SKU: CA.4068950
ISBN 9790007254445. Key: D major. Latin.
Beethoven described his Missa solemnis several times as his greatest work. Coming from the heart, it was intended to touch and move audiences. Beethoven worked long and intensively on the composition in order to give what he felt was adequate expression to the text. In its length and musical demands, the Missa solemnis goes far beyond typical liturgical settings; for good reason, the premiere took place in a concert hall. With this arrangement for chamber orchestra (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, timpani and strings, plus organ ad lib), smaller choirs, as well as choirs with more limited resources of space or finance, can now perform this work too. However, the symphonic character and wide dynamic range of the work remain. The scoring of 7 instead of 18 winds offers an optimal balance between transparency and orchestral sound. All the vocal parts (soloists and chorus) are identical with the original version, so that the vocal score and chorus score of that version can be used. Major mass can also be performed by smaller choir Wind and brass parts of the original version reduced to just seven single instruments Vocal scores and choral scores from the original version can be used. carus plus: the work (original version) is available in carus music, the choir app, and in the practice CD series Carus Choir Coach. Score available separately - see item CA.4068900.
SKU: HL.48024601
ISBN 9781540050663. UPC: 888680933807. 9.0x12.0 inches.
Beyond the White Hand: Construction with Guitar Player, was commissioned by the Julian Bream Trust and first performed at St John's Smith Square by Andrey Lebedev in 2014. This substantial addition to the advanced solo guitar repertoire reflects and expands upon an earlier miniature from 2007: Guitar and White Hand, Birtwistle’s first piece for the instrument. Both pieces draw artistic inspiration from the artist Pablo Picasso: the smaller piece written for Forbes Henderson and sharing a title with the 1927 painting of the same name. The larger piece was composed in the centenary year of Picasso's Construction with Guitar Player after which the piece is named and the sculpture Guitar.Picasso made about a dozen 'sculptural' constructions’ during 1912-1914, many of which employ recycled or carved elements. A good number of these were destroyed and only one, Still Life was shown publically during his lifetime. Picasso's own Construction with Guitar Player was an installation of a partially drawn and painted figure to which he added arms made of newspaper that fold away from the wall to embrace a real guitar. In the foreground stands a table with a bottle of wine and this was photographed by Picassoin his studio in 1913. Musically, Birtwistle’s Construction is a large scale, dense work of sixteen minutes’ duration. It does not develop linearly, but presents fragments of detail, interruptions, digressions and loops as a “deconstructed guitar†in sound.
SKU: HL.49040918
ISBN 9783920468068. 9.0x12.0x0.23 inches.
17 Walzer aus der Feder von 11 Komponisten - eine Sammlung weltbekannter Walzermelodien, die den Akkordeonisten von der Elementarstufe bis hin zum Virtuosen begleiten soll. Dies ist auch die Grundidee, die zur Reihe Das grosse Akkordeonbuch gefuhrt hat: Literatur, die man nicht nach einem halben oder einem Jahr zur Seite legt, sondern die auf dem Notenpult stehen bleibt fur viele Jahre - Spielheft und Unterrichtsliteratur gleichermassen.Bisweilen war es bei den leichten Bearbeitungen notig, vor allem formal von den Originalkompositionen abzuweichen. Aber muss nicht jede Bearbeitung - selbst das brillanteste Wurthner-Konzertarrangement - auf das Zielinstrument eingehen! Sinn einer Bearbeitung ist ja, eine Originalkomposition fur Soloinstrument, Ensemble oder Orchester z.B. einem weiteren Instrument zuganglich zu machen. In diesem Sinne ist jede puritanische Einstellung zu Bearbeitungen kurzsichtig und kaum reflektiert. Man erschliesst sich die Musik nur, wenn man sie sich auf seinem ureigenen Instrument erschliessen kann.
SKU: BT.AMP-343-401
ISBN 9789043138628. 9x12 inches. English-German-French-Dutch.
