SKU: BT.DHP-1125291-400
ISBN 9789043141765. 9x12 inches. English-German-French-Dutch.
Performance pieces for piano and clarinet in which the level of difficulty for both players is similar are always in demand. The 20 pieces in this book — arrangements of well-known tunes as well as original compositions — are aimed at pupils who have been playing for approximately three years. Both players will learn a great deal and will have double the playing fun. Two is a Team — after all playing together is almost always at the heart of music!Er blijkt steeds weer behoefte te zijn aan samenspeelstukken voor piano en klarinet waarin beide partijen een vergelijkbare moeilijkheidsgraad hebben. De 20 stukken in dit boek — zowel bewerkingen van bekende liedjes als originele composities — zijn bedoeld voor leerlingen die ongeveer drie jaar spelen. Beiden zullen er veel van leren en er dubbel plezier aan beleven. Two is a Team — in de muziek draait het immers vrijwel altijd om samenspel!Es gibt immer Bedarf an Stücken für Klavier und Klarinette, in denen die Stimmen für beide Spieler ähnlich schwer sind. Die 20 Stücke in diesem Buch — die sowohl bekannte Melodien als auch originale Kompositionen umfassen — richten sich an Instrumentalschüler, die bereits etwa drei Jahre Unterricht hatten. So können beide etwas lernen und haben doppelt Spaß. Two is a Team — denn schließlich geht es beim Musizieren doch fast immer um das gemeinsame Musikerlebnis!La littérature musicale semblerait être dénuée de morceaux de concert pour piano et clarinette dont le degré de difficulté soit peu près le même pour les deux musiciens. Les 20 morceaux de ce recueil — arrangements d’airs connus et compositions originales — sont destinés aux élèves qui jouent depuis environ trois ans. Ils profiteront tous deux de ce travail et prendront doublement plaisir interpréter ces morceaux. Après tout, jouer avec d’autres est un des grands plaisirs qu’apporte la pratique de la musique !Two is a Team raccoglie composizioni originali e brani del repertorio classico noto al pubblico, indirizzati agli strumentisti con circa tre anni di studio alle spalle. Il livello di difficolt dei brani contenuti nella pubblicazione è molto simile per entrambi gli strumentisti, rendendo così più facile un’esecuzione con l’accompagnamento del piano.
SKU: BT.DHP-1074231-120
9x12 inches. English-German-French-Dutch.
Composer Jacob de Haan has based The Heart of Lithuania on five folk melodies from Lithuania, a country that despite its small size has a rich cultural heritage. The choice and diversity of emotions, largely determined by the characteristic melodies, take the listener straight to the heart of the Lithuanian people. Litouwen, de grootste van de drie Baltische staten, is gezegend met een rijk cultureel erfgoed. Componist Jacob de Haan heeft The Heart of Lithuania gebaseerd op vijf volksmelodieën die met name geliefd waren in de tweede helftvan de twintigste eeuw. Hoewel alle vijf de liederen afkomstig zijn uit de Auk¹taitija-regio, zijn ze populair in heel Litouwen, ze worden nog altijd gezongen door jonge mensen in de steden en dorpen. Dit schitterende werk voertde luisteraar rechtstreeks naar de ziel van het Litouwse volk.In The Heart of Lithuania verwendete Jacob de Haan Volkslieder aus Litauen, das trotz seiner relativ geringen Größe doch über ein vielfältiges kulturelles Erbe verfügt. Eine sehr reichhaltige Quelle der Inspiration für Jacob de Haan, der sich fünf traditionelle Lieder, die voller Freude, Hoffnung oder auch Melancholie von der Liebe erzählen, als Basis für seine Komposition wählte. Diese Musik wird den Zuhörer direkt ins Herz des litauischen Volkes führen!La Lituanie est dotée d’un riche patrimoine culturel. Petit territoire situé sur la rive orientale de la mer Baltique, la Lituanie est divisée en cinq régions ethnographiques : la Samogitie, la Haute Lituanie, la Sudovie, la Dzūkija et la Petite Lituanie. Chaque région a son dialecte, son costume traditionnel, ses coutumes, son artisanat, ses fêtes et jours fériés et surtout ses propres chants traditionnels chantés depuis près d’un millénaire. Pour composer The Heart of Lithuania (“Au cœur de la Lituanieâ€), Jacob de Haan s’est inspiré de cinq mélodies traditionnelles particulièrement en vogue dans la seconde moitié du XXe siècle. Bien que ces chantsproviennent de Haute Lituanie, ils sont appréciés sur l’ensemble du territoire et sont encore chantés aujourd’hui. Le choix des chants et la diversité des émotions qu’ils expriment travers des lignes mélodiques typées emportent l’auditeur au cœur de l’ me lituanienne.
