SKU: HL.49047285
UPC: 196288188780.
In his book the British violinist Irvine Arditti, founder and leader of the world-famous Arditti Quartet, describes his close collaboration with many composers, as Luigi Nono, Luciano Berio, Giacinto Scelsi, Mauricio Kagel, Hans Werner Henze, Karlheinz Stockhausen, John Cage, György Ligeti, Elliott Carter, Jonathan Harvey, James Dillon “It was quite a few years ago that I had the idea to document the many years I have spent in the music profession, first as an orchestral player but then as a soloist and the founder and leader of the Arditti Quartet. My interest in contemporary music goes back to my early teens and has continued through a celebrated 48 years of quartet playing, working with many of the most interestingcontemporary composers.†(Note from the Author).
SKU: MH.1-59913-054-8
ISBN 9781599130545.
Royal Coronation Dances is the first sequel to the Fanfare Ode & Festival, both being settings of dance music originally arranged by Gervaise in the mid 16th-century (the next sequel is The Renaissance Fair, which uses music of Susato and Praetorius). Fanfare Ode & Festival has been performed by many tens of thousands of students, both in high school and junior high school. I have heard that some of them are amazed that the music they are playing was first played and danced to over 400 years ago. Some students tend to think that music started with Handel and his Messiah to be followed by Beethoven and his Fifth Symphony, with naught in between or before of consequence. Although Royal Coronation Dances is derived from the same source as Fanfare Ode & Festival, they are treated in different ways. I envisioned this new suite programmatically -- hence the descriptive movement titles, which I imagined to be various dances actually used at some long-ago coronation. The first movement depicts the guests, both noble and common, flanked by flag and banner bearers, arriving at the palace to view the majestic event. They are festive, their flags swirling the air, their cloaks brightly colored. In the second movement, the queen in stately measure moves to take her place on the throne as leader and protector of the realm. In the third movement, the jesters of the court entertain the guests with wild games of sport. Musically, there are interesting sonorities to recreate. Very special attention should be given to the tambourine/tenor drum part in the first movement. Their lively rhythms give the movement its power. Therefore they should be played as distinctly and brilliantly as possible. The xylophone and glockenspiel add clarity, but must not be allowed to dominate. Observe especially the differing dynamics; the intent is to allow much buzzing bass to penetrate. The small drum (starting at meas. 29) should be played expressively, with attention to the notated articulations, with the brass light and detached, especially in a lively auditorium. It is of some further interest that the first dance is extremely modal. The original is clearly in G mixolydian mode (scale: G-A-B-C-D-E-F-G). However, other editors might put in F-sharps in many places (changing the piece almost to G major), in the belief that such ficta would have been automatically put in by the 16th-century performers as they played. I doubt it. I have not only eschewed these within the work, but even at the cadences. So this arrangement is most distinctly modal (listen to the F-naturals in meas. 22 and 23, for instance), with all the part-writing as Gervaise wrote it. In the second movement, be careful that things do not become too glued together. In the 16th century this music might have been played by a consort of recorders, instruments very light of touch and sensitive to articulation. Concert band can easily sound heavy, and although this movement has been scored for tutti band, it must not sound it. It is essential, therefore, that you hear all the instruments, with none predominating. Only when each timbre can be heard separately and simultaneously will the best blend occur, and consequently the greatest transparency. So aim for a transparent, spacious tutti sound in this movement. Especially have the flutes, who do this so well, articulate rather sharply, so as to produce a chiffing sound, and do not allow the quarter-notes to become too tied together in the entire band. The entrance of the drums (first tenor, then bass) are events and as such should be audible. Incidentally, this movement begins in F Major and ends in D Minor: They really didn't care so much about those things then. The third movement (one friend has remarked that it is the most Margolisian of the bunch, but actually I am just getting subtler, I hope) again relies upon the percussion (and the scoring) to make its points. Xylophone in this movement is meant to be distinctly audible. Therefore, be especially sure that the xylophone player is secure in the part, and also that the tambourine and toms sound good. This movement must fly or it will sink, so rev up the band and conduct it in 1 for this mixolydian jesting. I suppose the wildly unrelated keys (clarinets and then brass at the end) would be a good 16th-century joke, but to us, our put-up-the-chorus-a-half-step ears readily accept such shenanigans. Ensemble instrumentation: 1 Full Score, 1 Piccolo, 4 Flute 1, 4 Flute 2 & 3, 2 Oboe 1 & 2, 2 Bassoon 1 & 2, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 1 Eb Contra Alto Clarinet, 3 Bb Bass & Bb Contrabass Clarinet, 2 Eb Alto Saxophone 1, 2 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 4 Horn in F 1 & 2, 2 Trombone 1, 4 Trombone 2 & 3, 3 Euphonium (B.C.), 2 Euphonium (T.C.), 4 Tuba, 1 String Bass, 1 Timpani (optional), 2 Xylophone & Glockenspiel, 5 Percussion.