White Light was commissioned by Fumiko Teramoto, oboist with the Musashino Grand Concert Band from Tokyo, Japan. The request was for a moderately slow piece, of intermediate difficulty, which included White in the title, as this is her lucky colour. Composer Philip Sparke decided to use this suggestion to write a piece that was bright and light in terms of harmony and colour, with much use of simple major and minor chords and an emphasis on pure and transparent timbres. He was also keen to capture the essence and history of the oboe as a solo instrument - the piece is pastoral in character and often almost baroque in style. Also available for oboe and concert band (AMP317-010/140). Wit is de gelukskleur van het opdrachtgevende orkest van dit uitdagende solowerk voor hobo en piano. Philip Sparke schreef daarom een opgewekte compositie. Het zwaartepunt ligt op de heldere klanken van het hoge hout en de harmonie,klankkleur en instrumentatie is helder en doorzichtig.Ook verkrijgbaar voor hobo en harmonieorkest (AMP 317-010/140).Weiß ist die Glücksfarbe des auftraggebenden Blasorchesters und daher im Titel dieses Solowerks für Oboe und Klavier. Passend dazu schuf Philip Sparke ein Stück, das sowohl heiter als auch hell in seiner Harmonik, seinen Farben und seiner Orchestrierung ist, viele einfache Dur- und Mollakkorde enthält und den Schwerpunkt auf die klaren Klänge der hohen Holzbläser im Orchester legt. Ebenfalls erhältlich für Oboe und Blasorchester (AMP 317-010/140).Les indications données étaient les suivantes : une pièce modérément lente et de difficulté moyenne ; enfin, le mot ‘blanc ‘ devait figurer dans le titre, faisant ainsi allusion la couleur fétiche de l'orchestre dédicataire. C'est en s'inspirant de ces quelques éléments que Philip Sparke composa White Light, une pièce lumineuse et harmonieusement légère. De caractère pastoral et de style plutôt baroque, White Light expose avec passion la quintessence du hautbois. Disponible en version Hautbois et piano, elle existe également pour Hautbois solo et orchestre d'harmonie.In questo lavoro per oboe solista e pianoforte, Philip Sparke crea un pezzo che è allo stesso tempo allegro e luminoso nella sua armonia e nei colori, e che nell'orchestrazione contiene molti semplici accordi maggiori e minori. Disponibile anche per oboe e banda (AMP 317-010/140).
SKU: CF.YPS223
ISBN 9781491156643. UPC: 680160915187. 9 x 12 inches.
Notes to the Conductor This adaptation of Christmas Carol Trilogy was arranged to accompany the choral arrangement of the same title by Russell Robinson. It can be played with Robinson's vocal arrangements with band and chorus together or as a stand-alone piece for band. If performed together with a chorus, it is recommended that the performers play one to two dynamic levels lower than written (depending on the size of the chorus) so as not to overpower the singers. Please see the chart below for further explanation. Written Dynamic (To be used if band alone) Large Chorus (1 dynamic lower) Small Chorus (2 dynamics lower) mf f ff mp mf f p mp mf Another possibility for performance is for a small group of wind instruments with chorus. Here, performers would play the written dynamics. Below are a few recommended chamber ensembles that would work with a variety of choruses, though there are several other alternatives. In any case, the conductor should be careful to choose a set of instruments that is both balanced in register (soprano, alto, tenor, bass) and in role (melody, countermelody, bass line, etc.) Option 1 (Woodwind Sextet) Flute (Oboe) Clarinet 1 Clarinet 2 Alto Saxophone Tenor Saxophone (Bassoon) Baritone Saxophone (Bass Clarinet) Option 2 (Brass Quintet) Trumpet 1 Trumpet 2 Horn Trombone (Baritone) Tuba (Baritone Saxophone) A final option is to perform with one player per instrumental part. In all instances, the conductor should pay close attention to the balance of the percussion instruments.Notes to the Conductor This adaptation of Christmas Carol Trilogy was arranged to accompany the choral arrangement of the same title by Russell Robinson. It can be played with Robinson’s vocal arrangements with band and chorus together or as a stand-alone piece for band. If performed together with a chorus, it is recommended