SKU: HL.14001903
ISBN 9788759859605. Danish.
Animals In Concert - Three pieces for Piano solo by Per Norgard. Programme Note 1. A Tortoise's Tango (1984) - dur.: 4' 2. Light of a Night - Paul meets bird (1989) - dur.: 6' 3. Hermit Crab Tango - Esperanza (1997) - dur.: 5' The pieces can be performed together or one by one. In the1980s, quite a few finds turned up in Per Norgard's music. The material could be, say, a number of song birds' equilibrist melodic lines, the overtones of the ocean surf, or waltzing themes by the schizophrenic artist Adolf Wolfli (1864-1930). Or again, as heard here, it can be the rhythms and motifs of the tango and a Beatles song (with bird), explored in three independent piano pieces that form the Animals in Concert suite, about which the composer writes: A Tortoise's Tango: The tortoise as tango dancer must presumably possess certain rhythmic peculiarities, which I have chosen to express by letting the tune of the tortoise shuffle broadly, tripartite through the strict four partite time of tango. Tortoise Tango was the original title of this piece, written for Achilles (the pianist Yvar Mikhashoff), for his so called tango project, including new tangos for piano by composers from all over the world. Light of a Night (Paul meets bird) was commissioned by pianist Aki Takahashi. It is a reworked arrangement for piano of the Beatles song Blackbird. As some of us will recall, the Beatles on The White Album let the beautiful song to the blackbird be accompanied by an (apparently) live blackbird song. It is this authentic bird-motif world that in Light of a Night weaves itself into the Beatles melody and in turn is gradually infected by it, so that a completely new third entity ensues: a kind of Bird-rock ballad (or maybe it is a Beatle-bird?). Hermit Crab Tango (Esperanza): The tango situation is quite special for a Hermit Crab. It is a well-known fact that the hermit crab - this soft animal - must run the gauntlet among the many perils at the bottom of the sea when it must move hose. I have chosen to express the angers by a tango pattern - sharp as a cactus - through which the tune, optimistic, slips to its new shelter. I have borrowed the tune from songwriter Hanne Methling's Introduction: 'I want to get through this time!' she sings in a ecstatically ascending melody line - and I believe that these words must correspond very well to the mood of the hermit crab: 'Esperanza'- the green runners of hope wind among the latticework formed by the tango rows.
SKU: GI.G-10665
ISBN 9781574635379.
Contributors: Jaimie Abney-Giraldo • Angela Ammerman • Han Sol Chang • Charles R. Ciorba • Jeanne Crowley • Vivian Gonzalez • Monica Guido • Kristina Hamester • Essel Linton • Linda Apple Monson • Marcia Neel • Tony Sauza • Ida Steadman Very few music teachers are prepared to address the needs of the rapidly growing population of English Language Learners (ELLs). Whether you have just one ELL in your classroom or 50, this book provides discipline-specific tips, strategies, examples, classroom management recommendations and much more. Written by experienced music educators with backgrounds in concert band, modern band, chorus, orchestra, mariachi, special education, higher education, general music and administration, this highly interactive text will guide you to reach optimal engagement with ALL students while addressing communication barriers. Being in orchestra made me feel safe and welcome because we all speak the same language: music. —Janine   Manila, Philippines After music, I feel changed. I don’t feel sleepy and worrying, and also I’m not afraid of mistakes. I am wanting to play again. —Somsak   Chiang Mai, Thailand It was like playing with others with no words. No words, yet we were able to understand what we wanted by looking at each other’s eyes, body motion, and listening to each other. —Da Hoen   Seoul, South Korea Music brings people together. Music is about seeing myself in another and letting another see themselves in me. —Larisa Brasov   Romania Last year, I missed 150 days of school. I just didn’t go to school. This year, I haven’t missed a day… The only difference in my life is this program right here. This program has saved my life, and now, I am going to graduate. —Maria   Mexico.
SKU: HL.14033723
ISBN 9788759891322. Danish.
Together Apart/Apart Together for Saxophone, Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces, which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Norgard, who in the beginning of the 90's got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm, like a quintuplet, on the beat and one, like a triplet, off beat. This can, with different rhythms, give very intricate interwoven patterns, that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven, in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing, as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is smooth: an equal rhythmic pattern. In the second case you get a similar situation, but where one of them is one short after 50 of the other ones, which results in a disturbing almost equality, but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register, or a similar way of playing, and when I use the equal one I put them a part tone wise speaking. This is a very technical description, but it is very hard to put it in more wide terms, but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them, as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles, like 49:50, you will experience a very complex pattern, which seems unpredictable. But of course when using it in music the whole thing is somewhat different, but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way, and that is also quire a challenge.' Finally I have to say that I enjoyed very much writing for Poing, as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004.
SKU: HP.C5535R
UPC: 763628255350. Mary Kay Beall. Matthew 5:16.
Original anthem With a text based on Matthew 5:16 by Mary Kay Beall and original music by John Carter, this new anthem addresses the theme of Christian friendship and hope for tomorrow. The gentle, slow-gospel style combined with its positive message of letting our light shine in this world makes this an all around useful anthem for choirs of all ages. The Rhythm Parts: Piano, Electric Guitar, Electric Bass, Hammond B3 Organ, and Drum Kit.
