| Methodes and Traites Jean-Philippe Rameau - Volume 1 - France 1600-1800 Music Theory Anne Fuzeau Productions
(Serie I - France 1600-1800 - Integrale de l'oeuvre theorique en 3 volumes). Edi...(+)
(Serie I - France 1600-1800 - Integrale de l'oeuvre theorique en 3 volumes). Edited by Jean Saint-Arroman, Bertrand Porot. Facsimiles. Methodes and Traites. Grade 0. 304 pages
$120.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Wind Symphony Concert band [Score and Parts] - Intermediate/advanced EMB (Editio Musica Budapest)
Concert Band - Grade 6 SKU: BT.EMBZ14691SET Composed by Kamillo Lendvay. ...(+)
Concert Band - Grade 6 SKU: BT.EMBZ14691SET Composed by Kamillo Lendvay. EMB Concert Band Series. Concert Piece. Set (Score & Parts). Composed 2010. 454 pages. Editio Musica Budapest #EMBZ14691SET. Published by Editio Musica Budapest (BT.EMBZ14691SET). 9x12 inches. The world-famous Hungarian composer Kamilló Lendvay (b. 1928) has written not only operas, oratorios, cantatas, symphonies, concertos, chamber music and solo instrumental works but also a considerable number of pieces for wind ensembles. His Wind Symphony, composed in 2007-2008, consists of four movements: I. Invocation of the Muse - II. Sunrise in Copacabana - III. The Iguazu Falls - IV. Rio Carnival. The work was written for professional ensembles and will have its premiere in Szeged on April 16, 2010, performed by the Concert Wind Ensemble of the Faculty of Music of Szeged University, conducted by József Csikota.
Der weltweit bekannte ungarische Komponist, Kamilló Lendvay (*1928), komponierte neben Opern, Oratorien, Kantaten, Symphonien und Konzerten, Kammermusik und seinen Werken für Soloinstrumente, eine große Anzahl an Stücken für Bläserensembles. Die 2007-2008 entstandene Bläser-Symphonie ist vier-sätzig: I. Invokation zu den Musen - II. Sonnenaufgang an der Copacabana - III. Die Iguazu-Wasserfälle - IV. Karneval in Rio. Das Werk wurde für professionelle Ensembles komponiert, seine Uraufführung findet am 16. April 2010 in Szeged statt. Mitwirkende: Bläserorchester der Musikalischen Fakultät der Universität der Wissenschaften Szeged, unter der Leitung von József Csikota.
Le célèbre compositeur hongrois, Kamilló Lendvay (Budapest, 1928), est l’auteur d’une impressionnante série d’opéras, d’oratorios, de cantates, de symphonies, concerti, oeuvres de musique de chambre, oeuvres solos et créations pour Orchestres Vent. En 2007-2008, il compose sa Symphonie n° 6 pour Orchestre Vent en quatre tableaux aux couleurs du Brésil : I. Invocation aux Muses - II. Lever de soleil sur Copacabana - III. Les chutes d’Iguazú - IV. Carnaval de Rio.
Conosciuto in tutto il mondo, il compositore ungherese Kamillo Lendvay (1928), ha composto, accanto ad opere, oratori, sonate, sinfonie, concerti, musica da camera e pezzi per strumenti solistici, un importante numero di brani per ensemble di fi ati. La sua sinfonia per sei fiati composta tra il 2007 e il 2008, è costituita da quattro movimenti. $211.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| The Greatest Video Game Music Piano solo - Easy Hal Leonard
Composed by Various. Easy Piano Songbook. TV, Movies, Video Games, Children. ...(+)
Composed by Various. Easy
Piano Songbook. TV, Movies,
Video Games, Children.
Softcover. 160 pages.
Published by Hal Leonard
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Les Voyages de Gulliver Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1033505-010 Gulliver's Tra...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1033505-010 Gulliver's Travels. Composed by Maxime Aulio. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033505-010. Published by De Haske Publications (BT.DHP-1033505-010). 9x12 inches. Maxime Aulio composed Les Voyages de Gulliver (Gulliver’s Travels) for the concert band of the Conservatoire National de Région in Toulouse (France) conducted by Jean-Guy Olive. The first performance took place in Toulouse (Auditorium Saint-Pierre des Cuisines) on April 25, 2001. The Anglo-Irish author Jonathan Swift (1667-1745) took about six years to complete his epic tale of adventure. The creative storyline, clear writing and subtlety of Gulliver’s Travels have been engaging readers for generations. This literary travel between reason and foolishness was Maxime Aulio’s inspiration for this piece. Each of the four movements of this suite is a review of Gulliver’sadventures, resembling the effect of a kaleidoscope, which juxtaposes small fragments of colour in a linear pattern.
Jonathan Swifts satirischer Roman Gullivers Reisen - eine literarische Reise zwischen Vernunft und Verrücktheit - regte auch die Phantasie des Komponisten Maxime Aulio an. Seine Suite für Blasorchester besteht aus mehreren kurzen, teilweise wie eine Kette aneinander gereihten Sätzen. Zyklisch in veränderter Form wiederkehrende Motive und Themen beschreiben Gullivers Gedanken und Gefühle oder auch Landschaften und Personen, die ihm unterwegs begegnen.
1. Voyage Lilliput • 2. Voyage Brobdingnag • 3. Voyage Laputa/Voyage Balnibarbi; l’Académie de Lagado/Voyage Glubbdubdrib, l’île des Magiciens /Voyage Luggnagg; Les Struldbruggs • 4. Voyage chez les Houyhnhnms / Maxime Aulio a composé Gulliver's Travels (Les Voyages de Gulliver) pour l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse placé sous la direction de Jean-Guy Olive. L’œuvre a été donnée en création mondiale le 25 avril 2001, l’Auditorium Saint-Pierre des Cuisines de Toulouse, par la formation dédicataire.Vers 1720, lorsque Jonathan Swift (1667-1745), écrivain irlandais d’origine anglaise, envoie Lemuel Gulliver,un vieux chirurgien malicieux, la découverte de contrées extraordinaires, il débute en réalité l’écriture d’un roman satirique sur la vanité, la morale et l’hypocrisie de la société humaine. L’utopie littéraire était alors l'unique moyen d’éviter la censure. Mais en écrivant ce livre, dont la rédaction dura six ans, Swift eut le temps de m rir ses idées, si bien que sa réflexion grinçante sur la condition humaine est toujours d’actualité. Le génie imaginatif, la finesse d’esprit et la prose simple qui caractérisent Les Voyages de Gulliver ont fasciné des générations de lecteurs. Ce voyage littéraire entre raison et folie s’est également arrimé dans l’imaginaire de Maxime Aulio qui nous offre avec sa suite en quatre mouvements, une vision musicale des pérégrinations de Gulliver, la manière d’un kaléidoscope qui juxtapose de petits fragments de couleur dans une trame linéaire. $322.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Les Voyages de Gulliver Concert band [Score and Parts] - Intermediate De Haske Publications
Concert Band - Grade 5 SKU: BT.DHP-1033505-040 Gulliver's Travels....(+)
Concert Band - Grade 5 SKU: BT.DHP-1033505-040 Gulliver's Travels. Composed by Maxime Aulio. Sovereign Series. Concert Piece. Set (Score & Parts). Composed 2003. De Haske Publications #DHP 1033505-040. Published by De Haske Publications (BT.DHP-1033505-040). 9x12 inches. Duration: 19:00 minutes
Jonathan Swifts satirischer Roman Gullivers Reisen - eine literarische Reise zwischen Vernunft und Verrücktheit - regte auch die Phantasie des Komponisten Maxime Aulio an. Seine Suite für Blasorchester besteht aus mehreren kurzen, teilweise wie eine Kette aneinander gereihten Sätzen. Zyklisch in veränderter Form wiederkehrende Motive und Themen beschreiben Gullivers Gedanken und Gefühle oder auch Landschaften und Personen, die ihm unterwegs begegnen.
