SKU: PE.EP72835
ISBN 9790577011677. English.
Commissioned by Paul Phoenix and the Apollo 5
SKU: HL.49044159
ISBN 9790001195577. 7.5x11.0x0.06 inches. German.
Er macht nicht nur als Braunschweiger Domkantor, Organist und leidenschaftlicher Musik- bzw. Gesangspadagoge von sich reden. Gerd-Peter Munden stellt mit seiner Vertonung des 126. Psalms unter Beweis, dass er auch als Komponist geistlicher (Chor)Musik Meisterhaftes hervorzubringen versteht. Den zur Gattung der Wallfahrtslieder zahlenden Psalm Wenn der Herr die Gefangenen Zions erlosen wird setzt Munden fur sechsstimmigen gemischten Chor (SSATBB) a cappella und verlangt den Ausfuhrenden dabei in nur 70 Takten einiges ab. Haufige Taktwechsel sowie eine reiche (nicht nur) dynamische Ausdruckspalette mit feinsten Abstufungen, die vom dreifachen Pianissimo bis zu dreifachen Fortissimo reicht und ruhige bis sehr lebhafte Passagen umfasst, verleihen diesem 5-minutigen Werk einen hochst ergreifenden Gestus.
SKU: BT.BWH7016
ISBN 9783920127187. German.
Die Fortsetzung des Beatles-Gitarrenbuches (Band 1 - BOE4493). Alle Griff- und Spieltechniken erklärt Peter Bursch so einfach wie möglich und mit vielen zusätzlichen Hinweisen. Auf der beiliegenden CD sind alle in dem Buch behandelten Beatles-Songs mit allen Spieltechniken zu hören und laden direkt zum Mitspielen ein.
Die speziellen Gitarren-Riffs, Melodieläufe, Anschlag- und Zupftechniken der Beatles werden ausführlich erklärt, damit jeder die charakteristischen Spieltechniken lernen kann. Dazu gibt es jede Menge Infos und Stories über die Beatles, ihre Musik sowie die Entstehungsgeschichten der Songs.
Peter Bursch gilt als Deutschlands Gitarrenlehrer der Nation und hat im Laufe seine Karriere insgesamt neunzehn Lehrbücher für verschiedene Spielniveaus und Stile veröffentlicht. Sein erstes Gitarrenbuch wird seit seiner Erstveröffentlichung 1975 weiterhin als wichtigstes Lehrwerk für den Einstieg ins Gitarrenspiel betrachtet. Die Gitarrenbaufirma Martin stellte für Peter Bursch ein Sigma-Signaturemodell her. Er ist der erste Deutsche, dem diese Ehre zuteilwurde. https://www.peter-bursch.de/
SKU: BT.MUSM570364831
English.
Gallery (Room 1) is a fantastic set of miniatures beautifully composed by Sadie Harrison . Sadie was inspired by Peter Sheppard Skaerved’s exceptional artwork. The pieces have been written so they can be performed in any order, just as a viewer could choose their various paths through a gallery. Gallery (Room 1) has been written conveying expressions of imagined narratives, personal responses to the art's kaleidoscopic references, their vivacity, drama and quiet beauty. Gallery has been dedicated to Peter Sheppard Skaerved’s in admiration and with thanks for so many wonderful years of collaboration.
SKU: HL.50603924
ISBN 9781705157718. UPC: 196288032458. 9.0x12.0 inches.
The composer writes: These three pieces are based on movements from my Mass of the Apocalypse, commissioned for the 300th anniversary of St James' Church, Piccadilly and recorded by the St James' Singers/Ivor Bolton. They are dedicated to Peter Sheppard Sk''rved and the Kreutzer Quartet in gratitude for their outstanding CD of my chamber music released early in 2020. They gave the first performance of the Three Pieces, which was filmed and streamed in November 2020, but the live premiere was given by the Gildas Quartet in the William Alwyn Festival at Southwold Church on 8 October 2021..
