SKU: CA.3115305
ISBN 9790007183431. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score available separately - see item CA.3115300.
SKU: CA.3115312
ISBN 9790007208684. Language: German/English.
Bach chose an unconventional beginning for his nine-movement cantata Schau, lieber Gott, wie meine Feind BWV 153, which he composed in his first year as Kantor of St. Thomas's for the Sunday after New Year 1724. Instead of the usual opening chorus, the cantata opens with a simple four-part chorale movement. There are also chorales in the middle of the work (movement 5) and at the end. By avoiding extended or demanding choral movements, Bach probably wanted to save the voices of his choir members at St Thomas's, who had just been involved in a demanding week of almost constant singing. This may also be why the cantata uses just three soloists (alto, tenor, bass). In the arias, each preceded by a secco recitative, the accompaniment is provided by 2 violins and viola. Score and part available separately - see item CA.3115300.
SKU: HL.49019755
ISBN 9783795792886. 11.0x15.25x1.01 inches.
The work of Paul Hindemith is encyclopedic in nature. From the outset, he worked in all musical genres and devised several of his musical ideas and projects not as individual, self-contained works but as work cycles with different functional relationships. These contrasting pieces complement each other if experienced as part of the overall structure. Hindemith himself not only wanted a complete edition of his collected works but had begun planning it; at his death he left a detailed list of ‚Unpublished pieces for an eventual complete edition‘.The Complete Works contain all finished works in all extant versions, newly engraved for the edition. Sketches and fragments are published in appendices of the relevant volume, and are evaluated in the Introduction and Critical Commentary by the respective volume editor.Each volume contains a preface by the editorial directors and an introduction by the volume editor, delineating the genesis and performance history of the work, with authentic performance instructions, an evaluation of extant recordings by Paul Hindemith himself and a Critical Commentary.The Complete Works of Paul Hindemith are thus presented in a critical, scholarly edition which is equally appropriate for study and performance. Hindemith researchers will welcome the numerous first publications of works by the composer, and practical musicians will appreciate the newly prepared, philologically ordered performance material.
SKU: ET.PNO61
ISBN 9790207003393.
For the young candidates in Grade 1 of the 2010 International Piano Competition in Fribourg (Switzerland), I wanted to exploit the piano resonances by means of the pedal or with harmonics. The “litte secret (Petit secret) is a simple folksong hidden within the voicings of the three-pitch chords at the beginning of the piece, then through the harmonics of the Allegro, and finally within the clusters at the end. Caroline Charrière, November 13, 2009, Fribourg, Switzerland.
SKU: PR.16500092L
UPC: 680160039531. 11 x 17 inches.
Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.
SKU: GH.GE-11358
ISBN 979-0-070-11358-8. A4 inches.
Work comment by the composer: The lonely one was composed during May and June of the year 2000. It was written for Annika Gustafsson, to whom it is also dedicated. It was world-premiered on December 1 the same year in Caroli Church in Malmo. After that I had composed The Threat of War that was a dramatic and massive work for orchestra, I wanted to focus on melodic as well as harmonic and rhyhtmical processes combined with a inner dramatic content. In this case the solo violin works as a narrator where the piece itself is like a monologue without words. In the score there are imprinted expressions like racontare (tellingly), piacevole (pleasingly) och sospirare(sighing). The lonely one is divided in three sections. 1. Doloroso (Painful) - the violin plays almost imperceptly sighing glissandi that forms the basic material of the work. Its character is constantly searching. It leads up to the section Risoluto (Resolute) that has a very determined and edgy expression. 2. Misterioso (Mysteriously) - the materials from the previous section are now further developed. It builds up and breaks down during the course of the journey. Eventually it reaches a climax on a high d. 3. Calmando e espressivo (Calmingly and expressive) - From the high d it is stepping down to a recapture on material from the first part slightly changed and moody character. It dies out slowly with the lonely notes. Benjamin Staern
SKU: HL.1117978
UPC: 196288301660. 8.25x10.25x4.25 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Clear and precise condenser sound The MTP 350 CMs is a condenser vocal microphone with a lightweight diaphragm condenser capsule. This brings a high level of sonic clarity to your vocal performance. Durable materials for longevity To make sure your beloved microphone survives even your roughest touring routines, the enclosure is made out of durable zinc die-cast parts. A rubber-suspension protects the capsule while minimizing unwanted handling noise. The built-in wind and pop-filter prevents hissing sounds and plosives. On top of that, the capsule is protected from moisture. Cardioid polar pattern Its cardioid polar pattern picks up sound coming mainly from the front of the microphone. Sound coming from directly behind the mic is dampened to guarantee high monitor levels. A solid show is assured as you don't have to worry about nasty feedback issues. What's in the box? The MTP 350 CMs comes with a snap-in mic clip, a windscreen and a transport bag.
SKU: HL.1117975
UPC: 847986001399. 8.0x10.0x4.5 inches.
Please note: although we don't keep stock on hand, this item will drop ship direct from the manufacturer at the time of your order. Tailored vocal sound The MTP 250 DM features full and clear live sound. Your voice sits well in the mix and you can hear yourself clearly on the monitors. Engage with your fans. They can hear you loud and clear! Durable materials for longevity To make sure your beloved microphone survives even your roughest touring routines, the enclosure is made out of durable zinc die-cast parts. A rubber-suspension protects the capsule while minimizing unwanted handling noise. The built-in wind and pop-filter prevents hissing sounds and plosives. On top of that, the capsule is protected from moisture. Cardioid polar pattern A cardioid polar pattern picks up sound coming mainly from the front of the microphone, sound from directly behind the MTP 250 DM is dampened. You can run your monitor signal at high volume without having to worry about nasty feedback issues. You'll perform confidently, and a solid show is assured. What's in the box? The MTP 250 DM comes with a snap-in mic clip, a windscreen and a transport bag.
SKU: HL.1753724
UPC: 850035900178. 7.25x9.5x3.5 inches.
Every Royer R-10 delivers the sonic excellence, flexibility and durability that recording and FOH engineers know they can expect from Royer, but at an easier-to-handle price point than most expect! The R-10 is a passive, mono ribbon microphone designed for use in the studio and on live stages. Hand-built in our Burbank, California factory, the R-10 is exceptionally rugged, handling SPLs of up to 160 dB @ 1 kHz (!), and its compact size and mounting system allow for flexible, unobtrusive positioning. The R-10's 2.5-micron aluminum ribbon element (same as in the legendary R-121) is formed with our patented direct-corrugation process, and is extremely well-protected by a 3-layer windscreen system and internally shock-mounted ribbon transducer. The R-10's built-in windscreen provides superior protection from air blasts and plosives, while also reducing proximity effect (bass buildup from close micing) so guitar cabinets and acoustic instruments can be more easily close-miced. The internally shock-mounted ribbon transducer isolates the ribbon element from unwanted vibrations, decreasing rumble and increasing the ribbon element's durability. The transducer is even wired for humbucking to better reject electromagnetically induced noise! The R-10 utilizes a David Royer custom-designed transformer for high overload threshold, minimizing saturation at even extremely high sound pressure levels. You'll never overload an R-10! The mic's open grill design minimizes standing waves and associated comb-filtering effects and its smooth frequency response, phase linearity and lack of self-distortion make it ideal for all digital recording and live sound formats. The R-10 is truly an excellent tool for recording almost any sound source you can think of!
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