1. Voyage Lilliput • 2. Voyage Brobdingnag • 3. Voyage Laputa/Voyage Balnibarbi; l’Académie de Lagado/Voyage Glubbdubdrib, l’île des Magiciens /Voyage Luggnagg; Les Struldbruggs • 4. Voyage chez les Houyhnhnms / Maxime Aulio a composé Gulliver's Travels (Les Voyages de Gulliver) pour l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse placé sous la direction de Jean-Guy Olive. L’œuvre a été donnée en création mondiale le 25 avril 2001, l’Auditorium Saint-Pierre des Cuisines de Toulouse, par la formation dédicataire.Vers 1720, lorsque Jonathan Swift (1667-1745), écrivain irlandais d’origine anglaise, envoie Lemuel Gulliver,un vieux chirurgien malicieux, la découverte de contrées extraordinaires, il débute en réalité l’écriture d’un roman satirique sur la vanité, la morale et l’hypocrisie de la société humaine. L’utopie littéraire était alors l'unique moyen d’éviter la censure. Mais en écrivant ce livre, dont la rédaction dura six ans, Swift eut le temps de m rir ses idées, si bien que sa réflexion grinçante sur la condition humaine est toujours d’actualité. Le génie imaginatif, la finesse d’esprit et la prose simple qui caractérisent Les Voyages de Gulliver ont fasciné des générations de lecteurs. Ce voyage littéraire entre raison et folie s’est également arrimé dans l’imaginaire de Maxime Aulio qui nous offre avec sa suite en quatre mouvements, une vision musicale des pérégrinations de Gulliver, la manière d’un kaléidoscope qui juxtapose de petits fragments de couleur dans une trame linéaire. $322.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Les Voyages de Gulliver Concert band [Score] - Intermediate De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1033505-140 Gulliver's Tra...(+)
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1033505-140 Gulliver's Travels. Composed by Maxime Aulio. Sovereign Series. Concert Piece. Score Only. Composed 2003. 64 pages. De Haske Publications #DHP 1033505-140. Published by De Haske Publications (BT.DHP-1033505-140). 340 X 250 inches. Jonathan Swifts satirischer Roman Gullivers Reisen - eine literarische Reise zwischen Vernunft und Verrücktheit - regte auch die Phantasie des Komponisten Maxime Aulio an. Seine Suite für Blasorchester besteht aus mehreren kurzen, teilweise wie eine Kette aneinander gereihten Sätzen. Zyklisch in veränderter Form wiederkehrende Motive und Themen beschreiben Gullivers Gedanken und Gefühle oder auch Landschaften und Personen, die ihm unterwegs begegnen.
1. Voyage Lilliput • 2. Voyage Brobdingnag • 3. Voyage Laputa/Voyage Balnibarbi; l’Académie de Lagado/Voyage Glubbdubdrib, l’île des Magiciens /Voyage Luggnagg; Les Struldbruggs • 4. Voyage chez les Houyhnhnms / Maxime Aulio a composé Gulliver's Travels (Les Voyages de Gulliver) pour l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse placé sous la direction de Jean-Guy Olive. L’œuvre a été donnée en création mondiale le 25 avril 2001, l’Auditorium Saint-Pierre des Cuisines de Toulouse, par la formation dédicataire.Vers 1720, lorsque Jonathan Swift (1667-1745), écrivain irlandais d’origine anglaise, envoie Lemuel Gulliver,un vieux chirurgien malicieux, la découverte de contrées extraordinaires, il débute en réalité l’écriture d’un roman satirique sur la vanité, la morale et l’hypocrisie de la société humaine. L’utopie littéraire était alors l'unique moyen d’éviter la censure. Mais en écrivant ce livre, dont la rédaction dura six ans, Swift eut le temps de m rir ses idées, si bien que sa réflexion grinçante sur la condition humaine est toujours d’actualité. Le génie imaginatif, la finesse d’esprit et la prose simple qui caractérisent Les Voyages de Gulliver ont fasciné des générations de lecteurs. Ce voyage littéraire entre raison et folie s’est également arrimé dans l’imaginaire de Maxime Aulio qui nous offre avec sa suite en quatre mouvements, une vision musicale des pérégrinations de Gulliver, la manière d’un kaléidoscope qui juxtapose de petits fragments de couleur dans une trame linéaire. $52.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Marsyas Concert band [Score] - Intermediate De Haske Publications
Concert Band/Harmonie and Flute - Grade 5 SKU: BT.DHP-1094445-140 Suit...(+)
Concert Band/Harmonie and Flute - Grade 5 SKU: BT.DHP-1094445-140 Suite concertante pour flûte/piccolo solo, harp obligée et Orchestre d'Harmonie. Composed by Maxime Aulio. Solo Spectrum. Concert Piece. Score Only. Composed 2009. 50 pages. De Haske Publications #DHP 1094445-140. Published by De Haske Publications (BT.DHP-1094445-140). 9x12 inches. English-German-French-Dutch. Marsyas ist ein Satyr aus den Metamorphosen des griechischen Dichters Ovid (43 v. Chr.-17 n. Chr.). Er findet eine von der Göttin Athene weggeworfene Flöte und spielt bald so gut, dass ihn Apollo zu einem musikalischen Wettstreit zwischen Flöte und Lyra herausfordert. Durch einen üblen Trick verliert Marsyas und erleidet eine grausame Strafe. Diese Sage bot eine ausgezeichnete Vorlage für ein spannendes Solowerk für Flöte, in welchem auch die Harfe (Lyra) erklingt.
Si les récits de métamorphoses furent très populaires dans l’Antiquité gréco-romaine, le recueil du poète latin Ovide [43 av. J.-C./17 apr. J.-C.] est de loin le plus célèbre. Les quinze livres des Métamorphoses racontent la formation du monde et les transformations légendaires des dieux et des hommes en animaux, en plantes ou en objets. Parmi les nombreuses histoires de métamorphoses relatées par Ovide, on trouve celle de Marsyas, un satyre originaire de Célènes en Phrygie. Fils d’Hyagnis, considéré comme l’inventeur de l’harmonie phrygienne, Marsyas excellait dans la musique. Un jour, Athéna fit une fl te double et en joua un banquet des dieux. Tournée en dérisionpar Héra et Aphrodite, et ayant constaté elle-même, en voyant le reflet de son visage dans l’eau, que l’instrument, quand elle en jouait, lui déformait les traits, elle jeta la fl te en maudissant quiconque la ramasserait. Cette malédiction frappa le satyre Marsyas qui la trouva et en joua magnifiquement, au grand plaisir des paysans des contrées phrygiennes qui l’écoutaient et qui prétendirent que le dieu Apollon en personne n’aurait pu mieux faire avec sa lyre. Apollon entra dans une colère formidable et proposa l’insolent satyre un concours musical dont le vainqueur pourrait faire subir au vaincu le ch timent de son choix. Les Muses et le roi Midas, choisis comme juges, ne réussirent pas départager les concurrents. Alors, Apollon joua de la lyre l’envers et demanda Marsyas d’en faire autant avec son instrument. Cela était impossible. Marsyas n’y parvint pas, et Apollon fut déclaré vainqueur. Il se vengea du satyre de la plus cruelle façon : il l’attacha un pin et l’écorcha vif.Certains racontent qu’Apollon, se repentant de sa vengeance, métamorphosa en fleuve le corps de Marsyas. D’autres prétendent que le sang de Marsyas ou les larmes versées par les nymphes et les satyres, privés des enchantements de sa fl te, formèrent le fleuve de Phrygie qui porte son nom. / Marsyas fut créé le 22 juillet 2005 Bordes sur Arize en Ariège par le. $47.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Gustave Vogt's Musical Album of Autographs English horn, Piano Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and English Horn. Composed by Gustave Vogt. Edited by Kristin Jean Leitterman. Collection - Performance. 32+8 pages. Carl Fischer Music #WF229. Published by Carl Fischer Music (CF.WF229). ISBN 9781491153789. UPC: 680160911288. Introduction Gustave Vogt's Musical Paris Gustave Vogt (1781-1870) was born into the Age of Enlightenment, at the apex of the Enlightenment's outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the grandfather of the modern oboe and the premier oboist of Europe. Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the System Six Triebert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed. Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school's first oboe professor, Alexandre-Antoine Sallantin (1775-1830). Vogt's relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed repetiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school's history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799-1839), Apollon Marie-Rose Barret (1804-1879), Charles Triebert (1810-1867), Stanislas Verroust (1814-1863), and Charles Colin (1832-1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854-1920), and then to Marcel Tabuteau (1887-1966), the oboist Americans lovingly describe as the father of American oboe playing. Opera was an important part of Vogt's life. His first performing position was with the Theatre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Theatre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opera-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opera, the top orchestra in Paris at the time. He played with the Paris Opera until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803-1865) after having just arrived in Paris in 1822 and attended the Paris Opera's performance of Mehul's Stratonice and Persuis' ballet Nina. It was in response to the song Quand le bien-amie reviendra that Berlioz wrote: I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt's instrument... Shortly after this, Berlioz gave up studying medicine and focused on music. Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini's (1760-1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806-1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opera. He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artot (1815-1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having lost none of his superiority over the oboe.... It's always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt's oboe. Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Societe des Concerts du Conservatoire, a group established in 1828 by violinist and conductor Francois-Antoine Habeneck (1781-1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770-1836). After his retirement from the Opera in 1834 and from the Societe des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini's Ave Maria on English horn with tenor Alexis Dupont (1796-1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs. Autograph Albums Vogt's Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death. As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492-1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504-1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans. The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbucher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music. This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his grand tour through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his most valuable contribution came from Beethoven in 1815. Spohr's Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbucher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later. Vogt's Musical Album of Autographs Vogt's Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod's (1818-1893) Faust, which premiered in 1859, was submitted. Within this album we find sixty-two entries from musicians whom he must have known very well because they were colleagues at the Conservatoire, or composers of opera whose works he was performing with the Paris Opera. Other entries came from performers with whom he had performed and some who were simply passing through Paris, such as Joseph Joachim (1831-1907). Of the sixty-three total entries, some are original, unpublished works, while others came from well-known existing works. Nineteen of these works are for solo piano, sixteen utilize the oboe or English horn, thirteen feature the voice (in many different combinations, including vocal solos with piano, and small choral settings up to one with double choir), two feature violin as a solo instrument, and one even features the now obscure ophicleide. The connections among the sixty-two contributors to Vogt's album are virtually never-ending. All were acquainted with Vogt in some capacity, from long-time friendships to relationships that were created when Vogt requested their entry. Thus, while Vogt is the person who is central to each of these musicians, the web can be greatly expanded. In general, the connections are centered around the Conservatoire, teacher lineages, the Opera, and performing circles. The relationships between all the contributors in the album parallel the current musical world, as many of these kinds of relationships still exist, and permit us to fantasize who might be found in an album created today by a musician of the same standing. Also important, is what sort of entries the contributors chose to pen. The sixty-three entries are varied, but can be divided into published and unpublished works. Within the published works, we find opera excerpts, symphony excerpts, mass excerpts, and canons, while the unpublished works include music for solo piano, oboe or English horn, string instruments (violin and cello), and voice (voice with piano and choral). The music for oboe and English horn works largely belong in the unpublished works of the album. These entries were most likely written to honor Vogt. Seven are for oboe and piano and were contributed by Joseph Joachim, Pauline Garcia Viardot (1821-1910), Joseph Artot, Anton Bohrer (1783-1852), Georges Onslow (1784-1853), Desire Beaulieu (1791-1863), and Narcisse Girard (1797-1860). The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work, which he even included in his signature. Two composers contributed pieces for English horn and piano, and like the previous oboe entries, are simple and repetitive. These were written by Michele Carafa (1787-1872) and Louis Clapisson (1808-1866). There are two other entries that were unpublished works and are chamber music. One is an oboe trio by Jacques Halevy (1799-1862) and the other is for oboe and strings (string trio) by J. B. Cramer (1771-1858). There are five published works in the album for oboe and English horn. There are three from operas and the other two from symphonic works. Ambroise Thomas (1811-1896) contributed an excerpt from the Entr'acte of his opera La Guerillero, and was likely chosen because the oboe was featured at this moment. Hippolyte Chelard (1789-1861) also chose to honor Vogt by writing for English horn. His entry, for English horn and piano, is taken from his biggest success, Macbeth. The English horn part was actually taken from Lady Macbeth's solo in the sleepwalking scene. Vogt's own entry also falls into this category, as he entered an excerpt from Donizetti's Maria di Rohan. The excerpt he chose is a duet between soprano and English horn. There are two entries featuring oboe that are excerpted from symphonic repertoire. One is a familiar oboe melody from Beethoven's Pastoral Symphony entered by his first biographer, Anton Schindler (1796-1864). The other is an excerpt from Berlioz's choral symphony, Romeo et Juliette. He entered an oboe solo from the Grand Fete section of the piece. Pedagogical benefit All of these works are lovely, and fit within the album wonderfully, but these works also are great oboe and English horn music for young students. The common thread between these entries is the simplicity of the melody and structure. Many are repetitive, especially Beaulieu's entry, which features a two-note ostinato throughout the work in the piano. This repetitive structure is beneficial for young students for searching for a short solo to present at a studio recital, or simply to learn. They also work many technical issues a young player may encounter, such as mastering the rolling finger to uncover and recover the half hole. This is true of Bealieu's Pensee as well as Onslow's Andantino. Berlioz's entry from Romeo et Juliette features very long phrases, which helps with endurance and helps keep the air spinning through the oboe. Some of the pieces also use various levels of ornamentation, from trills to grace notes, and short cadenzas. This allows the student to learn appropriate ways to phrase with these added notes. The chamber music is a valuable way to start younger students with chamber music, especially the short quartet by Cramer for oboe and string trio. All of these pieces will not tax the student to learn a work that is more advanced, as well as give them a full piece that they can work on from beginning to end in a couple weeks, instead of months. Editorial Policy The works found in this edition are based on the manuscript housed at the Morgan Library in New York City (call number Cary 348, V886. A3). When possible, published scores were consulted and compared to clarify pitch and text. The general difficulties in creating an edition of these works stem from entries that appear to be hastily written, and thus omit complete articulations and dynamic indications for all passages and parts. The manuscript has been modernized into a performance edition. The score order from the manuscript has been retained. If an entry also exists in a published work, and this was not indicated on the manuscript, appropriate titles and subtitles have been added tacitly. For entries that were untitled, the beginning tempo marking or expressive directive has been added as its title tacitly. Part names have been changed from the original language to English. If no part name was present, it was added tacitly. All scores are transposing where applicable. Measure numbers have been added at the beginning of every system. Written directives have been retained in the original language and are placed relative to where they appear in the manuscript. Tempo markings from the manuscript have been retained, even if they were abbreviated, i.e., Andte. The barlines, braces, brackets, and clefs are modernized. The beaming and stem direction has been modernized. Key signatures have been modernized as some of the flats/sharps do not appear on the correct lines or spaces. Time signatures have been modernized. In a few cases, when a time signature was missing in the manuscript, it has been added tacitly. Triplet and rhythmic groupings have been modernized. Slurs, ties, and articulations (staccato and accent) have been modernized. Slurs, ties, and articulations have been added to parallel passages tacitly. Courtesy accidentals found in the manuscript have been removed, unless it appeared to be helpful to the performer. Dynamic indications from the manuscript have been retained, except where noted. --Kristin Leitterman. IntroductionGustave Vogt’s Musical ParisGustave Vogt (1781–1870) was born into the “Age of Enlightenment,†at the apex of the Enlightenment’s outreach. During his lifetime he would observe its effect on the world. Over the course of his life he lived through many changes in musical style. When he was born, composers such as Mozart and Haydn were still writing masterworks revered today, and eighty-nine years later, as he departed the world, the new realm of Romanticism was beginning to emerge with Mahler, Richard Strauss and Debussy, who were soon to make their respective marks on the musical world. Vogt himself left a huge mark on the musical world, with critics referring to him as the “grandfather of the modern oboe†and the “premier oboist of Europe.â€Through his eighty-nine years, Vogt would live through what was perhaps the most turbulent period of French history. He witnessed the French Revolution of 1789, followed by the many newly established governments, only to die just months before the establishment of the Third Republic in 1870, which would be the longest lasting government since the beginning of the revolution. He also witnessed the transformation of the French musical world from one in which opera reigned supreme, to one in which virtuosi, chamber music, and symphonic music ruled. Additionally, he experienced the development of the oboe right before his eyes. When he began playing in the late eighteenth century, the standard oboe had two keys (E and Eb) and at the time of his death in 1870, the “System Six†Triébert oboe (the instrument adopted by Conservatoire professor, Georges Gillet, in 1882) was only five years from being developed.Vogt was born March 18, 1781 in the ancient town of Strasbourg, part of the Alsace region along the German border. At the time of his birth, Strasbourg had been annexed by Louis XIV, and while heavily influenced by Germanic culture, had been loosely governed by the French for a hundred years. Although it is unclear when Vogt began studying the oboe and when his family made its move to the French capital, the Vogts may have fled Strasbourg in 1792 after much of the city was destroyed during the French Revolution. He was without question living in Paris by 1798, as he enrolled on June 8 at the newly established Conservatoire national de Musique to study oboe with the school’s first oboe professor, Alexandre-Antoine Sallantin (1775–1830).Vogt’s relationship with the Conservatoire would span over half a century, moving seamlessly from the role of student to professor. In 1799, just a year after enrolling, he was awarded the premier prix, becoming the fourth oboist to achieve this award. By 1802 he had been appointed répétiteur, which involved teaching the younger students and filling in for Sallantin in exchange for a free education. He maintained this rank until 1809, when he was promoted to professor adjoint and finally to professor titulaire in 1816 when Sallantin retired. This was a position he held for thirty-seven years, retiring in 1853, making him the longest serving oboe professor in the school’s history. During his tenure, he became the most influential oboist in France, teaching eighty-nine students, plus sixteen he taught while he was professor adjoint and professor titulaire. Many of these students went on to be famous in their own right, such as Henri Brod (1799–1839), Apollon Marie-Rose Barret (1804–1879), Charles Triebert (1810–1867), Stanislas Verroust (1814–1863), and Charles Colin (1832–1881). His influence stretches from French to American oboe playing in a direct line from Charles Colin to Georges Gillet (1854–1920), and then to Marcel Tabuteau (1887–1966), the oboist Americans lovingly describe as the “father of American oboe playing.