SKU: BT.DHP-0870089-020

This piece was commissioned by the Dutch province of Groningen for the celebrations commemorating the liberation festivities in 1987. In the composition, the dream of a world without war is symbolized. It is the first composition in a series in which Jacob de Haan combines concert music with pop music in a style, which reminds one of film music. Later compositions in which he has reaped much success with the same formula in style are Oregon, La Storia and Utopia.

Dit werk componeerde Jacob de Haan in 1987 in opdracht van de provincie Groningen. Aanleiding was de Bevrijdingsdag. De muziek symboliseert de droom van een wereld zonder oorlog. Het is het eerste werk uit een reeks waarin Jacob deHaan amusementsmuziek en serieuze muziek vermengd tot een muziekstijl die aan filmmuziek doet denken.

Dieses Werk komponierte Jacob de Haan 1987 im Auftrag der niederländischen Provinz Groningen anlässlich des Befreiungstages. Die Musik symbolisiert den Traum von einer Welt ohne Krieg. Es handelt sich um das erste Werk einer Reihe, in welcher Jacob de Haan Unterhaltungsmusik und ernste Musik zu einer Stilart vermischt, die an Filmmusik erinnert.

Free World Fantasy (“Fantaisie du monde libre”) symbolise le rêve que nous chérissons tous : celui d’un monde sans guerre et sans haine. Dans cette composition, Jacob de Haan combine le style classique une rythmique récurrente issue de la musique pop pour créer un genre proche de la musique de film. Une fresque musicale qui sonne comme un appel la paix.

Jacob de Haan compose questo brano nel 1987 su incarico della provincia olandese di Groningen per celebrare il giorno della liberazione. La musica simboleggia il sogno di un mondo senza guerre. Free World Fantasy è il primo brano di una serie firmata da Jacob de Haan, nella quale il compositore olandese mischia sapientemente musica da intrattenimento a musica più seria, in uno stile che ricorda la musica da film.

SKU: BT.DHP-0870089-130

Free World Fantasy was commissioned in Holland for celebrations commemorating the liberation of Groningen, and therefore symbolises the dream of a world without war. It is the first piece of a series in which composer, Jacob de Haan, combines concert band music with a pop style.

Dit werk componeerde Jacob de Haan in 1987 in opdracht van de provincie Groningen. Aanleiding was de Bevrijdingsdag. De muziek symboliseert de droom van een wereld zonder oorlog. Het is het eerste werk uit een reeks waarin Jacob deHaan amusementsmuziek en serieuze muziek vermengd tot een muziekstijl die aan filmmuziek doet denken.

Dieses Werk komponierte Jacob de Haan 1987 im Auftrag der niederländischen Provinz Groningen anlässlich des Befreiungstages. Die Musik symbolisiert den Traum von einer Welt ohne Krieg. Es handelt sich um das erste Werk einer Reihe, in welcher Jacob de Haan Unterhaltungsmusik und ernste Musik zu einer Stilart vermischt, die an Filmmusik erinnert.

Free World Fantasy (“Fantaisie du monde libre”) symbolise le rêve que nous chérissons tous : celui d’un monde sans guerre et sans haine. Dans cette composition, Jacob de Haan combine le style classique une rythmique récurrente issue de la musique pop pour créer un genre proche de la musique de film. Une fresque musicale qui sonne comme un appel la paix.

Jacob de Haan compose questo brano nel 1987 su incarico della provincia olandese di Groningen per celebrare il giorno della liberazione. La musica simboleggia il sogno di un mondo senza guerre. Free World Fantasy è il primo brano di una serie firmata da Jacob de Haan, nella quale il compositore olandese mischia sapientemente musica da intrattenimento a musica più seria, in uno stile che ricorda la musica da film.

SKU: BT.DHP-0870089-010

This piece was commissioned by the Dutch province of Groningen for the celebrations commemorating the liberation festivities in 1987. In the composition, the dream of a world without war is symbolized. It is the first composition in a series in which Jacob de Haan combines concert music with pop music in a style, which reminds one of film music. Later compositions in which he has reaped much success with the same formula in style are Oregon, La Storia and Utopia.

Dit werk componeerde Jacob de Haan in 1987 in opdracht van de provincie Groningen. Aanleiding was de Bevrijdingsdag. De muziek symboliseert de droom van een wereld zonder oorlog. Het is het eerste werk uit een reeks waarin Jacob deHaan amusementsmuziek en serieuze muziek vermengd tot een muziekstijl die aan filmmuziek doet denken.