that the performers play one to two dynamic levels lower than written (depending on the size of the chorus) so as not to overpower the singers. Please see the chart below for further explanation. Written Dynamic(To be used if band alone)Large Chorus(1 dynamic lower)Small Chorus(2 dynamics lower)mffffmpmff pmpmf  Another possibility for performance is for a small group of wind instruments with chorus. Here, performers would play the written dynamics. Below are a few recommended chamber ensembles that would work with a variety of choruses, though there are several other alternatives. In any case, the conductor should be careful to choose a set of instruments that is both balanced in register (soprano, alto, tenor, bass) and in role (melody, countermelody, bass line, etc.)Option 1 (Woodwind Sextet)Flute (Oboe)Clarinet 1Clarinet 2Alto SaxophoneTenor Saxophone (Bassoon)Baritone Saxophone (Bass Clarinet)Option 2 (Brass Quintet)Trumpet 1Trumpet 2HornTrombone (Baritone)Tuba (Baritone Saxophone)A final option is to perform with one player per instrumental part. In all instances, the conductor should pay close attention to the balance of the percussion instruments.
SKU: CF.YPS223F
ISBN 9781491156650. UPC: 680160915194. 9 x 12 inches.
Notes to the Conductor This adaptation of Christmas Carol Trilogy was arranged to accompany the choral arrangement of the same title by Russell Robinson. It can be played with Robinson's vocal arrangements with band and chorus together or as a stand-alone piece for band. If performed together with a chorus, it is recommended that the performers play one to two dynamic levels lower than written (depending on the size of the chorus) so as not to overpower the singers. Please see the chart below for further explanation. Written Dynamic (To be used if band alone) Large Chorus (1 dynamic lower) Small Chorus (2 dynamics lower) F f ff P F f p P F Another possibility for performance is for a small group of wind instruments with chorus. Here, performers would play the written dynamics. Below are a few recommended chamber ensembles that would work with a variety of choruses, though there are several other alternatives. In any case, the conductor should be careful to choose a set of instruments that is both balanced in register (soprano, alto, tenor, bass) and in role (melody, countermelody, bass line, etc.) Option 1 (Woodwind Sextet) Flute (Oboe) Clarinet 1 Clarinet 2 Alto Saxophone Tenor Saxophone (Bassoon) Baritone Saxophone (Bass Clarinet) Option 2 (Brass Quintet) Trumpet 1 Trumpet 2 Horn Trombone (Baritone) Tuba (Baritone Saxophone) A final option is to perform with one player per instrumental part. In all instances, the conductor should pay close attention to the balance of the percussion instruments.Notes to the Conductor This adaptation of Christmas Carol Trilogy was arranged to accompany the choral arrangement of the same title by Russell Robinson. It can be played with Robinson’s vocal arrangements with band and chorus together or as a stand-alone piece for band. If performed together with a chorus, it is recommended that the performers play one to two dynamic levels lower than written (depending on the size of the chorus) so as not to overpower the singers. Please see the chart below for further explanation. Written Dynamic(To be used if band alone)Large Chorus(1 dynamic lower)Small Chorus(2 dynamics lower)FfffPFf pPF  Another possibility for performance is for a small group of wind instruments with chorus. Here, performers would play the written dynamics. Below are a few recommended chamber ensembles that would work with a variety of choruses, though there are several other alternatives. In any case, the conductor should be careful to choose a set of instruments that is both balanced in register (soprano, alto, tenor, bass) and in role (melody, countermelody, bass line, etc.)Option 1 (Woodwind Sextet)Flute (Oboe)Clarinet 1Clarinet 2Alto SaxophoneTenor Saxophone (Bassoon)Baritone Saxophone (Bass Clarinet)Option 2 (Brass Quintet)Trumpet 1Trumpet 2HornTrombone (Baritone)Tuba (Baritone Saxophone)A final option is to perform with one player per instrumental part. In all instances, the conductor should pay close attention to the balance of the percussion instruments.