â€Opera was an important part of Vogt’s life. His first performing position was with the Théâtre-Montansier while he was still studying at the Conservatoire. Shortly after, he moved to the Ambigu-Comique and, in 1801 was appointed as first oboist with the Théâtre-Italien in Paris. He had been in this position for only a year, when he began playing first oboe at the Opéra-Comique. He remained there until 1814, when he succeeded his teacher, Alexandre-Antoine Sallantin, as soloist with the Paris Opéra, the top orchestra in Paris at the time. He played with the Paris Opéra until 1834, all the while bringing in his current and past students to fill out the section. In this position, he began to make a name for himself; so much so that specific performances were immortalized in memoirs and letters. One comes from a young Hector Berlioz (1803–1865) after having just arrived in Paris in 1822 and attended the Paris Opéra’s performance of Mehul’s Stratonice and Persuis’ ballet Nina. It was in response to the song Quand le bien-amié reviendra that Berlioz wrote: “I find it difficult to believe that that song as sung by her could ever have made as true and touching an effect as the combination of Vogt’s instrument…†Shortly after this, Berlioz gave up studying medicine and focused on music.Vogt frequently made solo and chamber appearances throughout Europe. His busiest period of solo work was during the 1820s. In 1825 and 1828 he went to London to perform as a soloist with the London Philharmonic Society. Vogt also traveled to Northern France in 1826 for concerts, and then in 1830 traveled to Munich and Stuttgart, visiting his hometown of Strasbourg on the way. While on tour, Vogt performed Luigi Cherubini’s (1760–1842) Ave Maria, with soprano Anna (Nanette) Schechner (1806–1860), and a Concertino, presumably written by himself. As a virtuoso performer in pursuit of repertoire to play, Vogt found himself writing much of his own music. His catalog includes chamber music, variation sets, vocal music, concerted works, religious music, wind band arrangements, and pedagogical material. He most frequently performed his variation sets, which were largely based on themes from popular operas he had, presumably played while he was at the Opéra.He made his final tour in 1839, traveling to Tours and Bordeaux. During this tour he appeared with the singer Caroline Naldi, Countess de Sparre, and the violinist Joseph Artôt (1815–1845). This ended his active career as a soloist. His performance was described in the Revue et gazette musicale de Paris as having “lost none of his superiority over the oboe…. It’s always the same grace, the same sweetness. We made a trip to Switzerland, just by closing your eyes and listening to Vogt’s oboe.â€Vogt was also active performing in Paris as a chamber and orchestral musician. He was one of the founding members of the Société des Concerts du Conservatoire, a group established in 1828 by violinist and conductor François-Antoine Habeneck (1781–1849). The group featured faculty and students performing alongside each other and works such as Beethoven symphonies, which had never been heard in France. He also premiered the groundbreaking woodwind quintets of Antonin Reicha (1770–1836).After his retirement from the Opéra in 1834 and from the Société des Concerts du Conservatoire in 1842, Vogt began to slow down. His final known performance was of Cherubini’s Ave Maria on English horn with tenor Alexis Dupont (1796–1874) in 1843. He then began to reflect on his life and the people he had known. When he reached his 60s, he began gathering entries for his Musical Album of Autographs.Autograph AlbumsVogt’s Musical Album of Autographs is part of a larger practice of keeping autograph albums, also commonly known as Stammbuch or Album Amicorum (meaning book of friendship or friendship book), which date back to the time of the Reformation and the University of Wittenberg. It was during the mid-sixteenth century that students at the University of Wittenberg began passing around bibles for their fellow students and professors to sign, leaving messages to remember them by as they moved on to the next part of their lives. The things people wrote were mottos, quotes, and even drawings of their family coat of arms or some other scene that meant something to the owner. These albums became the way these young students remembered their school family once they had moved on to another school or town. It was also common for the entrants to comment on other entries and for the owner to amend entries when they learned of important life details such as marriage or death.As the practice continued, bibles were set aside for emblem books, which was a popular book genre that featured allegorical illustrations (emblems) in a tripartite form: image, motto, epigram. The first emblem book used for autographs was published in 1531 by Andrea Alciato (1492–1550), a collection of 212 Latin emblem poems. In 1558, the first book conceived for the purpose of the album amicorum was published by Lyon de Tournes (1504–1564) called the Thesaurus Amicorum. These books continued to evolve, and spread to wider circles away from universities. Albums could be found being kept by noblemen, physicians, lawyers, teachers, painters, musicians, and artisans.The albums eventually became more specialized, leading to Musical Autograph Albums (or Notestammbücher). Before this specialization, musicians contributed in one form or another, but our knowledge of them in these albums is mostly limited to individual people or events. Some would simply sign their name while others would insert a fragment of music, usually a canon (titled fuga) with text in Latin. Canons were popular because they displayed the craftsmanship of the composer in a limited space. Composers well-known today, including J. S. Bach, Telemann, Mozart, Beethoven, Dowland, and Brahms, all participated in the practice, with Beethoven being the first to indicate an interest in creating an album only of music.This interest came around 1815. In an 1845 letter from Johann Friedrich Naue to Heinrich Carl Breidenstein, Naue recalled an 1813 visit with Beethoven, who presented a book suggesting Naue to collect entries from celebrated musicians as he traveled. Shortly after we find Louis Spohr speaking about leaving on his “grand tour†through Europe in 1815 and of his desire to carry an album with entries from the many artists he would come across. He wrote in his autobiography that his “most valuable contribution†came from Beethoven in 1815. Spohr’s Notenstammbuch, comprised only of musical entries, is groundbreaking because it was coupled with a concert tour, allowing him to reach beyond the Germanic world, where the creation of these books had been nearly exclusive. Spohr brought the practice of Notenstammbücher to France, and in turn indirectly inspired Vogt to create a book of his own some fifteen years later.Vogt’s Musical Album of AutographsVogt’s Musical Album of Autographs acts as a form of a memoir, displaying mementos of musicians who held special meaning in his life as well as showing those with whom he was enamored from the younger generation. The anonymous Pie Jesu submitted to Vogt in 1831 marks the beginning of an album that would span nearly three decades by the time the final entry, an excerpt from Charles Gounod’s (1818–1893) Faust, which premiered in 1859, was submitted.Within this album ... $16.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Wagner R Rheingold Schott
(TB BR) SKU: HL.49041688 Der Ring des Nibelungen. Composed by Rich...(+)
(TB BR) SKU: HL.49041688 Der Ring des Nibelungen. Composed by Richard Wagner. Edited by Kurt Pahlen. This edition: Paperback/Soft Cover. Paperback. Serie Musik. Text book/libretto. 304 pages. Duration 140'. Schott Music #SEM 8033. Published by Schott Music (HL.49041688). ISBN 9783254080332. German. Although 'Rhinegold', like any of the following three parts, is a drama on its own, it reveals its entire meaning only as introduction to the complete work. In 'The Nibelung's Ring', Wagner used his own word creations the principal characteristics of which are effective alliterations. For the first time, this first part of the 'Ring' also contains the 'reminiscence motifs' (it was not until after Wagner's death that Hans von Wolzogen invented the expression of the 'leitmotif' as it is used today).Apart from the libretto, this edition contains introductory commentaries of Kurt Pahlen who also adds information on the compositional structure and context to the musical as well as external and internal dramatic action of the opera. A short synopsis and a brief outline of the genesis bring the work into relation with the composer's entire oeuvre and life, thus offering a comprehensive, richly illustrated introduction. $16.95 - See more - Buy online | | |
| Dakota Marching band [Score] - Easy De Haske Publications
Fanfare Band - Grade 2.5 SKU: BT.DHP-1023116-120 Indian Sketches. ...(+)
Fanfare Band - Grade 2.5 SKU: BT.DHP-1023116-120 Indian Sketches. Composed by Jacob De Haan. Performance Series. Concert Piece. Score Only. Composed 2002. 44 pages. De Haske Publications #DHP 1023116-120. Published by De Haske Publications (BT.DHP-1023116-120). 9x12 inches. The Dakota (or Sioux) Indians from the American states of North and South Dakota form the central figures in this composition. The work consists of five movements in which the culture and history of these Indians have been portrayed through musical paintings by making use of an old South Dakota Indian melody.