SKU: BT.DHP-1002319-401
ISBN 9789043112154. English-German-French-Dutch.
A sister book to Top Hits Duo, which enables young players to perform pop songs and well-known traditional melodies in small ensemble groups. This helps develop both playing and listening skills. Een bonte mengeling van folk- en popsongs. Inhoud: Weââ¬â¢re Going to Ibiza ââ¬Â¢ La Cucaracha ââ¬Â¢ The Floral Dance ââ¬Â¢ Careless Love ââ¬Â¢ Everybody Needs Somebody ââ¬Â¢ Mull of Kintyre ââ¬Â¢ The Show Must Go On ââ¬Â¢ Go Tell It on The Mountain ââ¬Â¢ Y.M.C.A.ââ¬Â¢ Lovely Evening ââ¬Â¢ Die Karawane zieht weiter ââ¬Â¢ Dona Nobis Pacem ââ¬Â¢ Sunday in Rio ââ¬Â¢ KumbayaMit diesen Top-Hits aus verschiedenen Jahrzehnten macht das Zusammenspiel im Trio richtig Spaß! Da oggi è possibile suonare in trio i grandi successi pop. Con Top Hits Trio potrete unire tre stumenti della stessa tonalit per dar modo ai giovani allievi di cimentarsi nellââ¬â¢esperienza formativa della musica dââ¬â¢insieme, dove oltre ad imparare lââ¬â¢importanza di tenere il giusto tempo, i musicisti capiranno anche cosa vuol dire ascoltare la parte degli altri. Ma potrete anche mischiare libri di diversi strumenti per creare il trio giusto.
SKU: BT.EMBZ14848
The volumes in this new series contain duos, trios and quartets, their degree of difficulty ranging from easy through intermediate to advanced. Every piece is a transcription or an arrangement, since in editing the volumes our primary concern was to provide a collection of valuable and interesting compositions, as freely variable as possible as regards instrumentation, for music school students and also for adults who make music for their own pleasure. The range and pitch of the parts enable the works to be performed on any required or possible combination of the given instruments. The Easy trios volume in the Ad libitum series offers a rich variety of simple three-part settingsfor beginners on their instruments. This volume contains not only the simplest of folk song arrangements and transcriptions of Renaissance and early Baroque vocal pieces but also easily performable excerpts from works by great composers such as J. S. Bach, G. F. Händel and J. Haydn. Here you can find well-known favourites too (Mozart's Terzetto from The Magic Flute Beethoven's Ode to Joy). One special item is a little-known version of a popular children's song arranged by Mozart too ('Ah, vous dirai-je, maman'), in an arrangement by one of Bach's sons, J. Ch. Fr. Bach. Die Bände der neuen Serie beinhalten leichte, mittelschwere oder fortgeschrittene Duos, Trios und Quartette. Bei der Zusammenstellung lag das Hauptaugenmerk auf der höchstmöglichen Freiheit in der Kombinierbarkeit der Instrumente sowie darauf, dass die Kompositionen für Musikschüler und Hobbymusiker musikalisch interessant und wertvoll sind. Aus diesem Grund handelt es sich bei allen Stücken um Transkriptionen. Lage und Tonumfang der Stimmen sind so gesetzt, dass sich die Werke allen denkbaren Umständen und Ansprüchen anpassen und entsprechend in jeder Kombination der angegebenen Musikinstrumente vorgetragen werden können.
