B-A. Elle débute avec une fanfare festive, suivie d’un changement de couleurs obtenu par l’alternance entre les cuivres graves, les saxophones et les euphoniums. La partie B - un trio mélodieux - a été confiée aux clarinettes. Un charmant contre-chant plane au-dessus du thème principal. Il s’ensuit une reprise de la partie initiale (partie A) avec, en prime, un contre-chant taillé sur mesure pour les fl tes et les clarinettes.
SKU: BR.OB-5520-16
The first true final version
ISBN 9790004338957. 10 x 12.5 inches.
Edouard Lalo's Symphonie espagnole was heretofore inadequately edited: the two first editions (piano reduction and score) differ considerably from one another, since the composer continued to hone his work after the completion of the engraver's master for the piano reduction, and he even made certain compositional additions. Christian Rudolf Riedel's new urtext edition eliminates all these inadequacies and inconsistencies. Moreover, the editor was able to base himself for the first time ever on the previously unknown autograph of the solo part. The discovery of this source was nothing less than sensational. Lalo, who was an outstanding violinist in his own right, had meticulously marked up his manuscript with the help of the arrangement by Pablo de Sarasate, to whom Lalo had dedicated the work and entrusted the world premiere. This new source situation allowed for the preparation of an urtext edition that corresponds throughout to the author's final version. The composer's piano part, which sometimes resembles a short score, was revised by the editor, who rendered it easier to perform and supplemented the ten measures that had been missing until now in the introduction to the fifth movement.As benfits this publishing house, the handy 6x9 inch score is meticulously edited and is a welcome aid to study of the whole works. (Mary Nemet, Strings)The first true final version.
SKU: BT.DHP-1114950-140
Albastum is a proud, stately concert march written in classic A-B-A form. It opens with a festive fanfare in the brass section, followed by a lively, bright theme, symbolising the joy of playing music together at each weekly rehearsal. Following a melodious trio, a counter theme develops and the march comes to an exciting close with a reprise of the original theme. Albastum is een majestueuze concertmars. Stijn Roels schreef hem in de klassieke A-B-A-vorm. De vreugde die muzikanten aan musiceren beleven, komt bijzonder goed tot uitdrukking. Orkestrale wisselingen tussen de bas en de discantin het eerste deel laten de bijzondere klankkleuren van de verschillenden instrumentgroepen goed zien. Een melodieus trio en de reprise van deel A ronden de mars af. Echt zo’n mars waaraan iedereen plezier beleeft!In diesem stolzen, majestätischen Konzertmarsch, der in einer klassischen A-B-A-Form geschrieben ist, kommt die Freude aller Musiker an ihrem Spiel zum Ausdruck. Orchestrale Wechsel zwischen Bass und Diskant im ersten Teil heben die besonderen Klangfarben der einzelnen Instrumentengruppen sehr schön hervor. Ein melodiöses Trio und die Reprise von Teil A runden diesen Marsch ab, der dem gesamten Blasorchester und Publikum Freude bringen wird! Albastum est une majestueuse marche de concert, conforme la structure classique A-B-A. Elle débute avec une fanfare festive, suivie d’un changement de couleurs obtenu par l’alternance entre les cuivres graves, les saxophones et les euphoniums. La partie B - un trio mélodieux - a été confiée aux clarinettes. Un charmant contre-chant plane au-dessus du thème principal. Il s’ensuit une reprise de la partie initiale (partie A) avec, en prime, un contre-chant taillé sur mesure pour les fl tes et les clarinettes.
SKU: BT.DHP-1043657-070
International.
Chernovil ist ein anspruchsvolles Stück für Blechbläserquintett in einer modernen Tonsprache, das an die Katastrophe, werlche sich 1986 im Atomkraftwerk von Tschernobyl ereignete, erinnert. Der Komponist widmet das Werk den tausenden Menschen - Kindern und Erwachsenen - die damals der radioaktiven Strahlung ausgesetzt waren, die genetische Probleme ausläste und sich negativ auf das Immunsystem auswirkte. Chernovil est une pièce pour Quintette de Cuivres ; un défi musical aux sonorités contemporaines, en mémoire de la catastrophe nucléaire de Tchernobyl (1986). Ferrer Ferran a dédié cette œuvre aux centaines d’enfants et d’adultes qui ont été exposés un haut niveau de radiation, source de graves problèmes génétiques et d’effets dévastateurs sur le système immunitaire. Cette musique programme reflète l’ampleur de la tragédie ; du début, alors que la centrale nucléaire fonctionnait normalement l’explosion du réacteur, synonyme de chaos. Ferrer Ferran a composé cette œuvre dans l’espoir qu’un tel désastre ne se renouvellera plus.
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