SKU: CL.026-4337-01
The elegant beauty of this David Shaffer ballad provides a nice change of pace for any occasion. This great Build-A-Band arrangement makes this composition playable by very small bands and it will sound great as long has you have the four parts covered. Optional percussion and keyboard parts can add to the overall effect.
About Build-A-Band Series
The Build-A-Band Series provides educational and enjoyable music for bands with incomplete or unbalanced instrumentation. Written using just four or five parts (plus percussion), these effective arrangements will work with any combination of brass, woodwind, string and percussion instruments as long as you distribute the parts so that each of the five parts is covered. All of the publications in the Build-A-Band Series have been arranged to be playable with any instrumentation as long as each part is used: 1st Part, 2nd Part, 3rd Part, 4th Part, and Bass Part. (Please note: In some of these arrangements the 4th Part, and the Bass Part are the same, making it possible to play those arrangements with only 4 parts.)
SKU: BT.DHP-1115180-140
9x12 inches. English-German-French-Dutch.
Saxophone Concertino is one of a series of solo concerti by Japanese composer, Satoshi Yagisawa. In this piece, the solo saxophonist's voice does not separate from the concert band, but rather develops musically and gently in combination with it. This work enables the soloist to showcase his ability with variety and grace. Met Saxophone Concertino voegt Yagisawa weer een compositie toe aan zijn reeks van concerti waartoe ook Trumpet Concerto, Trombone Concerto, Marimba Concerto, Concertino for Solo Percussion and Wind Orchestra als ookClarinet Concerto behoren. In dit werk staat het soloinstrument niet los van het blaasorkest, gezamenlijk met de rest van de muziek komt de solopartij heel geleidelijk tot ontwikkeling. Maar wel op een manier dat het talentvan de solist goed tot zijn recht komtDas Saxophone Concertino fügt sich in eine Reihe von Concerti von Satoshi Yagisawa ein, zu der auch sein Trumpet Concerto, das Trombone Concerto, Marimba Concerto, Concertino for Solo Percussion and Wind Orchestra sowie das Clarinet Concerto zählen. In diesem Stück ist die Solostimme nicht vom Blasorchester separiert, sondern entwickelt die Musik behutsam gemeinsam mit diesem. Der Solist kann in diesem Werk sein Können in vielfältiger Weise präsentieren.Le Concertino pour Saxophone s'inscrit dans la lignée des concerti de Satoshi Yagisawa qui compte le Concerto pour Trompette, le Concerto pour Trombone, le Concerto pour Marimba, le Concertino pour Percussion solo et Orchestre vent; tout comme le Concerto pour Clarinette. Dans cette oeuvre, le soliste développe le thème musical en harmonie avec l'orchestre. Par un choral romantique, un allegro et une cadenza, le soliste dévoilera toute sa virtuosité ainsi que les nombreuses facettes de son instrument.Saxophone Concertino si aggiunge alla serie di brani per strumento solo e banda firmati del compositore giapponese, quali Trumpet Concerto, Trombone Concerto, Marimba Concerto, Concertino for Solo Percussion and Wind Orchestra come anche Clarinet Concerto. In Saxophone Concertino lo strumento solista e la banda sviluppano la musica insieme, in perfetta sintonia. Il solista pu' mettersi in luce e mostrare le innumerevoli sfaccettature dello strumento con un romantico corale, un allegro e una cadenza.
SKU: M7.VOGG-207
ISBN 9783802402074.