Dieses Werk komponierte Jacob de Haan 1987 im Auftrag der niederländischen Provinz Groningen anlässlich des Befreiungstages. Die Musik symbolisiert den Traum von einer Welt ohne Krieg. Es handelt sich um das erste Werk einer Reihe, in welcher Jacob de Haan Unterhaltungsmusik und ernste Musik zu einer Stilart vermischt, die an Filmmusik erinnert.

Free World Fantasy (“Fantaisie du monde libre”) symbolise le rêve que nous chérissons tous : celui d’un monde sans guerre et sans haine. Dans cette composition, Jacob de Haan combine le style classique une rythmique récurrente issue de la musique pop pour créer un genre proche de la musique de film. Une fresque musicale qui sonne comme un appel la paix.

Jacob de Haan compose questo brano nel 1987 su incarico della provincia olandese di Groningen per celebrare il giorno della liberazione. La musica simboleggia il sogno di un mondo senza guerre. Free World Fantasy è il primo brano di una serie firmata da Jacob de Haan, nella quale il compositore olandese mischia sapientemente musica da intrattenimento a musica più seria, in uno stile che ricorda la musica da film.

SKU: BT.DHP-0870089-140

Free World Fantasy was commissioned in Holland for celebrations commemorating the liberation of Groningen, and therefore symbolises the dream of a world without war. It is the first piece of a series in which composer, Jacob de Haan, combines concert band music with a pop style.

Dit werk componeerde Jacob de Haan in 1987 in opdracht van de provincie Groningen. Aanleiding was de Bevrijdingsdag. De muziek symboliseert de droom van een wereld zonder oorlog. Het is het eerste werk uit een reeks waarin Jacob deHaan amusementsmuziek en serieuze muziek vermengd tot een muziekstijl die aan filmmuziek doet denken.

Dieses Werk komponierte Jacob de Haan 1987 im Auftrag der niederländischen Provinz Groningen anlässlich des Befreiungstages. Die Musik symbolisiert den Traum von einer Welt ohne Krieg. Es handelt sich um das erste Werk einer Reihe, in welcher Jacob de Haan Unterhaltungsmusik und ernste Musik zu einer Stilart vermischt, die an Filmmusik erinnert.

Free World Fantasy (“Fantaisie du monde libre”) symbolise le rêve que nous chérissons tous : celui d’un monde sans guerre et sans haine. Dans cette composition, Jacob de Haan combine le style classique une rythmique récurrente issue de la musique pop pour créer un genre proche de la musique de film. Une fresque musicale qui sonne comme un appel la paix.

Jacob de Haan compose questo brano nel 1987 su incarico della provincia olandese di Groningen per celebrare il giorno della liberazione. La musica simboleggia il sogno di un mondo senza guerre. Free World Fantasy è il primo brano di una serie firmata da Jacob de Haan, nella quale il compositore olandese mischia sapientemente musica da intrattenimento a musica più seria, in uno stile che ricorda la musica da film.

SKU: BA.BA11311-90

ISBN 9790006574469. 27 x 19 cm inches. Language: German. Preface: Schütz, Gudula. Text: Barthold Heinrich Brockes.

Handel composed his only oratorio in German between 1716 and 1717 basing it on the then popular Passion text by Barthold Heinrich Brockes entitledDer fur die Sunde der Welt gemarterte und sterbende Jesus(The Story of Jesus, Suffering and Dying for the Sins of the World). Handel's affinity to opera is evident in the musical realisation of the emphatic text as he creates a synthesis between traditional Protestant church music and the depiction of human passion in the manner of opera seria.

This edition is based on the corresponding volume of theHalle Handel Edition(BA 4021). The full score, parts and vocal score have been newly engraved. The piano reduction has been simplified and brought up to today's standards, thus making it much more manageable to play.