Die Dakota- (oder Sioux-) Indianer der amerikanischen Staaten Nord- und Süd-Dakota sind die zentralen Figuren in dieser Komposition. Das Werk besteht aus fünf Sätzen, in welchen die Kultur und die Geschichte dieser Indianer dargestellt werden. In einigen Sätzen verwendete Jacob de Haan eine alte indianische Melodie aus Süd-Dakota.1. The Great Spirit (‘Der Große Geist’)Die Kultur der Dakota-Indianer war der irdischen und der spirituellen Welt verbunden. Sie glaubten, dass der Große Geist die Erde schuf, indem er einen schwarzen Ball auf das Wasser warf und dann aus einem zweiten Ball alles Lebendige schuf.2. Buffalo Hunting (‘Büffeljagd’)Auf einen mächtigenBüffel zuzureiten erforderte Können und Mut. Die Männer ergriffen jedoch mit Freude die Chance, sich selbst auf der Jagd zu beweisen.3. Smoking the Pipe (‘Die Pfeife rauchen’)Die Pfeife galt als Friedenssymbol und wurde unter Männern und Stämmen benutzt. Die Pfeife rauchen besiegelte einen Bund des Vertrauens und heilige, Pfeife rauchende Männer nahmen so Kontakt mit dem Großen Geist auf.4. The Ghost Dance (‘Der Geistertanz’)Dieser religiöse Tanz der verlorenen Hoffnung basierte auf Gebet, Tanz und Gesang. Im Jahre 1890 engagierten die Soldaten Geistertänzer an einem Ort namens Wounded Knee.5. Pilgrims at Wounded Knee (‘Pilger am Wounded Knee‘)Die Tragödie von Wounded Knee ist sehr schmerzhaft für die Indianer. Viele pilgern noch immer zu der heiligen, vom Wind verwehten Hügelspitze, auf der so viele Unschuldige den Tod fanden.
Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette œuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud.1. Le Grand Esprit : la culture des Indiens Dakota était liée la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves la chasse.3. Fumer le calumet: le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Espritsâ€) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dakota Marching band [Score and Parts] - Easy De Haske Publications
Fanfare Band - Grade 2.5 SKU: BT.DHP-1023116-020 Indian Sketches. ...(+)
Fanfare Band - Grade 2.5 SKU: BT.DHP-1023116-020 Indian Sketches. Composed by Jacob De Haan. Performance Series. Concert Piece. Set (Score & Parts). Composed 2002. De Haske Publications #DHP 1023116-020. Published by De Haske Publications (BT.DHP-1023116-020). 9x12 inches. The Dakota (or Sioux) Indians from the American states of North and South Dakota form the central figures in this composition. The work consists of five movements in which the culture and history of these Indians have been portrayed through musical paintings by making use of an old South Dakota Indian melody.
Die Dakota- (oder Sioux-) Indianer der amerikanischen Staaten Nord- und Süd-Dakota sind die zentralen Figuren in dieser Komposition. Das Werk besteht aus fünf Sätzen, in welchen die Kultur und die Geschichte dieser Indianer dargestellt werden. In einigen Sätzen verwendete Jacob de Haan eine alte indianische Melodie aus Süd-Dakota.1. The Great Spirit (‘Der Große Geist’)Die Kultur der Dakota-Indianer war der irdischen und der spirituellen Welt verbunden. Sie glaubten, dass der Große Geist die Erde schuf, indem er einen schwarzen Ball auf das Wasser warf und dann aus einem zweiten Ball alles Lebendige schuf.2. Buffalo Hunting (‘Büffeljagd’)Auf einen mächtigenBüffel zuzureiten erforderte Können und Mut. Die Männer ergriffen jedoch mit Freude die Chance, sich selbst auf der Jagd zu beweisen.3. Smoking the Pipe (‘Die Pfeife rauchen’)Die Pfeife galt als Friedenssymbol und wurde unter Männern und Stämmen benutzt. Die Pfeife rauchen besiegelte einen Bund des Vertrauens und heilige, Pfeife rauchende Männer nahmen so Kontakt mit dem Großen Geist auf.4. The Ghost Dance (‘Der Geistertanz’)Dieser religiöse Tanz der verlorenen Hoffnung basierte auf Gebet, Tanz und Gesang. Im Jahre 1890 engagierten die Soldaten Geistertänzer an einem Ort namens Wounded Knee.5. Pilgrims at Wounded Knee (‘Pilger am Wounded Knee‘)Die Tragödie von Wounded Knee ist sehr schmerzhaft für die Indianer. Viele pilgern noch immer zu der heiligen, vom Wind verwehten Hügelspitze, auf der so viele Unschuldige den Tod fanden.
Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette œuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud.1. Le Grand Esprit : la culture des Indiens Dakota était liée la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves la chasse.3. Fumer le calumet: le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Espritsâ€) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés. $176.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dakota Brass ensemble [Score] - Easy De Haske Publications
Brass Band - Grade 2.5 SKU: BT.DHP-1023116-130 Indian Sketches. Co...(+)
Brass Band - Grade 2.5 SKU: BT.DHP-1023116-130 Indian Sketches. Composed by Jacob De Haan. Performance Series. Concert Piece. Score Only. Composed 2002. De Haske Publications #DHP 1023116-130. Published by De Haske Publications (BT.DHP-1023116-130). The Dakota (or Sioux) Indians from the American states of North and South Dakota form the central figures in this composition. The work consists of five movements in which the culture and history of these Indians have been portrayed through musical paintings by making use of an old South Dakota Indian melody.
Die Dakota- (oder Sioux-) Indianer der amerikanischen Staaten Nord- und Süd-Dakota sind die zentralen Figuren in dieser Komposition. Das Werk besteht aus fünf Sätzen, in welchen die Kultur und die Geschichte dieser Indianer dargestellt werden. In einigen Sätzen verwendete Jacob de Haan eine alte indianische Melodie aus Süd-Dakota.1. The Great Spirit (‘Der Große Geist’)Die Kultur der Dakota-Indianer war der irdischen und der spirituellen Welt verbunden. Sie glaubten, dass der Große Geist die Erde schuf, indem er einen schwarzen Ball auf das Wasser warf und dann aus einem zweiten Ball alles Lebendige schuf.2. Buffalo Hunting (‘Büffeljagd’)Auf einen mächtigenBüffel zuzureiten erforderte Können und Mut. Die Männer ergriffen jedoch mit Freude die Chance, sich selbst auf der Jagd zu beweisen.3. Smoking the Pipe (‘Die Pfeife rauchen’)Die Pfeife galt als Friedenssymbol und wurde unter Männern und Stämmen benutzt. Die Pfeife rauchen besiegelte einen Bund des Vertrauens und heilige, Pfeife rauchende Männer nahmen so Kontakt mit dem Großen Geist auf.4. The Ghost Dance (‘Der Geistertanz’)Dieser religiöse Tanz der verlorenen Hoffnung basierte auf Gebet, Tanz und Gesang. Im Jahre 1890 engagierten die Soldaten Geistertänzer an einem Ort namens Wounded Knee.5. Pilgrims at Wounded Knee (‘Pilger am Wounded Knee‘)Die Tragödie von Wounded Knee ist sehr schmerzhaft für die Indianer. Viele pilgern noch immer zu der heiligen, vom Wind verwehten Hügelspitze, auf der so viele Unschuldige den Tod fanden.
Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette œuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud.1. Le Grand Esprit : la culture des Indiens Dakota était liée la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves la chasse.3. Fumer le calumet: le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Espritsâ€) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dakota Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1023116-010 Indian Sketc...(+)
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1023116-010 Indian Sketches. Composed by Jacob De Haan. Performance Series. Concert Piece. Set (Score & Parts). Composed 2002. De Haske Publications #DHP 1023116-010. Published by De Haske Publications (BT.DHP-1023116-010). 9x12 inches. The Dakota (or Sioux) Indians from the American states of North and South Dakota form the central figures in this composition. The work consists of five movements in which the culture and history of these Indians have been portrayed through musical paintings by making use of an old South Dakota Indian melody.
Die Dakota- (oder Sioux-) Indianer der amerikanischen Staaten Nord- und Süd-Dakota sind die zentralen Figuren in dieser Komposition. Das Werk besteht aus fünf Sätzen, in welchen die Kultur und die Geschichte dieser Indianer dargestellt werden. In einigen Sätzen verwendete Jacob de Haan eine alte indianische Melodie aus Süd-Dakota.1. The Great Spirit (‘Der Große Geist’)Die Kultur der Dakota-Indianer war der irdischen und der spirituellen Welt verbunden. Sie glaubten, dass der Große Geist die Erde schuf, indem er einen schwarzen Ball auf das Wasser warf und dann aus einem zweiten Ball alles Lebendige schuf.2. Buffalo Hunting (‘Büffeljagd’)Auf einen mächtigenBüffel zuzureiten erforderte Können und Mut. Die Männer ergriffen jedoch mit Freude die Chance, sich selbst auf der Jagd zu beweisen.3. Smoking the Pipe (‘Die Pfeife rauchen’)Die Pfeife galt als Friedenssymbol und wurde unter Männern und Stämmen benutzt. Die Pfeife rauchen besiegelte einen Bund des Vertrauens und heilige, Pfeife rauchende Männer nahmen so Kontakt mit dem Großen Geist auf.4. The Ghost Dance (‘Der Geistertanz’)Dieser religiöse Tanz der verlorenen Hoffnung basierte auf Gebet, Tanz und Gesang. Im Jahre 1890 engagierten die Soldaten Geistertänzer an einem Ort namens Wounded Knee.5. Pilgrims at Wounded Knee (‘Pilger am Wounded Knee‘)Die Tragödie von Wounded Knee ist sehr schmerzhaft für die Indianer. Viele pilgern noch immer zu der heiligen, vom Wind verwehten Hügelspitze, auf der so viele Unschuldige den Tod fanden.
Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette œuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud.1. Le Grand Esprit : la culture des Indiens Dakota était liée la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves la chasse.3. Fumer le calumet: le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Espritsâ€) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés.
Ispirandosi a certi aspetti della cultura e della storia degli indiani Sioux; Jacob de Haan ha realizzato uno splendido affresco musicale in omaggio al primo popolo delle sconfinate praterie degli Stati Americani del Dakota del Nord e del Dakota del Sud. Per conservare l’autenticit di questo popolo indiano anche attraverso la sua musica, il compositore ha integrato un’antica melodia indiana del Dakota del Sud nella sua composizione. $176.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dakota Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1023116-140 Indian Sketc...(+)
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1023116-140 Indian Sketches. Composed by Jacob De Haan. Performance Series. Concert Piece. Score Only. Composed 2002. 44 pages. De Haske Publications #DHP 1023116-140. Published by De Haske Publications (BT.DHP-1023116-140). 9x12 inches. The Dakota (or Sioux) Indians from the American states of North and South Dakota form the central figures in this composition. The work consists of five movements in which the culture and history of these Indians have been portrayed through musical paintings by making use of an old South Dakota Indian melody.
Die Dakota- (oder Sioux-) Indianer der amerikanischen Staaten Nord- und Süd-Dakota sind die zentralen Figuren in dieser Komposition. Das Werk besteht aus fünf Sätzen, in welchen die Kultur und die Geschichte dieser Indianer dargestellt werden. In einigen Sätzen verwendete Jacob de Haan eine alte indianische Melodie aus Süd-Dakota.1. The Great Spirit (‘Der Große Geist’)Die Kultur der Dakota-Indianer war der irdischen und der spirituellen Welt verbunden. Sie glaubten, dass der Große Geist die Erde schuf, indem er einen schwarzen Ball auf das Wasser warf und dann aus einem zweiten Ball alles Lebendige schuf.2. Buffalo Hunting (‘Büffeljagd’)Auf einen mächtigenBüffel zuzureiten erforderte Können und Mut. Die Männer ergriffen jedoch mit Freude die Chance, sich selbst auf der Jagd zu beweisen.3. Smoking the Pipe (‘Die Pfeife rauchen’)Die Pfeife galt als Friedenssymbol und wurde unter Männern und Stämmen benutzt. Die Pfeife rauchen besiegelte einen Bund des Vertrauens und heilige, Pfeife rauchende Männer nahmen so Kontakt mit dem Großen Geist auf.4. The Ghost Dance (‘Der Geistertanz’)Dieser religiöse Tanz der verlorenen Hoffnung basierte auf Gebet, Tanz und Gesang. Im Jahre 1890 engagierten die Soldaten Geistertänzer an einem Ort namens Wounded Knee.5. Pilgrims at Wounded Knee (‘Pilger am Wounded Knee‘)Die Tragödie von Wounded Knee ist sehr schmerzhaft für die Indianer. Viele pilgern noch immer zu der heiligen, vom Wind verwehten Hügelspitze, auf der so viele Unschuldige den Tod fanden.
Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette œuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud.1. Le Grand Esprit : la culture des Indiens Dakota était liée la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves la chasse.3. Fumer le calumet: le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Espritsâ€) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés.
Ispirandosi a certi aspetti della cultura e della storia degli indiani Sioux; Jacob de Haan ha realizzato uno splendido affresco musicale in omaggio al primo popolo delle sconfinate praterie degli Stati Americani del Dakota del Nord e del Dakota del Sud. Per conservare l’autenticit di questo popolo indiano anche attraverso la sua musica, il compositore ha integrato un’antica melodia indiana del Dakota del Sud nella sua composizione. $38.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dakota Brass ensemble [Score and Parts] - Easy De Haske Publications
Brass Band - Grade 2.5 SKU: BT.DHP-1023116-030 Indian Sketches. Co...(+)
Brass Band - Grade 2.5 SKU: BT.DHP-1023116-030 Indian Sketches. Composed by Jacob De Haan. Performance Series. Concert Piece. Set (Score & Parts). Composed 2002. De Haske Publications #DHP 1023116-030. Published by De Haske Publications (BT.DHP-1023116-030). 9x12 inches. The Dakota (or Sioux) Indians from the American states of North and South Dakota form the central figures in this composition. The work consists of five movements in which the culture and history of these Indians have been portrayed through musical paintings by making use of an old South Dakota Indian melody.