SKU: HL.14035061
ISBN 9788759862353. English-Danish.
Winter Cantata / Vinterkantate (1976) by Per Norgard for a variable ensemble of soloist, mixed choir and instruments (minimum: vocalist and organ). Programme Note: When in 1975 I had finished composing my 3rd Symphony (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the 3rd Symphony and could be harmonized together in several different tempo relationships at the same time - like fractals - which inspired me to write several choral and instrumental works in the following decade based on these melodies: Frost Psalm, Winter Cantata, Winter Hymn, Cantica and others. One of these 'Sarvig melodies' is now included in the new Danish Hymnbook, under the title Aret(The Year). Ole Sarvig's poem Aret (The Year) is Danish, perhaps Scandinavian in character, but its symbolic atmosphere is global (now snow is covering the whole earth). The basic composition of this cantata - based on Sarvig's many verses - was done by letting soloist, choir and instruments change in feelings and moods: from the almost silent, inward-looking beginning (I: Chorale dolorosa) to a dancelike and happy optimism (II: A heaven germ on winged foot thrust deep into the earth its root), followed by nightmarish tone rows as the year-wheel of fortune is turning (III: Sacrifice - The Year) and the temptations of the snake (IV: In Paradiso) - to the allegorical fights between egoism and altruism (V:The Cycle - Autumn. Purgatory) before the waiting for a disaster- atmosphere at the end of this choral Odysse. Winter Cantata was from the beginning (1976) designed as an open work, to be arranged by different combinations of soloists, choir and (different) instruments. The printed version by Per Norgard and Ivan hansen for soloist, mixed choir and instruments (obo, violin, trombone, vibraphone/percussion and organ) is from 1990. The work is available in both the (original) Danish version (Vinterkantate) and an English version (Winter Cantata), translated by Helen and Ole Sarvig. (Per Norgard).
SKU: BT.DHP-1115063-120
9x12 inches. English-German-French-Dutch.
Jan Van der Roost and the commissioner of this work have strong personal ties, making By the River a very personal work for both of them. The first part is pastoral and describes the rural character of what is actually an industrial region. The next movement, a dynamic allegro that creates an exciting contrast to the first. All instruments are put to good use, letting everyone have their moment in the limelight. All the interesting thematic and melodic elements Van der Roost creates will keep the audience engaged through to the very last note!De opdrachtgever van dit werk is op meerdere wijze verbonden aan de componist. Hierdoor is By the River een zeer persoonlijk en indrukwekkend werk geworden. Het eerste deel heeft het karakter van een pastorale en beschrijfthet landelijke karakter van een - in basis - industrieel gebied. In sterk contrast daarop volgt een dynamisch allegro met toespelingen op Leonard Bernstein. Alle registers van het moderne blaasorkest komen aan hun trekken in Bythe River. Maar ook het publiek wordt flink op de proef gesteld, wil het alle thematische en melodische elementen van dit afwisselende werk doorgronden..!Dem Auftraggeber dieses Werkes ist der Komponist in mehrfacher Weise sehr verbunden, wodurch By the River ein sehr persönliches und eindringliches Werk geworden ist. Der erste Teil ist von pastoralem Charakter und beschreibt den ländlichen Charakter einer eigentlichen Industrieregion. Stark kontrastiv folgt darauf ein dynamisches Allegro mit einer Anspielung auf Leonard Bernstein. Alle Register des modernen Blasorchesters sind in By the River gefordert, genau wie die Aufmerksamkeit des Publikums, wenn es alle thematischen und melodischen Elemente dieses abwechslungsreichen Werkes erfassen will.By the River (Près de la rivière) est une oeuvre que Jan van der Roost affectionne tout particulièrement. La première partie s’ouvre sur motif plutôt pastoral et décrit le caractère assez rural des gens du pays vivant dans une certaine région industrielle. Un dynamique allegro amène en contraste un bref clin d’oeil Leonard Berstein. Afin de pouvoir restituer cette composition dans toute sa diversité, l’ensemble des registres de l’orchestre d’harmonie contemporain sera sollicité. Votre attentif auditoire en restera époustouflé !By the River è un’opera alla quale Jan Van der Roost è particolarmente affezionato. La prima parte si apre su un motivo pastorale e descrive il carattere rimasto rurale di alcuni popoli che vivono in regioni ormai industrializzate. Segue un dinamico allegro, breve ma che ricorda la musica di Leonard Bernstein. Una composizione che sollecita tutti i registri della banda e che entusiasmer il pubblico!
SKU: BT.DHP-1115063-010
9x12 inches.