SKU: BT.MI0435

Questo metodo si rivolge a tutti coloro che desiderano affrontare le scale della chitarra in maniera semplice, rapida e confortevole. Che sia per impararle e lavorarci sopra seriamente, oppure per averle giusto a portata di mano, senza assimilarle veramente. Ognuno vi trover quindi il proprio tornaconto poiché l’accento è posto sull’aspetto visivo e decisamente grafico delle scale. In breve, poche chiacchiere e schemi a profusione! Ma attenzione, non si tratta di schemi qualsiasi. In effetti vi sono presentati esattamente come appaiono sulla tastiera della chitarra quando suonate, rispettando cioè la prospettiva e l’angolo di vista, la larghezza dei tasti, lo spessore dellecorde, i segnatasti, il posizionamento delle dita, ecc. Utile, vero? Prenderete perciò confidenza con le scale da conoscere assolutamente, ossia la scala maggiore, la scala minore (naturale), la pentatonica maggiore, la pentatonica minore e la scala blues. Troverete quindi in questo metodo tutti gli schemi di queste scale essenziali su tutta la tastiera (dalle corde a vuoto fino al 22esimo tasto) e per tutte le tonalit (ce ne sono 12 per scala). Nientemeno! Il CD MP3 allegato al metodo propone numerosi playalongs (basi musicali) per allenarsi e divertirsi con ognuna delle 60 scale presentate (5 scale in 12 tonalit ) in diversi stili musicali come il blues, il rock ed il jazz… ossia 14 ore di musica registrata a disposizione!

SKU: AP.1-ADV11400

ISBN 9783892210610. UPC: 805095114003. English.

Contemporary Harmony: Romanticism Through the Twelve-Tone Row is by Ludmila Ulehla. The understanding of the musical techniques of composition cannot be reduced to a handbook of simplified rules. Music is complex and ever changing. It is the purpose of this book to trace the path of musical growth from the late Romantic period to the serial techniques of the contemporary composer. Through the detailed analysis of the musical characteristics that dominate a specific style of writing, a graduated plan is organized and presented here in the form of explanations and exercises. A new analytical method substitutes for the diatonic figured bass and makes exercises and the analysis of non-diatonic literature more manageable. The explanations describing each technique are thorough. They are designed to help the teacher and the student see the many extenuating circumstances that affect a particular analytical decision. More important than a dogmatic decision on a particular key center or a root tone, for example, is the understanding of why such an underdeterminate condition may exist.

SKU: IS.PN7495EM

ISBN 9790365074952.

Louis Anthony deLise is an American composer, pianist, and percussionist. The compositions in A Gift of Moments are typical of deLise’s composing style that often features the juxtaposition of disparate musical elements like serial technique, frequently changing meters, the urgency and drive of rock and roll, and the lush harmonies of 1960’s West Coast Jazz. Dr. deLise was Adjunct Lecturer of Theory and Composition at the Boyer College of Music and Dance (in Philadelphia, Pennsylvania). He is the author of The Professional Songwriter, a textbook on songwriting. The title, A Gift of Moments, comes from something a friend wrote about her deceased husband. She described their too-short time together as, a gift of moments. (Time with someone you love is always too short, isn’t it?) Since February 2020, (since I’ve been locked down at home with my patient and loving wife, Theresa), like the rest of us, I’ve been reminded each day of just how delicate life is. My friend’s comment about her lost love has gradually revealed itself as a worthy title for the collection of music I was creating during this time of lockdown. All of the pieces in this collection are in some way about love: of a mate, of family, our way of life, and those beliefs we consider particular to us. The compositions are varied in style as they encompass musical gestures reflective of the many disparate musical traditions alive in my soul. With this unapologetically sensitive, perhaps even nostalgic, music of mine I intend to blur the arbitrary boundaries of genre classification, like classical or pop; ambient or orchestral. Special thanks to Vivian Barton Dozor, a wonderfully talented cellist who provided insight into bowing and phrasing for the cello parts.

SKU: HL.49018099

ISBN 9790001158428. UPC: 884088567347. 8.25x11.75x0.457 inches. Latin - German.

On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of 'letting go'. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: 'I will return the key of my door'. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though 'in an ocean' of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: 'So teach us to number our days, that we may apply our hearts unto wisdom'. This cannot be expressed more plainly.I have begun the requiem with a solo boy's voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent 'lux aeterna'. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: 'Entreiss dich, Seele, nun der Zeit, entreiss dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen' ['Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morning'] and later: 'Und die Seele unbewacht will in freien Flugen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben' ['And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfold']. Or Joseph von Eichendorff whose text evokes a distant song in his lines: 'Und meine Seele spannte weit ihre Flugel aus. Flog durch die stillen Lande, als floge sie nach Haus' ['And my soul spread its wings wide. Flew through the still country as if homeward bound.']Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven's late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my 'renewed' occupation with the 'old' country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a 'homecomer'. Harald WeissColonia de San PedroMarch 2009.