SKU: BT.DHP-1074231-140
SKU: BT.DHP-0970960-020
Donâ??t Cry for me Argentina is the best-known song from the 1976 musical Evita. It was sung by Eva Peron when she was addressing the crowds amassed in the square below her balcony. More recently it was a hit for Madonna, who sang it in the 1996 film version of Evita. This arrangement retains the broad emotive melody of the original together with its intense emotion. Julie Covington maakte dit lied uit de musical Evita in 1976 onsterfelijk. Twintig jaar later werd de versie van Madonna, die de hoofdrol speelde in de fraaie verfilming, een hit. De musical over Eva Perón, echtgenote van deArgentijnse president Juan Perón, blijft tot de verbeelding spreken. In 2008 gaat er een Nederlandse versie in première. Velen bekeken het voorafgaande televisieprogramma Op zoek naar Evita. Met Donâ??t Cry for Me Argentina>/I>brengt u zowel een tijdloze, ontroerende melodie als een actuele hit.Die Sängerin Julie Covington machte dieses Lied aus dem Musical Evita von Andrew Lloyd Webber und Tim Rice unsterblich. Zuletzt feierte Madonna sowohl mit dem Lied als auch in der Rolle der Evita Peron einen Riesenerfolg. Ebenso anrührend und stimmungsvoll wie die Geschichte des Musicals ist die Bearbeitung für Fanfareorchester von Ron Sebregts! Cette chanson, interprétée par Madonna dans lâ??adaptation cinématographique dâ??Alan Parker, est extraite de la comédie musicale Evita, écrite par le maître et inventeur de lâ??opéra-rock Sir Andrew Lloyd Webber. Evita retrace le destin exceptionnel dâ??Eva Peron, première dame dâ??Argentine. Elle a incarné lâ??espoir de tout un peuple et fut le guide spirituel de lâ??Argentine des années 40. Questa canzone, interpretata da Madonna nella versione cinematografica diretta da Alan Parker, è estratta dalla commedia musicale Evita, scritta dal maestro e inventore dellâ??opera-rock Sir Andrew Lloyd Webber. Evita riprende il destino di Eva Peron che ha incarnato la speranza di un intero popolo e che fu la guida spirituale dellâ??Argentina degli anni â??40.
SKU: BT.DHP-1074231-020
SKU: BT.DHP-1094730-010
The Spring Sketches ist eine Fortsetzung von Young Pheasants in the Sky desselben Komponisten. Das ganze Stück wurde in einem choralähnlichen Stil geschrieben und enthält das Thema seines Vorgängers. So lässt sich The Spring Sketches wunderbar alleine als Zwischenspiel oder direkt im Anschluss an Young Pheasants in the Sky auff ühren. Composé au printemps 2006, The Spring Sketches (“Esquisses du printempsâ€) constitue la suite de l’œuvre Fanfare - Young Pheasants in the Sky. Deuxième commande de l’Orchestre d’Harmonie du Lycée de Kashihara, une ville de la préfecture de Nara au Japon, ce choral l’élégance fluide reprend la ligne mélodique exposée initialement dans Young Pheasants in the Sky. S’il est possible d’interpréter les deux œuvres séparément, il est bien plus intéressant de les enchaîner (Fanfare / The Spring Sketches).