SKU: BT.DHP-1155654-401
ISBN 9789043147491. English-German-French-Dutch.
The sound of the clarinets is reminiscent of songs and dances of the olden days and for a short while we’re taken back to decades past.
The composer Pascal Proust has many years’ experience as a musician and music teacher. His output includes several hundred compositions for the most diverse instrumentations. He wrote Rétro for clarinettists at the level of approximately 3 4years’ study and paid special attention to an easy-to-follow, attractive musical style. As a result, Rétro is an ideal performance or competition work for young musicians.De klank van de klarinetten doet denken aan liedjes en dansen uit het verleden: eventjes gaan we een paar decennia terug in de tijd…
De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef Rétro voor klarinettisten die ongeveer drie tot vier jaarles hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is Rétro een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.Der Klang der Klarinette erinnert an Lieder und Tänze aus vergangenen Zeiten und versetzt uns für eine kleine Weile um Jahrzehnte zurück…
Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen; sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schrieb Rétro für Klarinettisten mit ungefähr 3 4Jahren Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich Rétro ideal als Vortrags- und Wettbewerbsstück für junge Musiker.Le son de la clarinette nous rappelle les chants et danses de l’ancien temps… quelques décennies en arrière pour quelques minutes de nostalgie…
Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique ; son catalogue d’oeuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Rétro pourclarinettistes ayant environ 3 4 années de pratique, dans un style musical accessible et coloré. De ce fait, Rétro est la pièce idéale pour tout examen ou audition de jeunes musiciens.
SKU: BT.DHP-1155653-401
ISBN 9789043147484. English-German-French-Dutch.
The young flautists are keen to take a stroll through the nostalgic lanes and over the lively squares of this famous Parisian neighbourhood.
The composer Pascal Proust has many years’ experience as a musician and music teacher. His output includes several hundred compositions for the most diverse instrumentations. He wrote Montmartre for flautists at the level of approximately 3 4years’ study and paid special attention to an easy-to-follow, attractive musical style. As a result, Montmartre is an ideal performance or competition work for young musicians.De jonge fluitisten gaan een wandeling maken door de nostalgische steegjes en over de levendige pleintjes van deze beroemde Parijse wijk.
De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef Montmartre voor fluitisten die ongeveer drie tot vier jaarles hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is Montmartre een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.Die jungen Flötisten wollen einen Bummel durch die nostalgischen Gassen und über die belebten Plätze dieses berühmten Pariser Stadtviertels unternehmen.
Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen; sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schriebMontmartre für Flötisten mit ungefähr 3 4 Jahren Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich Montmartre ideal als Vortrags- undWettbewerbsstück für junge Musiker.Les jeunes fl tistes vont déambuler entre ruelles pleines de nostalgie et places animées de ce célèbre quartier de Paris.
Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique ; son catalogue d’oeuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Montmartre pourfl tistes ayant environ 3 4 années de pratique, dans un style musical accessible et coloré. De ce fait, Montmartre est la pièce idéale pour tout examen ou audition de jeunes musiciens.
SKU: HL.1436094
UPC: 196288203926. 6.75x10.5x0.029 inches.
Calling on Christ, our Gentle Shepherd, the words of Psalm 23 are beautifully illustrated in this Bill and Gloria Gaither anthem first premiered over 50 years ago. This very accessible arrangement will be beloved by your choir and congregation for many more years to come - featuring an opportunity to highlight a member or the ensemble, clergy, or congregation with a spoken recitation of Psalm 23 in the middle of the anthem.
SKU: FJ.B1709S
English.
Approximately 66 million years ago scientists believe an asteroid impacted the earth and caused the extinction of seventy-five percent of all life. Reign of Fire illustrates the period of chaos which ensued during this transformative event. Unusual and haunting harmonies prevail in this wonderful programmatic piece that also features many of your woodwind soloists.
About FJH Concert Band
Designed for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: FJ.B1709
UPC: 241444379738. English.
SKU: PR.114416920
UPC: 680160626052.
Carlo Gesualdo, the ill-fated if brilliant composer of the 16th-17th centuries was all but lost to music history until his rediscovery in the 20th century. His writings, described as intensely expressive, were centuries ahead of their time, and were perhaps informed by the tragic events of his life. Of particular appeal are the many madrigals written between 1594 and 1613, and Freshner has chosen several examples in his arrangements for brass quintet. From the book of 1597, he adapts I. Luci serene e chiare, II. Ecco moriro dunque; Hai, gia mi discoloro, and III. Io tacero; Invav dunque, o crudele. The complex harmonies and spirituality are unlike anything else written 400 years ago. For advanced performers.
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