Die faszinierende Welt der Pop-, Blues- und Rocksounds! Das wichtigste Instrument der Rockmusik; vielseitig, aufregend und immer sehr individuell: die E-Gitarre. Dieses Buch ermöglicht dir einen schnellen Einstieg in die Welt der unterschiedlichen Möglichkeiten und Sounds der E-Gitarre und zeigt dir die mächtigen Power-Rock-Akkorde, angesagte Rockriffs, Blues-Licks und Improvisations-Skalen, nach deren Muster angesagte Hits von heute, aber auch die großen Klassiker und die traditionsreichen Oldies gestrickt sind. Ob Rock, Blues oder Ballade: in diesem Buch findest du alles, um schon bald deine eigene Musik zu machen. Wenn du dann ein wenig Erfahrung auf der Gitarre gesammelt hast, kannst du sofort mit den vielfältigen Audio-Tracks üben - und deiner eigenen Band wird schon bald nichts mehr im Wege stehen. Für die richtigen Tricks und spieltechnischen Gags ist dabei in diesem Buch genauso gesorgt wie für die entscheidenden Tipps zu Verstärkern, Effektgeräten und anderem Equipment. Auf der beiliegenden CD findest du insgesamt über 50 Takes zum Mitspielen, darunter auch ausführliche Songs u.a. von Green Day, Metallica oder Lynyrd Skynyrd. Alle Beispiele und Licks mit detaillierter Tabulatur und natürlich wie immer ohne Noten! Viel Spaß und keep on rockin'!
SKU: BT.DHP-1206255-010
English-German-French-Dutch.
This three-movement concerto (Allegro con brio, Espressivo and Vivacissimo) was commissioned by the famous Japanese euphonium player Tamao Araki. It demands a high level of instrumental proficiency from the soloist, while the accompaniment is less demanding and accessible for a band of an average level. Yagisawa’s clever use of the euphonium’s colourful sound palette with its beautiful melodic lines makes this composition a rare jewel. Dit concerto in drie delen (Allegro con brio, Espressivo en Vivacissimo) werd geschreven in opdracht van de beroemde Japanse eufoniumspeler Tamao Araki. Het vraagt een grote technische vaardigheid van de solist: de rol van het orkest is minder veeleisend, wat betekent dat het werk goed speelbaar is voor een orkest van gemiddeld niveau. Met Yagisawa’s fraaie melodielijnen en zijn vakkundige gebruik van de klankkleuren van het eufonium is deze compositie een absoluut juweeltje.Dieses Konzert hat drei Sätze (Allegro con brio, Espressivo und Vivacissimo) und wurde von dem berühmten japanischen Euphonium-Spieler Tamao Araki in Auftrag gegeben. Es erfordert vom Solisten ein hohes Maß an instrumentalen Fertigkeiten. Die Begleitung hingegen ist weniger anspruchsvoll und kann von Blasorchestern mit durchschnittlichem Niveau gemeistert werden. Yagisawas geschickte Verwendung der farbenreichen Klangpalette des Euphoniums sowie wunderschöne Melodielinien machen aus dieser Komposition ein wahres Glanzstück.Ce concerto en trois mouvements (Allegro con brio, Espressivo et Vivacissimo) est une commande de Tamao Araki, un célèbre joueur d’euphonium japonais. Il exige de grandes compétences instrumentales de la part du soliste, tandis que l’accompagnement, moins ardu, est accessible un orchestre de niveau moyen. Yagisawa emploie habilement la palette sonore colorée de l’euphonium, et ses belles lignes mélodiques font de cette composition un rare joyau.
