SKU: PR.11641963L
UPC: 680160684489.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: BT.DHP-1114997-020
9x12 inches. English-German-French-Dutch.
Spring has finally arrived. The days grow longer, birds prepare to nest, trees turn green and plants begin to bloom as nature wakes up from her winter sleep. This, and the fact that the composer’s third grandson was born in the spring, were the inspiration for Spring Song. Het is voorjaar! De dagen worden langer, de vogels bouwen hun nestjes, bomen hullen zich in het groen en alle planten beginnen te bloeien. Kortom: de natuur ontwaakt uit haar winterslaap. En precies in dit jaargetijde zag ook hetderde kleinkind van de componist het levenslicht. Lente en nieuw leven: voor Jan de Haan twee prachtige inspiratiebronnen voor zijn nieuwe werk Spring Song!Es ist Frühling. Die Tage werden länger, Vögel bauen ihre Nester, die Bäume schlagen aus und alle Pflanzen beginnen zu blühen. Kurz gesagt: Die Natur erwacht aus ihrem Winterschlaf. Der Frühling und der glückliche Umstand, dass just zu dieser Jahreszeit sein dritter Enkel das Licht der Welt erblickte inspirierte den Komponisten zu seinem Stück Spring Song. C’est le printemps : les jours s’allongent et la nature sort de son sommeil hivernal. C’est toute l’effervescence du printemps qu’exhale Spring Song. En outre, cette ravissante pièce célèbre également la naissance du troisième petit fils du compositeur, né au printemps. E’ primavera: la natura si risveglia, gli uccelli preparano i nidi, gli alberi e le piante cominciano a fiorire. Uno spettacolo che la natura ci regala puntuale ogni anno. Spring Song trasuda di questo splendore e vuole essere per Jan de Haan un benvenuto al mondo al suo terzo nipote, nato appunto in quella che è per molti la stagione più bella dell’anno..
SKU: BT.DHP-1114997-120
SKU: BT.DHP-1094730-140
The Spring Sketches is a sequel to the 2006 Fanfare - Young Pheasants in the Sky. The Spring Sketches is a wonderful work to perform on its own, but also creates an interesting set when performed in conjunction with itspredecessor, the Fanfare. Dur: 3:35The Spring Sketches ist eine Fortsetzung von Young Pheasants in the Sky desselben Komponisten. Das ganze Stück wurde in einem choralähnlichen Stil geschrieben und enthält das Thema seines Vorgängers. So lässt sich The Spring Sketches wunderbar alleine als Zwischenspiel oder direkt im Anschluss an Young Pheasants in the Sky auff ühren. Composé au printemps 2006, The Spring Sketches (“Esquisses du printempsâ€) constitue la suite de l’œuvre Fanfare - Young Pheasants in the Sky. Deuxième commande de l’Orchestre d’Harmonie du Lycée de Kashihara, une ville de la préfecture de Nara au Japon, ce choral l’élégance fluide reprend la ligne mélodique exposée initialement dans Young Pheasants in the Sky. S’il est possible d’interpréter les deux œuvres séparément, il est bien plus intéressant de les enchaîner (Fanfare / The Spring Sketches).
SKU: FG.55011-567-5
ISBN 9790550115675.
Alex Freeman's (b. 1972) Cathedral of Spring for chamber choir (2019) to poems of e.e. cummings and Robert Frost was commissioned and premiered by Somnium Ensemble. The composer tells: For the celebration of the 10th anniversary of Somnium Ensemble (Finland), I was commissioned to write a piece with spring as a central theme. While contemplating that and perusing appropriate poetry, I was inspired by memories of the night-time sky in early spring--the warm air, the teeming, buzzing energy of life all around, and an expansive dome of stars overhead. I then imagined that moment in time as a kind of sacred space; this is the point where the cathedral notion came to mind. The frenetic and joyous poetry of e.e. cummings, from his Epithalamion, gives an exclamatory introduction to the set, followed by his vision of spring from the point of view of giddy children in his iconic poem, [in Just-]. We then take a moment to contemplate the ephemerality of all this beauty (spring giveth and spring taketh away, i.e. an offertorium of sorts); Robert Frost's Blue-Butterfly Day places us in a moment where, by chance, we find ourselves enveloped by a delicately fluttering swarm of butterflies. Peaceful and still, yet in constant flux, we spend a some time taking that phenomenon in, while also experiencing a twinge of the realisation that this is truly fleeting. The final movement, returning to a later stanza from Epithalamion, cummings's sparkling paean to May is set as a kind of final anthem..
SKU: BT.DHP-1043755-040
English-German-French-Dutch.