SKU: BT.DHP-1074231-010
SKU: BT.DHP-1063989-140
Italian composer Ottorino Respighi wrote several operas, ballet music,chamber music, piano and organ works as well as Cantatas in a stylemuch influenced by the French Impressionists mixed with his uniquepersonal style. The Japanese arranger Yoshihiro Kimura has skilfullyadapted Respighi?s symphonic poem Fontane di Roma for concertbands of an advanced level. De roem van de Italiaanse violist en componist Ottorino Respighi (1879-1936) berust vooral op zijn instrumentale werken, met name het orkestrale drieluik van symfonische gedichten: Fontane di Roma, Pini di Roma en FesteRomane. Zijn stijl is be nvloed door de Franse impressionisten, Rimsky-Korsakov en Richard Strauss, maar met een geheel eigen tintje. De Japanse arrangeur Yoshihiro Kimura heeft het symfonische gedicht Fontane di Roma vanRespighi op vakkundige wijze bewerkt voor harmonieorkest.Ottorino Respighi schrieb mehrere Opern, Ballettmusik, Kammermusik, Klavier- und Orgelwerke sowie Kantaten in einem vom französischen Impressionismus geprägten, jedoch auch sehr eigenständigen Stil. Auch das sinfonische Gedicht Fontane di Roma, das Yoshihiro Kimura geschickt für Blasorchester umsetzte, hat eine ganz eigene Note, die es interessant für Spieler und Zuhörer macht. D’abord élève du Liceo Musicale de Bologne, le compositeur et violoniste italien Ottorino Respighi (1879-1936) suit l’enseignement de Rimski-Korsakov Saint-Pétersbourg, où il fut quelque temps alto solo de l'Orchestre de l'Opéra. En 1908, alors qu’il séjourne Berlin, il reçoit les conseils de Max Bruch.De retour en Italie, il entreprend une carrière de violoniste et d'altiste avant d’être nommé professeur de composition au Conservatoire Sainte-Cécile de Rome dont il deviendra directeur en 1924. Deux ans plus tard, Respighi démissionne de ce poste afin de pouvoir se consacrer pleinement la composition.Ottorino Respighi est considéré comme l'un des plus grandscompositeurs italiens du début du XXe siècle. Auteur de plusieurs opéras, de ballets, de quelques cantates et œuvres de musique de chambre, de mélodies pour orgue et piano, Respighi s’est acquis la notoriété mondiale notamment par le triptyque symphonique Fontane di Roma (Les Fontaines de Rome), Pini di Roma (Les Pins de Rome) et Feste Romane (Fêtes romaines). Son style unique a été profondément influencé par les impressionnistes français, par Rimski-Korsakov et Richard Strauss.Le compositeur-arrangeur japonais Yoshihiro Kimura a réalisé une superbe adaptation pour Orchestre d’Harmonie du poème symphonique Les Fontaines de Rome d'Ottorino Respighi.
SKU: BT.DHP-1125295-400
ISBN 9789043141819. 9x12 inches. English-German-French-Dutch.
Performance pieces for piano and horn in which the level of difficulty for both players is similar are always in demand. The 20 pieces in this book — arrangements of well-known tunes as well as original compositions — are aimed at pupils who have been playing for approximately three years. Both players will learn a great deal and will have double the playing fun. Two is a Team — after all playing together is almost always at the heart of music!Er blijkt steeds weer behoefte te zijn aan samenspeelstukken voor piano en hoorn waarin beide partijen een vergelijkbare moeilijkheidsgraad hebben. De 20 stukken in dit boek — zowel bewerkingen van bekende liedjes als originele composities — zijn bedoeld voor leerlingen die ongeveer drie jaar spelen. Beiden zullen er veel van leren en er dubbel plezier aan beleven. Two is a Team — in de muziek draait het immers vrijwel altijd om samenspel!Es gibt immer Bedarf an Stücken für Klavier und Horn, in denen die Stimmen für beide Spieler ähnlich schwer sind. Die 20 Stücke in diesem Buch — die sowohl bekannte Melodien als auch originale Kompositionen umfassen — richten sich an Instrumentalschüler, die bereits etwa drei Jahre Unterricht hatten. So können beide etwas lernen und haben doppelt Spaß. Two is a Team — denn schließlich geht es beim Musizieren doch fast immer um das gemeinsame Musikerlebnis!La littérature musicale semblerait être dénuée de morceaux de concert pour piano et cor dont le degré de difficulté soit peu près le même pour les deux musiciens. Les 20 morceaux de ce recueil — arrangements d’airs connus et compositions originales — sont destinés aux élèves qui jouent depuis environ trois ans. Ils profiteront tous deux de ce travail et prendront doublement plaisir interpréter ces morceaux. Après tout, jouer avec d’autres est un des grands plaisirs qu’apporte la pratique de la musique !Two is a Team raccoglie composizioni originali e brani del repertorio classico noto al pubblico, indirizzati agli strumentisti con circa tre anni di studio alle spalle. Il livello di difficolt dei brani contenuti nella pubblicazione è molto simile per entrambi gli strumentisti, rendendo così più facile un’esecuzione con l’accompagnamento del piano.