SKU: BT.DHP-1206255-140
SKU: BT.DHP-1043752-140
Composer Modest Moussorgsky (1839-1881) came from the prosperous environment of Russian nobility. In 1865, after his officer’s education, he joined the guard’s regiment in St. Petersburg. Here he met a number of well-known colleague-composers, including Balakirev, Cui, Rimsky- Korsakov and Borodin. They strived to develop a “classical style†of composing while at the same time retaining a strong Russian influence. His opera Boris Godunov tells the tale of Boris, who with the support of the people, declared himself Tsar, but totally fell short of the role. The opera became popular in the re-orchestrated version produced by Rimsky-Korsakov in 1896. Tohru Takahashi has usedthe beautiful musical themes of this opera in Selections from Boris Godunov - a captivating work for concert band. Moussorgsky’s opera Boris Godunov - gebaseerd op het gelijknamige drama van Aleksandr Pushkin (waarin Boris Godunov zichzelf met steun van het volk uitroept tot tsaar, maar in deze rol compleet tekortschiet) - werd populairin de bewerking die Rimsky-Korsakov in 1896 maakte. De oorspronkelijke partituur van Moussorgsky staat echter vol originele vondsten en vooruitstrevende harmonische, melodische en instrumentale details. Tohru Takahashi gebruiktede prachtige muzikale thematiek van deze opera in Selections from Boris Godunov - een boeiend werk voor harmonieorkest.Sein Meisterwerk, die Oper Boris Godunow, schrieb Mussorgski auf der Grundlage des gleichnamigen Dramas von Alexander Puschkin. In diesem Stück erklärt sich Boris Godunow mit Unterstützung des Volkes selbst zum Zaren, versagt aber kläglich in dieser Rolle. Das Werk ist voll von einzigartigen Ideen und damals sehr innovativen harmonischen, melodischen und instrumentalen Details. Tohru Takahashi verwendete in Selections from Boris Godunov die wunderschönen musikalischen Themen der Oper - ein bezauberndes Werk für Blasorchester.Compositeur essentiellement autodidacte, Modest Moussorgski (1839-1881) descend d’une famille aisée de la noblesse russe. Son chef-d’oeuvre lyrique Boris Godounov est basé sur la tragédie d’Alexandre Pouchkine, dans laquelle Boris Godounov, tsar autoproclamé et soutenu par le peuple faillit son rôle. En 1896, l’opéra connaît le succès dans une version retouchée par Rimski-Korsakov. La version originale de Moussorgski contient cependant des idées uniques, des détails harmoniques, mélodiques et instrumentaux innovateurs. Pour réaliser cette pièce captivante pour Orchestre d’Harmonie, Tohru Takahashi a rassemblé les superbes thèmes musicaux de l’opéra.Compositore essenzialmente autodidatta, Modest Mussorgski (1839-1881) discende da una famiglia agiata della nobilt russa. Il suo capolavoro lirico, Boris Godunov, si basa sulla tragedia di Alexander Puschkin, nella quale Boris Godunov, proclamatosi zar e sostenuto dal popolo, fallisce nel suo ruolo. Nel 1896, l’opera conosce il successo in una versione ritoccata da Rimski Korsakov. La versione originale di Mussorgski contiene idee uniche, dettagli armonici, melodici e strumenti innovativi. Per trascrivere questo brano per banda, Tohru Takahashi ha raccolto i superlativi temi musicali dell’opera.