Die Dakota- (oder Sioux-) Indianer der amerikanischen Staaten Nord- und Süd-Dakota sind die zentralen Figuren in dieser Komposition. Das Werk besteht aus fünf Sätzen, in welchen die Kultur und die Geschichte dieser Indianer dargestellt werden. In einigen Sätzen verwendete Jacob de Haan eine alte indianische Melodie aus Süd-Dakota.1. The Great Spirit (‘Der Große Geist’)Die Kultur der Dakota-Indianer war der irdischen und der spirituellen Welt verbunden. Sie glaubten, dass der Große Geist die Erde schuf, indem er einen schwarzen Ball auf das Wasser warf und dann aus einem zweiten Ball alles Lebendige schuf.2. Buffalo Hunting (‘Büffeljagd’)Auf einen mächtigenBüffel zuzureiten erforderte Können und Mut. Die Männer ergriffen jedoch mit Freude die Chance, sich selbst auf der Jagd zu beweisen.3. Smoking the Pipe (‘Die Pfeife rauchen’)Die Pfeife galt als Friedenssymbol und wurde unter Männern und Stämmen benutzt. Die Pfeife rauchen besiegelte einen Bund des Vertrauens und heilige, Pfeife rauchende Männer nahmen so Kontakt mit dem Großen Geist auf.4. The Ghost Dance (‘Der Geistertanz’)Dieser religiöse Tanz der verlorenen Hoffnung basierte auf Gebet, Tanz und Gesang. Im Jahre 1890 engagierten die Soldaten Geistertänzer an einem Ort namens Wounded Knee.5. Pilgrims at Wounded Knee (‘Pilger am Wounded Knee‘)Die Tragödie von Wounded Knee ist sehr schmerzhaft für die Indianer. Viele pilgern noch immer zu der heiligen, vom Wind verwehten Hügelspitze, auf der so viele Unschuldige den Tod fanden.
Les Indiens Dakota (Sioux) des États américains du Dakota du Nord et du Dakota du Sud sont au centre de cette fresque musicale, dans laquelle Jacob de Haan dépeint certains aspects de leur culture et de leur histoire. Dans plusieurs mouvements de cette œuvre, le compositeur a intégré une mélodie indienne ancienne provenant du Dakota du Sud.1. Le Grand Esprit : la culture des Indiens Dakota était liée la terre et au monde des esprits. Dans leurs croyances, le Grand Esprit avait créé la terre en jetant une balle noire dans l’eau, puis il prit une deuxième balle et créa les êtres vivants. 2. La chasse au bison : courir bride abattue vers un bisonvigoureux nécessitait beaucoup d’adresse et de courage. Pourtant, les hommes attendaient impatiemment l’occasion de pouvoir faire leurs preuves la chasse.3. Fumer le calumet: le calumet était le symbole de la paix. On l’utilisait pour sceller une entente entre les hommes et les nations. Fumer le calumet était un gage de bonne volonté. Et lorsqu’un homme-médecine fumait le calumet, il communiait avec le Grand Esprit. 4. The Ghost Dance (“La Danse des Espritsâ€) Pour faire renaître l’espoir, les Indiens exécutaient une danse religieuse accompagnée d’incantations et des chants rituels. En 1890 Wounded Knee, l’armée fédérale a ouvert le feu sur tous ceux qui célébraient la Ghost Dance. 5. Les pèlerins de Wounded Knee : la tragédie de Wounded Knee est un moment douloureux dans l’histoire des nations indiennes. Ils sont encore nombreux faire un pèlerinage sur cette colline sacrée, balayée par le vent, où tant d’innocents ont été massacrés. $98.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Marsyas Sc/pts Gr 5-6 (16:45) Concert band [Score] - Intermediate De Haske Publications
Concert Band/Harmonie and Flute - Grade 5 SKU: HL.44010560 Suite conce...(+)
Concert Band/Harmonie and Flute - Grade 5 SKU: HL.44010560 Suite concertante pour flute/piccolo solo, harp obligee et Orchestre d'Harmonie. Composed by Maxime Aulio. De Haske Concert Band. Concert Piece. Score Only. Composed 2009. De Haske Publications #1094445. Published by De Haske Publications (HL.44010560). UPC: 884088481704. 9x12 inches. English-German-French-Dutch. Marsyas ist ein Satyr aus den Metamorphosen des griechischen Dichters Ovid (43 v. Chr.-17 n. Chr.). Er findet eine von der Gottin Athene weggeworfene Flote und spielt bald so gut, dass ihn Apollo zu einem musikalischen Wettstreit zwischen Flote und Lyra herausfordert. Durch einen üblen Trick verliert Marsyas und erleidet eine grausame Strafe. Diese Sage bot eine ausgezeichnete Vorlage für ein spannendes Solowerk für Flote, in welchem auch die Harfe (Lyra) erklingt.
Si les recits de metamorphoses furent tres populaires dans l'Antiquite greco-romaine, le recueil du poete latin Ovide [43 av. J.-C./17 apr. J.-C.] est de loin le plus celebre. Les quinze livres des Metamorphoses racontent la formation du monde et les transformations legendaires des dieux et des hommes en animaux, en plantes ou en objets. Parmi les nombreuses histoires de metamorphoses relatees par Ovide, on trouve celle de Marsyas, un satyre originaire de Celenes en Phrygie. Fils d'Hyagnis, considere comme l'inventeur de l'harmonie phrygienne, Marsyas excellait dans la musique. Un jour, Athena fit une flute double et en joua a un banquet des dieux. Tournee en derisionpar Hera et Aphrodite, et ayant constate elle-meme, en voyant le reflet de son visage dans l'eau, que l'instrument, quand elle en jouait, lui deformait les traits, elle jeta la flute en maudissant quiconque la ramasserait. Cette malediction frappa le satyre Marsyas qui la trouva et en joua magnifiquement, au grand plaisir des paysans des contrees phrygiennes qui l'ecoutaient et qui pretendirent que le dieu Apollon en personne n'aurait pu mieux faire avec sa lyre. Apollon entra dans une colere formidable et proposa a l'insolent satyre un concours musical dont le vainqueur pourrait faire subir au vaincu le chatiment de son choix. Les Muses et le roi Midas, choisis comme juges, ne reussirent pas a departager les concurrents. Alors, Apollon joua de la lyre a l'envers et demanda a Marsyas d'en faire autant avec son instrument. Cela etait impossible. Marsyas n'y parvint pas, et Apollon fut declare vainqueur. Il se vengea du satyre de la plus cruelle facon : il l'attacha a un pin et l'ecorcha vif.Certains racontent qu'Apollon, se repentant de sa vengeance, metamorphosa en fleuve le corps de Marsyas. D'autres pretendent que le sang de Marsyas ou les larmes versees par les nymphes et les satyres, prives des enchantements de sa flute, formerent le fleuve de Phrygie qui porte son nom. / Marsyas fut cree le 22 juillet 2005 a Bordes sur Arize en Ariege par le. $307.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Dreizehn leichte Stücke für Kinderstreichorchester String Orchestra EMB (Editio Musica Budapest)
String Orchestra SKU: BT.EMBZ14407 By László Zempléni. By Peter ...(+)
String Orchestra SKU: BT.EMBZ14407 By László Zempléni. By Peter Ilyich Tchaikovsky. EMB Leggierissimo. Educational Tool. Book Only. Composed 2004. 116 pages. Editio Musica Budapest #EMBZ14407. Published by Editio Musica Budapest (BT.EMBZ14407). Hungarian-English-German-French. This volume in Leggierissimo series contains character pieces and dances, most of them transcriptions of piano pieces, though they also include excerpts from the ballets Swan Lake, The Nutcracker and The Sleeping Beauty.
This volume in the Leggierissimo series contains character pieces and dances, most of them transcriptions of piano pieces, though they also include excerpts from the ballets Swan Lake, The Nutcracker and The SleepingBeauty.Instrumentation: 3 vl1, 3 vl2, 3 vl3, 2 vlcThe Leggierissmo series - growing repertoire for children's and youth string orchestras (position 1)
Die Leggerierissmo-Reihe von Editio Musica Budapest umfasst Stücke, mit und an welchen Kinderstreichorchester wachsen können. Jede Ausgabe ist in der ersten Lage spielbar und enthält Partitur und Stimmen (Violine 3 entspricht Viola).Die Ausgabe Tchaikovsky: Dreizehn leichte Stücke enthält Charakterstücke und Tänze, die meisten davon ursprünglich für Klavier geschreiben, aber auch Auszüge aus Schwanensee, dem Nussknacker und Dornröschen. Enthaltene Stimmen: 3x Violine 1, 3x Violine 2, 3x Violine 3, 2x Cello.
