SKU: BT.DHP-1165673-010

English-German-French-Dutch.

The Tower of Pisa is beyond doubt the most famous and legendary tower in the world. The main motif symbolizes the three bells of the tower. The motif is transformed throughout the piece in which the spectacular effect of a downward motive playedagainst sustained chords, symbolizing the leaning tower, is used. The finale portrays a parade of all bands from around Pisa coming to town to celebrate, accompanied by the bells of the tower!

De Toren van Pisa is zonder twijfel de beroemdste en meest legendarische toren van de wereld. In dit werk symboliseert het hoofdmotief de drie klokken van de toren. Dit hoofdthema wordt gaandeweg getransformeerd, terwijl halverwege de compositieeen spectaculair neerwaarts motief tegenover aangehouden akkoorden staat voor het scheef hellen van de toren. De finale weerspiegelt een optocht van blaasorkesten uit de omgeving, op weg naar Pisa om er feest te vieren, begeleid door hetklokkenmotief!

Der Schiefe Turm von Pisa gehört zweifellos zu den berühmtesten und legendärsten Türmen der Welt. Das Hauptmotiv des Stückes symbolisiert die drei Glocken des Turms. Das Thema mit dem großartigen Effekt eines abwärtsgehenden Motivs, welches denschiefen Turm symbolisiert, im Kontrast zu den gehaltenen Akkorden, kehrt im gesamten Stück in verschiedenen Versionen wieder. Das Finale stellt eine Parade aller Orchester aus der Umgebung von Pisa dar, die zum Feiern in die Stadt kommen und von denGlocken des Turms begleitet werden!

La tour de Pise est sans doute la tour la plus célèbre et légendaire du monde. Le motif principal symbolise les trois cloches de la tour et est transformé tout au long du morceau. En contraste aux accords soutenus, une impression descendante estcréée par un autre motif qui symbolise la tour inclinée. Le final dépeint une parade de tous les orchestres des alentours de Pise qui se rassemblent en ville pour célébrer, accompagnées par les cloches de la tour !

Quella di Pisa è, con ogni probabilit , la più famosa torre al mondo. Il leitmotif del brano di de Haan simbolizza le tre campane della torre, mentre tutta l’opera mantiene un andamento fluttuante capace di rendere pienamente il senso di pendenza della torre. Il finale illustra una grande parata alla quale partecipano tutte le bande dei dintorni della citt , festanti e accompagnate dal suono gioioso delle campane.

SKU: BR.EB-8812

Setting out into the big wide drum set world

ISBN 9790004183601. 9 x 12 inches. German.

Drumroad 2 is for all percussion players who have successfully made their way through the first book. With more grooves, fill-ins, exercises and solo pieces, Kleinehanding provides a logical sequel to his multi-faceted concept which, once again, is subdivided into a main book and a fill-in book. The main book also contains six drummer portraits, in which leading percussionists are introduced at length with groove examples: Stewart Copeland (The Police), Sheila E. (Prince), Clyde Stubblefield and Jabo Starks (James Brown), Manu Katche (Sting a.o.), Steve Gadd and Jojo Mayer. Such tips help open the big wide drum set world to the students of Drumroad 2. Das Konzept des ersten Bandes ist erfolgreich weitergefuhrt. Die Noten sind klar und ubersichtlich gedruckt. (Cornelia Monske, neue musikzeitung)

Setting out into the big wide drum set world.

SKU: BR.OB-3210-15

ISBN 9790004300695. 10 x 12.5 inches.

Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.