SKU: BT.DHP-1043752-040
SKU: BT.DHP-1043752-010
Composer Modest Moussorgsky (1839-1881) came from the prosperous environment of Russian nobility. In 1865, after his officer’s education, he joined the guard’s regiment in St. Petersburg. Here he met a number of well-known colleague-composers, including Balakirev, Cui, Rimsky- Korsakov and Borodin. They strived to develop a “classical style†of composing while at the same time retaining a strong Russian influence. His opera Boris Godunov tells the tale of Boris, who with the support of the people, declared himself Tsar, but totally fell short of the role. The opera became popular in the re-orchestrated version produced by Rimsky-Korsakov in 1896. Tohru Takahashi has usedthe beautiful musical themes of this opera in Selections from Boris Godunov - a captivating work for concert band. Moussorgsky’s opera Boris Godunov - gebaseerd op het gelijknamige drama van Aleksandr Pushkin (waarin Boris Godunov zichzelf met steun van het volk uitroept tot tsaar, maar in deze rol compleet tekortschiet) - werd populairin de bewerking die Rimsky-Korsakov in 1896 maakte. De oorspronkelijke partituur van Moussorgsky staat echter vol originele vondsten en vooruitstrevende harmonische, melodische en instrumentale details. Tohru Takahashi gebruiktede prachtige muzikale thematiek van deze opera in Selections from Boris Godunov - een boeiend werk voor harmonieorkest.Sein Meisterwerk, die Oper Boris Godunow, schrieb Mussorgski auf der Grundlage des gleichnamigen Dramas von Alexander Puschkin. In diesem Stück erklärt sich Boris Godunow mit Unterstützung des Volkes selbst zum Zaren, versagt aber kläglich in dieser Rolle. Das Werk ist voll von einzigartigen Ideen und damals sehr innovativen harmonischen, melodischen und instrumentalen Details. Tohru Takahashi verwendete in Selections from Boris Godunov die wunderschönen musikalischen Themen der Oper - ein bezauberndes Werk für Blasorchester.Compositeur essentiellement autodidacte, Modest Moussorgski (1839-1881) descend d’une famille aisée de la noblesse russe. Son chef-d’œuvre lyrique Boris Godounov est basé sur la tragédie d’Alexandre Pouchkine, dans laquelle Boris Godounov, tsar autoproclamé et soutenu par le peuple faillit son rôle. En 1896, l’opéra connaît le succès dans une version retouchée par Rimski-Korsakov. La version originale de Moussorgski contient cependant des idées uniques, des détails harmoniques, mélodiques et instrumentaux innovateurs. Pour réaliser cette pièce captivante pour Orchestre d’Harmonie, Tohru Takahashi a rassemblé les superbes thèmes musicaux de l’opéra.Compositore essenzialmente autodidatta, Modest Mussorgski (1839-1881) discende da una famiglia agiata della nobilt russa. Il suo capolavoro lirico, Boris Godunov, si basa sulla tragedia di Alexander Puschkin, nella quale Boris Godunov, proclamatosi zar e sostenuto dal popolo, fallisce nel suo ruolo. Nel 1896, l’opera conosce il successo in una versione ritoccata da Rimski Korsakov. La versione originale di Mussorgski contiene idee uniche, dettagli armonici, melodici e strumenti innovativi. Per trascrivere questo brano per banda, Tohru Takahashi ha raccolto i superlativi temi musicali dell’opera.
SKU: HL.240927
ISBN 9781495099489. UPC: 888680702533. 6.25x9.25x0.85 inches. Larry Bartram with Dick Boak.
A Stowaway Ukulele Revealed: Richard Konter & the Byrd Polar Expeditions is the unlikely and compelling story of a globe-trotting, ukulele-strumming Brooklyn sailor named Richard Konter and his famous autographed instrument. At the height of the ukulele craze, Konter was a go-to arranger for Tin Pan Alley composers and publishers. In 1926, Konter shipped out as a member of the crew of the Byrd Arctic Expedition. As a riveted world followed their progress (and that of their arch-rival, Roald Amundsen, the world's greatest polar explorer), Konter managed to get his ukulele aboard Byrd's plane for the first successful polar flight. A keen contributor to history in the making, Konter managed to obtain the autographs of more than 150 individuals, both famous and unknown, all of whom respected the importance of Konter's North Pole ukulele. Later, Konter accompanied Byrd to Antarctica and later married, for the first time at age 80, the love of his life. For the first time, A Stowaway Ukulele Revealed: Richard Konter & the Byrd Polar Expeditions details the marvelously diverse cast of characters who autographed this little instrument, presenting mini-biographies and photographs to illustrate the interconnected web of lives brought together by Konter. New archival research, interviews, and imaging all combine to make A Stowaway Ukulele Revealed: Richard Konter & the Byrd Polar Expeditions a spellbinding read that blends biography, music, polar exploration, history, determination, courage, and romance.
SKU: BR.EB-9394
ISBN 9790004188682. 9 x 12 inches.