SKU: BT.DHP-0920462-130
Een enorme cirkel van gigantische rechtopstaande stenen staat al zo’n 3500 jaar lang in het zuidwesten van Engeland. In dit werk zijn sfeerbeelden omgezet in muziek. Hoewel er geen concreet verhaal aan ten grondslag ligt en er geenduidelijk scenario is gebruikt, verklankt deze compositie het mysterie en de grootsheid van het eeuwenoude geheimzinnige monument Stonehenge op voortreffelijke wijze.Dans le sud-ouest de l’Angleterre, se dresse, depuis plus de 3 500 ans, un impressionnant cercle de blocs de grès. En dépit de multiples recherches et calculs scientifiques, on ne connaît toujours pas la signification exacte de ce site. Au fil des siècles, de nombreuses suppositions et spéculations ont été avancées quant la fonction de Stonehenge, lieu de cérémonies religieuses, lieu de rituels et d’adoration, mais aucune de ces hypothèses n’a pu être démontrée de façon probante ce jour. Actuellement, on s’accorde penser que Stonehenge est un calendrier géant. La disposition particulière des blocs permet d’observer le lever du soleil ou le coucher de la lune, de prédire lessolstices d’été et d’hiver, de déterminer les positions de la lune travers les diagonales, etc. En résumé, ce mystérieux monument de pierre permet d’observer les changements de saison.Stonehenge est une mise en musique d’images et d’impressions atmosphériques ; un paysage sonore dont la trame ne suit aucun scénario précis, mais dont les images sont réelles.
SKU: BT.DHP-0970960-120
Don’t Cry for me Argentina is the best-known song from the 1976 musical Evita. It was sung by Eva Peron when she was addressing the crowds amassed in the square below her balcony. More recently it was a hit for Madonna, who sang it in the 1996 film version of Evita. This arrangement retains the broad emotive melody of the original together with its intense emotion. Julie Covington maakte dit lied uit de musical Evita in 1976 onsterfelijk. Twintig jaar later werd de versie van Madonna, die de hoofdrol speelde in de fraaie verfilming, een hit. De musical over Eva Perón, echtgenote van deArgentijnse president Juan Perón, blijft tot de verbeelding spreken. In 2008 gaat er een Nederlandse versie in première. Velen bekeken het voorafgaande televisieprogramma Op zoek naar Evita. Met Don’t Cry for Me Argentina>/I>brengt u zowel een tijdloze, ontroerende melodie als een actuele hit.Die Sängerin Julie Covington machte dieses Lied aus dem Musical Evita von Andrew Lloyd Webber und Tim Rice unsterblich. Zuletzt feierte Madonna sowohl mit dem Lied als auch in der Rolle der Evita Peron einen Riesenerfolg. Ebenso anrührend und stimmungsvoll wie die Geschichte des Musicals ist die Bearbeitung für Fanfareorchester von Ron Sebregts! Cette chanson, interprétée par Madonna dans l’adaptation cinématographique d’Alan Parker, est extraite de la comédie musicale Evita, écrite par le maître et inventeur de l’opéra-rock Sir Andrew Lloyd Webber. Evita retrace le destin exceptionnel d’Eva Peron, première dame d’Argentine. Elle a incarné l’espoir de tout un peuple et fut le guide spirituel de l’Argentine des années 40. Questa canzone, interpretata da Madonna nella versione cinematografica diretta da Alan Parker, è estratta dalla commedia musicale Evita, scritta dal maestro e inventore dell’opera-rock Sir Andrew Lloyd Webber. Evita riprende il destino di Eva Peron che ha incarnato la speranza di un intero popolo e che fu la guida spirituale dell’Argentina degli anni ’40.
SKU: CA.3550214
ISBN 9790007213459. Language: German.
Third version, first performed around 1747 in Leipzig. First version available under 35.304/00. The St. Mark Passion, which probably originated in the first decade of the 18th century, by a composer known until now only as Kaiser, is only preserved in various copies. It occupies a prominent place in Bach's music library as the only music for Passion by another composer which he performed several times, usually in different forms. For the young Bach in Weimar this St. Mark Passion was a didactic piece for learning the art of the modern narrative recitative; as the Leipzig Thomaskantor he also performed it (1726). The present edition reconstructs the third version, first performed in Leipzig (1747), in which Bach inserted seven arias from Handel's famous Brockes-Passion. Only in this pasticcio did a direct encounter occur between him and his famous compatriot in London, a real encounter which Bach longed for, but which never came about. Score and part available separately - see item CA.3550200.
