SKU: HL.1105203

UPC: 663961064377. 14.5x17.0x28.5 inches.

Thrash212 - 12″ 1300W Powered Loudspeaker Mackie Thrash loudspeakers are all about no frills, raw power, and reliability without sacrificing sound quality. Built on a legacy of legendary loudspeaker design, Thrash is voiced for modern musicians, loud vocals, screaming guitars, and face-melting keytar solos. With a wall-shaking 1300W of power, Thrash has what it takes to keep up with every gig, rehearsal, you name it. Flexible I/O includes two inputs plus a Mix Out for chaining speakers or hooking up a powered subwoofer. Thrash is the ultimate start to building your own gig-worthy PA system, so throw it in the van and let's do this. Thrash212 • 1300W ultra-efficient Class-D amplifier • Built-Like-A-Tank™ to conquer every gig while lightweight for easy loading • Frequency response: 52Hz - 20kHz (-10dB) • Max SPL: 125 dB • Flexible I/O • 12″ high-performance woofer • 1″ Titanium compression driver • Standard pole mount • Equipped with 4 handles for easy loading • Dual-angle monitor wedge for use as a floor monitor • Rotatable grille badge.

SKU: PR.11641861SP

UPC: 680160685202.

What?! - my composer colleagues said - A concerto for the piano? It's a 19th century instrument! Admittedly we are in an age when originally created timbres and/or musico-technological formulations are often the modus operandi of a piece. Actually, this Concerto began about two years ago when, during one of my creative jogs, the sound of the uppermost register of the piano mingled with wind chimes penetrated my inner ear. The challenge and fascination of exploring and developing this idea into an orchestral situation determined that some day soon I would be writing a work for piano and orchestra. So it was a very happy coincidence when Mona Golabek phoned to tell me she would like discuss the Ford Foundation commission. After covering areas of aesthetics and compositional styles, we found that we had a good working rapport, and she asked if I would accept the commission. The answer was obvious. Then began the intensive thought process on the stylistic essence and organization of the work. Along with this went a renewed study of idiomatic writing for the piano, of the kind Stravinsky undertook with the violin when he began his Violin Concerto. By a stroke of great fortune, the day in February 1972 that I received official notice from the Ford Foundation of the commission, I also received a letter from the Guggenheim Foundation informing me I had been awarded my second fellowship. With the good graces of Zubin Mehta and Ernest Fleischmann, masters of my destiny as a member of the Los Angeles Philharmonic, I was relieved of my orchestral duties during the Hollywood Bowl season. Thus I was able to go to Europe to work and to view the latest trends in music concentrating in London (the current musical melting pot and showcase par excellence), Oslo, Norway, for the Festival of Scandinavian Music called Nordic Days, and Warsaw, Poland, for its prestigious Autumn Festival. Over half the Concerto was completed in that summer and most of the rest during the 72-73 season with the final touches put on during a month as Resident Scholar at the Rockefeller Foundation's Villa Serbelloni in Bellagio, Italy. So much for the external and environmental influences, except perhaps to mention the birds of Sussex in the first movement, the bells of Arhus (Denmark) in the second movement and the bells of Bellagio at the end of the Concerto. Primary in the conception was the personality of Miss Golabek: she is a wonderfully vital and dynamic person and a real virtuoso. Therefore, the soloist in the Concerto is truly the protagonist; it is she (for once we can do away with the generic he) who unfolds the character and intent of the piece. The first section is constructed in the manner of a recitative - completely unmeasured - with letters and numbers by which the conductor signals the orchestra for its participation. This allows the soloist the freedom to interpret the patterns and control the flow and development of the music. The Concerto is actually in one continuous movement but with three large divisions of sufficiently contrasting character to be called movements in themselves. The first 'movement' is based on a few timbral elements: 1) a cluster of very low pitches which at the beginning are practically inaudibly depressed, and sustained silently by the sostenuto pedal, which causes sympathetic vibrating pitches to ring when strong notes are struck; 2) a single powerful note indicated by a black note-head with a line through it indicating the strongest possible sforzando; 3) short figures of various colors sometimes ominous, sometimes as splashes of light or as elements of transition; 4) trills and tremolos which are the actual controlling organic thread starting as single axial tremolos and gradually expanding to trills of increasingly larger and more powerful scope. The 'movement' begins in quiescent repose but unceasingly grows in energy and tension as the stretching of a string or rubber band. When it can no longer be restrained, it bursts into the next section. The second 'movement,' propelled by the released tension, is a brilliant virtuosic display, which begins with a long solo of wispy percussion, later joined in duet with the piano. Not to be ignored, the orchestra takes over shooting the material throughout all its sections like a small agile bird deftly maneuvering through nothing but air, while the piano counterposes moments of lyricism. The orchestra reaches a climax, thrusting us into the third 'movement' which begins with a cadenza-like section for the piano. This moves gently into an expressive section (expressive is not a negative term to me) in which duets are formed with various instruments. There are fleeting glimpses of remembrances past, as a fragmented recapitulation. One glimpse is hazily expressed by strings and percussion in a moment of simultaneous contrasting levels of activity, a technique of which I have been fond and have utilized in various fixed-free relationships, particularly in my Percussion Concerto, Contextures and Games: Collage No. 1. The second half of the third 'movement; is a large coda - akin to those in Beethoven - which brings about another display of virtuosity, this time gutsy and driving, raising the Concerto to a final climax, the soloist completing the fragmented recapitulation concept as well as the work with the single-note sforzando and low cluster from the very opening of the first movement.

SKU: BT.DHP-1185861-140

English-German-French-Dutch.

‘The Fellowship’ is a musical homage to friendship and camaraderie, symbolised in two alternating, complementary themes. The themes are based on popular songs from two sister municipalities, one lying in Normandy (France), and the other in Rheinland-Pfalz (Rhineland-Palatinate, Germany). Through the merging of their songs in this composition, their bond of friendship is sealed for eternity.

The Fellowship staat voor vriendschap en kameraadschap. Deze symboliek komt tot uiting in twee thema’s, die elkaar afwisselen en elkaar aanvullen. Het ene thema is gebaseerd op een Frans lied, het andere op een Duits lied. Beide zijn populaire liederen uit twee partnergemeenten, waarvan de ene in Normandië (Frankrijk) ligt, en de andere in Rheinland-Pfalz (Duitsland). Door de samensmelting van hun liederen in deze compositie wordt hun vriendschapsband voor altijd beklonken.

The Fellowship ist eine musikalische Hommage auf die Freundschaft und Kameradschaft. Diese Symbolik wird durch zwei Themen dargestellt, die sich abwechseln und gegenseitig ergänzen. Die beiden Themen basieren auf zwei Liedern aus einer deutschen Stadt und aus einer französischen Partnerstadt. Das Verschmelzen der beiden Lieder in dieser Komposition symbolisiert ihre immerwährende Freundschaft.

The Fellowship est un hommage musical l’amitié et la camaraderie symbolisé par deux thèmes qui s’alternent et se complémentent. Au travers de ces chansons populaires issues de deux municipalités jumelées, l’une en Normandie et l’autre en Rhénanie-Palatinat (Allemagne) cette composition a bouclé leur lien d’amitié pour l’éternité.

The Fellowship (L’amicizia) è un omaggio musicale all'amicizia, simboleggiata da due temi che si alternano e si completano a vicenda. Un tema è basato su una canzone popolare francesee una tedesca di due comuni gemellati, situati in Normandia (Francia) e a Rheinland-Pfalz (Renania-Palatinato, Germania). Attraverso la fusione delle due canzoni, il legame di amicizia è stretto per l'eternit .