My lecture of the Winterreise does not demand a new expressive interpretation, but instead systematically exercises the freedom which all interpreters allow themselves intuitively, such as: instrumental dilation i. e. acceleration of the pace, transposition into other keys and elaboration of characteristic color timbres. In addition, there are further ways of reading; the music; jumping around in the text, repeating certain lines, interrupting the continuity, comparing different expressions of the same phrase ... All these new possibilities are subjected to my compositional discipline and form autonomous formal processes which are imposed on Schuberts original. The transformation of the piano tones into a multifaceted orchestra full of resonance is only one of many aspects.(Hans Zender)CDs:Hans Peter Blochwitz (Tenor), Ensemble Modern, Conductor: Hans Zender CD BMG 9026-68067-2 Christoph Pregardien (Tenor), Klangforum Wien, Conductor: Sylvain Cambreling CD Kairos 0012002KAIJulien Pregardien (Tenor), Deutsche Radio Philharmonie Kaiserslautern, Conductor: Robert Reimer2 CD's P.RHEI (2016)Bibliography:Adam-Schmidmeier, Eva-Maria von: Schubert interpretieren. Hans Zender: Schuberts Winterreise. Eine komponierte Interpretation im Unterricht, in: Musik und Unterricht Heft 96 (2009), pp. 50-56.Gruhn, Wilfried: Wider die asthetische Routine. Hans Zenders Version von Schuberts Winterreise, in: Neue Zeitschrift fur Musik 1/1997.Hebling, Harald: Kompositorische Schubertrezeption im 20. Jahrhundert, Magisterarbeit Universitat Wien 2003, especially pp. 148-157.Nonnenmann, Rainer: Vom Nutzen und Nachteil der Musikhistorie fur das Musikleben. Zur Kritik aktualisierender Interpretation am Beispiel von Hans Zenders Schuberts ,Winterreise, in: Musik und Asthetik 7, Heft 26 (April 2003), pp. 65-90.ders.: Schuberts ,Winterreise . Komponierte Interpretation von Hans Zender / Ballett von John Neumeier, in: Osterreichische Musikzeitung 60 (2005), Heft 3, p. 42f.ders.: Fremd bin ich eingezogen, fremd zieh ich wieder aus. Versuch zur Rettung der Vergangenheit Schuberts Winterreise. Eine komponierte Interpretation fur Tenor und kleines Orchester (1993) von Hans Zender, in ders.: Winterreisen. Komponierte Wege von und zu Franz Schuberts Liederzyklus aus zwei Jahrhunderten, 2 Bande (= Taschenbucher zur Musikwissenschaft, Band 150/151), Wilhelmshaven: Florian Noetzel 2006, pp. 143-205.Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 11-24.Revers, Peter: ... Schnee, du weisst von meinem Sehnen. Aspekte der Schubert-Rezeption in Hans Zenders Winterreise (1993), in: Dialekt ohne Erde. Franz Schubert und das 20. Jahrhundert, hrsg. von Otto Kolleritsch, Wien-Graz 1998 (Studien zur Wertungsforschung, Band 34), pp. 98-120.Schafer-Lembeck, Hans-Ulrich: Gegenstrebige Fugungen. Hans Zenders Musik und seine komponierte Interpretation von Schuberts Winterreise, in: Neue Musik vermitteln. Analysen Interpretationen - Unterricht, hrsg. von Hans Bassler, Ortwin Nimczik und Peter W. Schatt, Mainz: Schott, 2004, pp. 295-307.Stahmer, Klaus Hinrich: Bearbeitung als Interpretation - Zur Schubertrezeption Gustav Mahlers, Hans Zenders und Friedhelm Dohls, in: Franz Schubert und Gustav Mahler in der Musik der Gegenwart, Mainz 1998.Zender, Hans: warum wieder die Winterreise? Hartmut Regitz im Gesprach mit dem Komponisten, in: ballet.tanz - international.aktuell, Heft 12 (2001), p. 18.World premiere: Frankfurt am Main, September 21, 1993.
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