In 1880, Edvard Grieg composed twelve song poems by Aasmund Olavsson Vinje. He arranged two of these songs for String Orchestra published under the title of Two Elegiac Melodies, Op. 34. These two deeply meloncholy pieces were titled The Wounded Heart and Last Spring. The latter of these two titles inspired Tohru Takahashi to produce this expressive and sensitive transcription for Concert Band, which will make a fantastic encore piece for any concert. Last Spring komt uit de Two Elegiac Melodies for String Orchestra, opus 34. Deze muziek, gecomponeerd in 1880, is oorspronkelijk geschreven voor twee liederen uit Grieg's album opus 33: The Wounded Heart en Spring.De laatste van deze twee titels inspireerde Tohru Takahashi tot het maken van een prachtige transcriptie die heel geschikt is als toegift. Met hart en ziel gespeeld zal deze muziek uw beslist raken.Edvard Grieg komponierte Zwölf Lieder zu Gedichten von Aasmund Olavsson Vinje. Zwei dieser Lieder arrangierte er für Streichorchester unter dem Titel Zwei elegische Melodien. Diese Lieder heißen The Wounded Heart (Der Verwundete) und The Last Spring (Letzter Frühling). Letzteres inspirierte Tohru Takahashi zu einer emotionalen Transkription, die mehr Musikverständnis als technische Fertigkeiten verlangt und sich hervorragend als Zugabenummer eignet.En 1880, Edvard Grieg achève ses Douze mélodies sur des poèmes d’Aasmund Olavsson, Op. 33. Par la suite, il réalise une version pour Orchestre Cordes de deux mélodies extraites de ce cycle, et les publie sous le titre de Deux mélodies élégiaques, Op. 34. Il s’agit de deux pièces profondément mélancoliques, comme l’annoncent les sous-titres : Coeur blessé et Dernier printemps. Tohru Takahashi a réalisé une superbe transcription de la seconde mélodie, expressive et pleine de sensibilité (Dernier printemps/Last Spring).
SKU: BT.DHP-1043755-010
SKU: BR.EB-9412
ISBN 9790004188866. 9 x 12 inches.
Joachim Raff's 12 piano pieces Fruhlingsboten op. 55, originating in 1852/53, mark a new creative start in his compositional oeuvre, in which the composer left behind his previously written and published piano works. The title of the work, translated as Heralds of Spring, is multilayered: It refers not only to spring in nature as expressed in the headings of the first two pieces, Winterruhe [Hibernation] and Fruhlingsnahen [Spring's Approach], but the words Heralds of Spring also indicate love's spring, the blossoming of love for his future wife, the actress Doris Genast. This appears in the headings of the pieces as of no. 3, sketching the path of an imaginary couple approaching union via various annoyances. And ultimately, Raff saw in his new piano work the harbingers of his future works, created under happy circumstances. In Fruhlingsboten Raff repeatedly demonstrates his ability to adapt idioms and compositional techniques from works by Liszt, Chopin, Mendelssohn, Schumann, and others. The pieces do nonetheless possess their own thoroughly original diction with a character spectrum just as diverse as their stylistic piano design. Mahlert's new edition, as beautifully presented as ever from this publisher, is exemplary, and can easily be recommended to advanced pianists with a love of nineteenth-century repertoire. Superb.(Andrew Eales, Pianodao).
SKU: HL.140879
ISBN 9781495008306. UPC: 888680041472. 8.5x11.0x0.252 inches. By John Jacobson and Roger Emerson.
This is the day! Jump in. Pump up the pumpkin. Do a little holiday hop. Put a little spring in your life! Bring John Jacobson into your music class every day with step-by-step online video demonstrations of twelve active seasonal songs for movin' fun all year! There are helpful teacher tips, reproducible lyric sheets and piano/vocal accompaniments with printed choreography notes; now all available in one cost-saving Book/CD pak! Sing along with John and a group of children as you learn each song; then perform for others with the accompaniment-only song tracks! Songs include: This Is the Day, Jump In, Fallin' Into Fall, Pump Up the Pumpkin, The Holiday Hop, Circle of Light, A Brand New Me, February, Put a Little Spring in Your Life, Spring Up, All I Wanna Do Is Dance, Feelin' Good. Suggested for Grades K-3. Come along and you will see - it's a brand new me! ScorePlay - click to view score with recording.
SKU: XC.DCB2202FS
12 x 9 inches.
Ever wonder what Santa does the rest of the year? Give your students something fun to play with this clever combination of popular carols with Vivaldi's famous Spring movement from his piece The Four Seasons. Of course, the piece is intended to be fun, and make the audience smile, but also a great way to introduce younger students to the famous Vivaldi work.(Jolly Old St. Nicholas, Up on the Housetop, Spring from The Four Seasons, Joy to the World, God Rest Ye Merry Gentlemen, Hallelujah Chorus from The Messiah).