SKU: BR.EB-8922
Have a look into EB 8922.
ISBN 9790004185889. 9 x 12 inches.
Welcome Repertoire Piece Josef Schelb (b. 1894 in Bad Krozingen) belongs to that generation of composers who had to cope with two world wars, severe recessions, and the fatal effects of the Third Reich. Schelb turned to impressionism, expressionism, dodecaphony, and atonality, without, however, firmly settling in any direction, but developing his distinctive personal style out of all this. He is a master of the polyphonic treatment of motives and themes. His Concerto for Englisch Horn and String Orchestra was composed in 1970 in Baden-Baden after he became acquainted with Helmut Koch, the solo English hornist of the former SWF Symphony Orchestra Baden-Baden. The three-movement concerto interweaves tonality, dodecaphony, and polyphony in a fascinating and yet discreet manner. A late work of impressive cantabile and yearning poetry, it will quickly secure its place in the up-to-now slim English-horn repertoire.
SKU: BR.OB-15113-27
ISBN 9790004340226. 10 x 12.5 inches.
The tragic circumstances surrounding the origin of the concerto are well known: Manon Gropius, the daughter of Berg's friend Alma Mahler, died of polio after the composer had written the first sketches to his violin concerto. In remembrance of her, he dedicated the work to the memory of an angel. Later, Berg decided to incorporate into the score the Bach chorale Es ist genug as a quote. He also worked on the solo part directly and intensely with the American violinist Louis Krasner, who had commissioned the work. Berg was no longer able to witness the first performance and the first edition of the concerto since he passed away in late 1935. This new edition is the first Urtext version of Berg's work, which was created in the midst of a spate of epoch-making violin concertos by Stravinsky (1931), Schoenberg (1936), Prokofiev (1937), Bartok (1938), Hindemith (1939) a. o. Errors from the first edition were corrected after an in-depth comparison with the autograph score, the short score and, in some cases, with the twelve-tone row structure.The entire performance material can be purchased; however, due to copyright reasons, the score and orchestral parts are not available the United States.Werden die Urtextausgaben von Breitkopf & Hartel aufgrund ihres hellblauen Umschlags augenzwinkernd die Himmlischen genannt, so ist dies in Bezug auf die neu vorgelegte Partitur Programm. (Florian Henri Besthorn, neue musikzeitung)In Cooperation with G. Henle Verlag.
SKU: BR.OB-15113-30
ISBN 9790004340233. 10 x 12.5 inches.
SKU: BT.AMP-371-130
Released in cinemas in 1993, Tombstone is an American western written by Kevin Jarre and directed by George Cosmatos. Starring Kurt Russell and Val Kilmer, it was narrated by Robert Mitchum and is based on events relating to the Gunfight at the OK Corral, and the subsequent Wyatt Earp Vendetta, both of which took place in Tombstone, Arizona.The theme is crime, political corruption and law enforcement in the American west during the 1880s. The score was by Bruce Broughton, and this selection features music from the opening and closing credits.Tombstone ist ein amerikanischer Western aus dem Jahre 1983, der unter der Regie von Kevin Jarre nach einem Drehbuch von George Cosmatos entstand. Der Film mit Kurt Russell und Val Kilmer in den Hauptrollen sowie Robert Mitchum als Erzähler basiert auf den historischen Ereignissen rund um die Schießerei am OK Corral und dem daraus resultierenden Rachefeldzug von Wyatt Earp. Beides fand im Ort Tombstone im US-Bundesstaat Arizona statt. Themen des Films sind Verbrechen, politische Korruption und Strafverfolgung im Amerika der 1880er-Jahre.Diese Bearbeitung präsentiert eine Auswahl aus der Eröffnungs- und Abspannmusik der originalen Filmmusik von Bruce Broughton.
SKU: PR.114417570
ISBN 9781491107867. UPC: 680160636013. 9x12 inches.