Jan Van der Roost and the commissioner of this work have strong personal ties, making By the River a very personal work for both of them. The first part is pastoral and describes the rural character of what is actually an industrial region.The next movement, a dynamic allegro that creates an exciting contrast to the first. All instruments are put to good use, letting everyone have their moment in the limelight. All the interesting thematic and melodic elements Van der Roost createswill keep the audience engaged through to the very last note!De opdrachtgever van dit werk is op meerdere wijze verbonden aan de componist. Hierdoor is By the River een zeer persoonlijk en indrukwekkend werk geworden. Het eerste deel heeft het karakter van een pastorale en beschrijfthet landelijke karakter van een - in basis - industrieel gebied. In sterk contrast daarop volgt een dynamisch allegro met toespelingen op Leonard Bernstein. Alle registers van het moderne blaasorkest komen aan hun trekken in Bythe River. Maar ook het publiek wordt flink op de proef gesteld, wil het alle thematische en melodische elementen van dit afwisselende werk doorgronden..!Dem Auftraggeber dieses Werkes ist der Komponist in mehrfacher Weise sehr verbunden, wodurch By the River ein sehr persönliches und eindringliches Werk geworden ist. Der erste Teil ist von pastoralem Charakter und beschreibt den ländlichenCharakter einer eigentlichen Industrieregion. Stark kontrastiv folgt darauf ein dynamisches Allegro mit einer Anspielung auf Leonard Bernstein. Alle Register des modernen Blasorchesters sind in By the River gefordert, genau wie dieAufmerksamkeit des Publikums, wenn es alle thematischen und melodischen Elemente dieses abwechslungsreichen Werkes erfassen will.By the River (Prés de la rivére) est une oeuvre que Jan van der Roost affectionne tout particuliérement. La premiére partie s'ouvre sur motif plutôt pastoral et décrit le caractére assez rural des gens du paysvivant dans une certaine région industrielle. Un dynamique allegro améne en contraste un bref clin d'oeil Leonard Berstein. Afin de pouvoir restituer cette composition dans toute sa diversité, l'ensemble des registres del'orchestre d'harmonie contemporain sera sollicité. Votre attentif auditoire en restera époustouflé !By the River é un'opera alla quale Jan Van der Roost é particolarmente affezionato. La prima parte si apre su un motivo pastorale e descrive il carattere rimasto rurale di alcuni popoli che vivono in regioni ormaiindustrializzate. Segue un dinamico allegro, breve ma che ricorda la musica di Leonard Bernstein. Una composizione che sollecita tutti i registri della banda e che entusiasmer il pubblico!
SKU: BT.DHP-1115063-140
SKU: HL.44011061
UPC: 884088640064. 9x12 inches.
Jan Van der Roost and the commissioner of this work have strong personal ties, making By the River a very personal work for both of them. The first part is pastoral and describes the rural character of what is actually an industrial region.The next movement, a dynamic allegro that creates an exciting contrast to the first. All instruments are put to good use, letting everyone have their moment in the limelight. All the interesting thematic and melodic elements Van der Roost createswill keep the audience engaged through to the very last note!De opdrachtgever van dit werk is op meerdere wijze verbonden aan de componist. Hierdoor is By the River een zeer persoonlijk en indrukwekkend werk geworden. Het eerste deel heeft het karakter van een pastorale en beschrijfthet landelijke karakter van een - in basis - industrieel gebied. In sterk contrast daarop volgt een dynamisch allegro met toespelingen op Leonard Bernstein. Alle registers van het moderne blaasorkest komen aan hun trekken in Bythe River. Maar ook het publiek wordt flink op de proef gesteld, wil het alle thematische en melodische elementen van dit afwisselende werk doorgronden..!Dem Auftraggeber dieses Werkes ist der Komponist in mehrfacher Weise sehr verbunden, wodurch By the River ein sehr personliches und eindringliches Werk geworden ist. Der erste Teil ist von pastoralem Charakter und beschreibt den landlichenCharakter einer eigentlichen Industrieregion. Stark kontrastiv folgt darauf ein dynamisches Allegro mit einer Anspielung auf Leonard Bernstein. Alle Register des modernen Blasorchesters sind in By the River gefordert, genau wie dieAufmerksamkeit des Publikums, wenn es alle thematischen und melodischen Elemente dieses abwechslungsreichen Werkes erfassen will.By the River (Pres de la rivere) est une oeuvre que Jan van der Roost affectionne tout particulierement. La premiere partie s'ouvre sur motif plutot pastoral et decrit le caractere assez rural des gens du paysvivant dans une certaine region industrielle. Un dynamique allegro amene en contraste un bref clin d'oeil a Leonard Berstein. Afin de pouvoir restituer cette composition dans toute sa diversite, l'ensemble des registres del'orchestre d'harmonie contemporain sera sollicite. Votre attentif auditoire en restera epoustoufle !By the River e un'opera alla quale Jan Van der Roost e particolarmente affezionato. La prima parte si apre su un motivo pastorale e descrive il carattere rimasto rurale di alcuni popoli che vivono in regioni ormaiindustrializzate. Segue un dinamico allegro, breve ma che ricorda la musica di Leonard Bernstein. Una composizione che sollecita tutti i registri della banda e che entusiasmera il pubblico!
SKU: BT.DHP-1115063-020
© 2000 - 2024 Home - New realises - Composers Legal notice - Full version