La collection Leggiero & Leggierissmo proposée par Editio Musica Budapest est une édition enrichie de pièces pour Orchestre Cordes Junior, dans un arrangement de degré de difficulté facile. Elle comprend des œuvres de compositeurs classiques et contemporains ainsi que des transcriptions de pièces faciles. La possibilité de substituer la partie d'alto par un 3e violon facilite l'interprétation des morceaux. Ces arrangements, qui favorisent l'acquisition d'une expérience musicale complète, sont l'œuvre des meilleurs pédagogues et compositeurs. Les annotations figurent en langue française. Le recueil Tchaikovsky: Treize Etudes Légères contient des piècesde caractère et des danses, transcrites pour orchestre cordes junior, mais également des extraits du Lac des Cygnes, Casse-Noisette, et La Belle au Bois Dormant.Instrumentation: 3 vl1, 3 vl2, 3 vl3, 2 vlc. $37.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Eternal Friendship Concert band [Score and Parts] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-010 Composed by Satos...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-010 Composed by Satoshi Yagisawa. Concert and Contest Collection CBHA. Hymns & Chorals. Set (Score & Parts). Composed 2021. De Haske Publications #DHP 1216344-010. Published by De Haske Publications (BT.DHP-1216344-010). English-German-French-Dutch. This work is a close-up of the encounters and relationships of trust between people, following the idea that friendship lasts forever.†After the passing of Satoshi Yagisawa’s close friend and work partner, Tsutomu Murata, a designer of Neo Create in August 2020, the composer began work on this piece. Murata performed music for audiences primarily as a leader and conductor of Kurume City Brass, a group which is active in Fukuoka Prefecture in Japan. Eternal Frienship depicts a five-minute chorale which explores “how music can convey that a close friend is indispensable to you, more broadly, everyone to someone,†much like how Murata conveyed the appeal of music to his audiences. Under the direction of the composer himself, the work had its world premiere and was recorded with the Kobe College Wind Orchestra.
Dit werk werpt een blik op fijne ontmoetingen en vertrouwelijke relaties tussen mensen en gaat uit van het idee dat vriendschap voor altijd is. Nadat Yagisawa’s goede vriend en collega Tsutomu Murata, een van de ontwerpers van Neo Create, in augustus 2020 overleed, begon hij aan deze compositie te werken. Murata musiceerde vooral als muzikaal leider en dirigent van Kurume City Brass, een ensemble dat actief is in de Japanse prefectuur Fukuoka. Eternal Frienship is een vijf minuten durend koraal waarin wordt verkend hoe muziek kan verklanken dat een goede vriendschap onmisbaar voor je is en hoe dit principe in bredere zin voor alle mensen geldt. Op een vergelijkbare manier wist Murata de betekenis van muziek op zijn publiek over te brengen. Het werk is onder leiding van de componist zelf in première gebracht en werd opgenomen door het Kobe College Wind Orchestra.
Dieses Werk betrachtet Begegnungen und Vertrauensbeziehungen zwischen Menschen, die überzeugt davon sind, dass Freundschaft ewig hält“. Nach dem Tod von Satoshi Yagisawas engem Freund und Kollegen Tsutomu Murata, einem Designer von Neo Create, im August 2020 begann der Komponist mit der Arbeit an diesem Stück. Murata trat hauptsächlich als Leiter und Dirigent von Kurume City Brass, einem Blasorchester in der Präfektur Fukuoka in Japan, in Erscheinung. Eternal Frienship besteht aus einem fünfminütigen Choral, der beschreibt, wie Musik verdeutlichen kann, dass ein enger Freund für jeden unverzichtbar ist“ eben genauso, wie auch Murata seinem Publikum die Anziehungskraft der Musik vermittelt hat. Das Werk wurde unter der Leitung des Komponisten mit dem Kobe College Wind Orchestra uraufgeführt und aufgenommen.
Cette œuvre examine les rencontres et rapports de confiance entre les gens, selon l’idée que « l’amitié est éternelle ». Satoshi Yagisawa commença écrire cette pièce la suite du décès, en ao t 2020, de son associé et ami proche, Tsutomu Murata, un concepteur de Neo Create. Murata se produisait en public principalement en tant que directeur et chef d’orchestre de Kurume City Brass, un ensemble actif dans la préfecture de Fukuoka, au Japon. Eternal Frienship prend la forme d’un choral de cinq minutes qui explore « comment la musique peut exprimer l’idée qu’il est indispensable d’avoir un ami proche et, plus largement, que l’on ne peut vivre sans les autres ». Murata savait certainement communiquer l’attrait de la musique son public. Eternal Frienship a été créée et enregistrée par l’Harmonie du collège de Kobe (Japon) sous la direction du compositeur lui-même.
2020 8 “ â€. $118.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Eternal Friendship Concert band [Score] - Easy De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-140 Composed by Satos...(+)
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-140 Composed by Satoshi Yagisawa. Concert and Contest Collection CBHA. Hymns & Chorals. Score Only. Composed 2021. 15 pages. De Haske Publications #DHP 1216344-140. Published by De Haske Publications (BT.DHP-1216344-140). English-German-French-Dutch. This work is a close-up of the encounters and relationships of trust between people, following the idea that friendship lasts forever.†After the passing of Satoshi Yagisawa’s close friend and work partner, Tsutomu Murata, a designer of Neo Create in August 2020, the composer began work on this piece. Murata performed music for audiences primarily as a leader and conductor of Kurume City Brass, a group which is active in Fukuoka Prefecture in Japan. Eternal Frienship depicts a five-minute chorale which explores “how music can convey that a close friend is indispensable to you, more broadly, everyone to someone,†much like how Murata conveyed the appeal of music to his audiences. Under the direction of the composer himself, the work had its world premiere and was recorded with the Kobe College Wind Orchestra.
Dit werk werpt een blik op fijne ontmoetingen en vertrouwelijke relaties tussen mensen en gaat uit van het idee dat vriendschap voor altijd is. Nadat Yagisawa’s goede vriend en collega Tsutomu Murata, een van de ontwerpers van Neo Create, in augustus 2020 overleed, begon hij aan deze compositie te werken. Murata musiceerde vooral als muzikaal leider en dirigent van Kurume City Brass, een ensemble dat actief is in de Japanse prefectuur Fukuoka. Eternal Frienship is een vijf minuten durend koraal waarin wordt verkend hoe muziek kan verklanken dat een goede vriendschap onmisbaar voor je is en hoe dit principe in bredere zin voor alle mensen geldt. Op een vergelijkbare manier wist Murata de betekenis van muziek op zijn publiek over te brengen. Het werk is onder leiding van de componist zelf in première gebracht en werd opgenomen door het Kobe College Wind Orchestra.
Dieses Werk betrachtet Begegnungen und Vertrauensbeziehungen zwischen Menschen, die überzeugt davon sind, dass Freundschaft ewig hält“. Nach dem Tod von Satoshi Yagisawas engem Freund und Kollegen Tsutomu Murata, einem Designer von Neo Create, im August 2020 begann der Komponist mit der Arbeit an diesem Stück. Murata trat hauptsächlich als Leiter und Dirigent von Kurume City Brass, einem Blasorchester in der Präfektur Fukuoka in Japan, in Erscheinung. Eternal Frienship besteht aus einem fünfminütigen Choral, der beschreibt, wie Musik verdeutlichen kann, dass ein enger Freund für jeden unverzichtbar ist“ eben genauso, wie auch Murata seinem Publikum die Anziehungskraft der Musik vermittelt hat. Das Werk wurde unter der Leitung des Komponisten mit dem Kobe College Wind Orchestra uraufgeführt und aufgenommen.
Cette œuvre examine les rencontres et rapports de confiance entre les gens, selon l’idée que « l’amitié est éternelle ». Satoshi Yagisawa commença écrire cette pièce la suite du décès, en ao t 2020, de son associé et ami proche, Tsutomu Murata, un concepteur de Neo Create. Murata se produisait en public principalement en tant que directeur et chef d’orchestre de Kurume City Brass, un ensemble actif dans la préfecture de Fukuoka, au Japon. Eternal Frienship prend la forme d’un choral de cinq minutes qui explore « comment la musique peut exprimer l’idée qu’il est indispensable d’avoir un ami proche et, plus largement, que l’on ne peut vivre sans les autres ». Murata savait certainement communiquer l’attrait de la musique son public. Eternal Frienship a été créée et enregistrée par l’Harmonie du collège de Kobe (Japon) sous la direction du compositeur lui-même.
2020 8 “ â€. $23.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
Next page 1 31 61 |