The famous set of dances by Norway's greatest composer were written for piano duet. Grieg later created a piano solo version, but refused to orchestrate the set. After some study of Grieg and his music, Michael Webster has arranged the four dances for Flute, Clarinet, and Piano in a faithful setting, using the piano duet version as a guide. This lively Grieg classic will be a welcome new addition to performance programs. For advanced performers._______________________________________Text from the scanned back cover:Born in 1944, MICHAEL WEBSTER made his New York recital debut at Town Hall in 1968 with his eminent father, Beveridge Webster, as pianist. In the same year, he won the Young Concert Artists International Competition and succeeded his teacher, Stanley Hasty, as Principal Clarinet in the Rochester Philharmonic, a position he held for twenty years. Webster has performed with the Chamber Music Society of Lincoln Center, the 92nd Street Y, with the Tokyo, Cleveland, Muir, Ying, Enso, and Dover String Quartets, and with the festivals of Marlboro, Santa Fe, Norfolk, Chamber Music Northwest, Angel Fire, Steamboat Springs, Park City, Sitka, Kapalua, Bowdoin, Orcas Island, Skaneateles, La Musica di Asolo, Stratford, Victoria, and Domaine Forget.As soloist he has appeared with many orchestras, including the Philadelphia Orchestra under Aaron Copland and the Boston Pops under John Williams. His travels have taken him as performer and teacher to most of the 50 states, as well as Canada, Mexico,Puerto Rico, Central and South America, Europe, Japan, China, Australia, and New Zealand. Webster was Acting Principal Clarinet of the San Francisco Symphony, and has served on the clarinet and/or conducting faculties of New England Conservatory, Boston University, University of Michigan, and the Eastman School, from which he earned his three degrees. Currently he is Professor of Music at Rice Universityâ??s Shepherd School of Music and Artistic Director of the Houston Youth Symphony, which has won multiple first prizes in national performance competitions.With his wife, flutist Leone Buyse, and pianist Robert Moeling, he plays in the Webster Trio, which has recorded his arrangements on Tour de France and World Wide Webster for Crystal Records. Otherarrangements were recorded for Nami and Camerata Tokyo in Japan with pianist Chizuko Sawa. Webster has also recorded for Albany, Arabesque, Beaumont, Bridge, Centaur, CRI, and New World. He has played at many ClarinetFests for the International Clarinet Association and written a column entitled â??TeachingClarinetâ? in The Clarinet Magazine since 1998. Michael Webster is a Buffet artist-clinician, performing on Buffet clarinets exclusively. NORWEGIAN DANCES (Grieg)Michael Websterâ??s transcriptions for Flute, Clarinet, and Piano have created the core literature for this instrumental genre. Working directly from Griegâ??s original piano four-hands version of the charmingly familiar Norwegian Dances, Webster has given flutists and clarinetists another addition to the ensembleâ??s repertoire.
SKU: PR.701175060
UPC: 888680101268.
“The idea of writing the Danzón No.2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez, both of whom are experts in salon dances with a special passion for the danzón, which they were able to transmit to me from the beginning, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward, I started to learn the danzón’s rhythms, its form, its melodic outline, and to listen to the old recordings by Acerina and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. The Danzón No.2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance, to its nostalgic melodies, to its wild rhythms, and although it violates its intimacy, its form and its harmonic language, it is a very personal way of paying my respects and expressing my emotions towards truly popular music. Danzón No.2 was written on a commission by the Department of Musical Activities at Mexico’s National Autonomous University and is dedicated to my daughter Lily.” -- Arturo Marquez About the danzon genre, Lidice Valenzuela writes in Cubanow: The history of the danzon goes back to the arrival in Cuba of the European contradance. It came in three different ways: directly from Spain, the colonial metropolis; with the British, who occupied Havana in 1762; and the French colonizers and their slaves who landed in Cuba's Eastern shores after fleeing from the Haitian Revolution. From all of that trans-cultural process the Danzon was born. This new Cuban dance, naturalized by the Creoles, had much more expressive freedom: the couple danced in each other's arms, and the dancing time was extended. People began calling it Danzon and it was in Matanzas, in the 1870s that figure dancing also began to be called Danzon. Thus, Failde, an outstanding musician, named his composition with the generic name of Danzon..
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