SKU: XC.DCB2202
SKU: BT.DHP-1094730-010
The Spring Sketches ist eine Fortsetzung von Young Pheasants in the Sky desselben Komponisten. Das ganze Stück wurde in einem choralähnlichen Stil geschrieben und enthält das Thema seines Vorgängers. So lässt sich The Spring Sketches wunderbar alleine als Zwischenspiel oder direkt im Anschluss an Young Pheasants in the Sky auff ühren. Composé au printemps 2006, The Spring Sketches (“Esquisses du printempsâ€) constitue la suite de l’œuvre Fanfare - Young Pheasants in the Sky. Deuxième commande de l’Orchestre d’Harmonie du Lycée de Kashihara, une ville de la préfecture de Nara au Japon, ce choral l’élégance fluide reprend la ligne mélodique exposée initialement dans Young Pheasants in the Sky. S’il est possible d’interpréter les deux œuvres séparément, il est bien plus intéressant de les enchaîner (Fanfare / The Spring Sketches).
SKU: HL.44013291
UPC: 888680908881.
This work was composed as a commission by the Keika Gakuen Symphonic Band, to commemorate their 40th annual concert. The compositionis a march-style work that begins with a chorale based on a theme from the school songa distinctive motif that reappears in the middle section. Tetsuya Kashino, a graduate of the high school, is a band coach and has a deep friendship with the composer. Kashinonamed the work Scent of Spring, which reflects two distinct meaningsfirstly, in Japanese, a part of the bands own name, and also a premiere in Spring. Scent of Spring is a bright and optimistic piece of music, suitable to perform on various occasions.
SKU: AP.48033
ISBN 9781470642716. UPC: 038081554600. English.
The three movements of Spring Promises highlight the energy of spring that follows a long winter. The first movement, A Garden's Promise, features a lyrical melody line over a chord progression that includes a descending bass line. It portrays the beauty of the flowers that begin to appear with the warmer weather. Staccato fifths and grace notes suggest the image of Soft Rains in the A section of the second movement. Triplets in the B section give a stronger sense of movement. The final movement---Spring Fever!---is a rondo that uses root position and second inversion chords in a lively setting. The staccato chords alternate with more lyrical lines to provide contrast.
SKU: FJ.E1134
UPC: 241444419632. English.
Appropriately named, this colorful piece is a tone poem that evokes the earth awakening to spring. The lush harmonies exploit the full range of the keyboard with frequent modulations to new keys. The thematic material is seamlessly woven into both parts. Often the primo and secondo hands are very close to each other. The composer includes short phrases above the staff such as swaying branches, fragrant rain, and flowers blooming plus others to depict the various sense of spring. Good piece for an experienced duet team.
About FJH Piano Ensemble Series
Creative material especially written to explore aspects of artistic ensemble performance.
SKU: CL.011-4734-00
Flowers bloom and the world stirs with life renewed in Spring’s Awakening! The music begins with a driving ostinato in the clarinets, and staggered entrances that portray flowers opening for the first time. After the entire ensemble enters, two different melodic themes are passed throughout the ensemble, layered over driving 8th-note rhythms that propel the music forward. Spring’s Awakening is an engaging and beautiful work that makes a perfect fit for any spring or end of the year concert.
SKU: BT.DHP-1043755-140
In 1880, Edvard Grieg composed twelve song poems by Aasmund Olavsson Vinje. He arranged two of these songs for String Orchestra published under the title of Two Elegiac Melodies, Op. 34. These two deeply meloncholy pieces were titled The Wounded Heart and Last Spring. The latter of these two titles inspired Tohru Takahashi to produce this expressive and sensitive transcription for Concert Band, which will make a fantastic encore piece for any concert. Edvard Grieg komponierte Zwölf Lieder zu Gedichten von Aasmund Olavsson Vinje. Zwei dieser Lieder arrangierte er für Streichorchester unter dem Titel Zwei elegische Melodien. Diese Lieder heißen The Wounded Heart (Der Verwundete) und The Last Spring (Letzter Frühling). Letzteres inspirierte Tohru Takahashi zu einer emotionalen Transkription, die mehr Musikverständnis als technische Fertigkeiten verlangt und sich hervorragend als Zugabenummer eignet.En 1880, Edvard Grieg achève ses Douze mélodies sur des poèmes d’Aasmund Olavsson, Op. 33. Par la suite, il réalise une version pour Orchestre Cordes de deux mélodies extraites de ce cycle, et les publie sous le titre de Deux mélodies élégiaques, Op. 34. Il s’agit de deux pièces profondément mélancoliques, comme l’annoncent les sous-titres : Coeur blessé et Dernier printemps. Tohru Takahashi a réalisé une superbe transcription de la seconde mélodie, expressive et pleine de sensibilité (Dernier printemps/Last Spring).
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