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SKU: PE.EP72870
ISBN 9790577012049. English.
Sing, Glory! is a collection of eight inspiring Gospel songs composed by Mike Sheppard. The collection brings the joy, energy and enthusiasm of the Gospel style to traditional choirs, whilst creating new, interesting and rewarding songs for established Gospel choirs. Scored for SATB and piano, chord symbols are included so that traditional Gospel rhythm sections (guitar, bass, drums) can be added. In addition to the songs is a collection of inspiring readings from writers such as Khalil Gibran and Mahatma Gandhi, intended to be read between songs during performance.
SKU: M7.KECF-6
ISBN 9790502360061. German English.
Der vorliegende Band schließt eine Lücke in der Anfängerliteratur für Tuba und enthält eine abwechslungsreiche Sammlung von Konzertstücken. Die Klavierbegleitung ist einfach gehalten, um auch jungen Pianisten die Möglichkeit für kammermusikalische Erfahrung zu geben.
SKU: PE.EP72596
ISBN 9790577008707. English.
SKU: PE.EP72594
ISBN 9790577008684. English.
SKU: PE.EP72600
ISBN 9790577008745.
SKU: MB.97210
ISBN 9780786648009. UPC: 796279062350. 8.75 x 11.75 inches.
An extensive collection of reels, jigs, hornpipes and polkas from the French Canadian, Cape Breton, Scottish, Shetland, New England, and Southern Old-Time Traditions arranged for the piano accordion. Written with the beginner as well as the advanced player in mind, the arrangements are complete with ornamentation, fingering, left-hand notation and chord symbols. Appropriate for any G clef instrument.
SKU: HL.50602105
ISBN 9781540063731. UPC: 888680964108.
Traceries by Sadie Harrison, Published 1997. First performance: Peter Sheppard Skaerved and Aaron Storr, Purcell Room, London, May 1997. Recorded by Premier Records MSV CD92053. 8'; for violin and piano.
SKU: BT.MUSM570360130
For Violin and Cello. Published 2008. Dedicated to Peter Sheppard Skaerved and Neil Heyde. This music was composed during my DAAD residency in Berlin in October — November 2007. If I were to describe it in one sentence, I would say that it is based on the idea of 'two things seen/heard as one'. a2 (a due) is a well-known term to musicians; it is often found in orchestral scores indicating a given passage that is to be played by two instruments of the same family. Although violin and cello could well be regarded as 'first cousins' of the string family, the literal implementation of the term a2 as a 'compositional strategy' would have been too much (!) for a piece of chamber music consisting of no more than two players. Not surprisingly, this never happens in this work; in fact, the opposite is true: regardless of how it appears on paper (i.e. on one or two staves), the music for each instrument is constantly based on two layers. This musical 'interpretation' of the title gives an indication as to how the textural format of the piece operates. However, this was by no means the only thought that 'preoccupied' my mind whilst composing this music. Berlin made a profound impression on me. The remnants of the wall in Bernauer Straße and the cobbled two-stone line tracing the wall across where it once stood — a clear reminder of what not so long ago there were two different worlds in one city — provoked a strikingly dramatic effect. Border, death-strip, killing, and escape to freedom had a particularly evocative resonance, especially of the time when I lived for three years in a remote town in Southern Albania right at the border with Greece. There, there was a nameless road whose destination the authorities did not want you to know, but the locals called it the 'death-road'. In no way programmatic, in this context, the extra-musical dimension of the principal idea is very much part of the piece. Here, the musical and extra-musical interpretations cannot easily be separated, for they are two parts of the same thing: a2. As if to add another dimension to this idea, there are two versions of this piece: for viola & cello and violin & cello. The first version was premiéred by Garth Knox and Rohan de Saram at the 2008 Intrasonus Festival in Venice..
SKU: BT.MUSM570366392
Written for and dedicated to Peter Sheppard-Skærved. The world premiere was given on 26 November 2014 at King's Place, London. Written in 2014, this work focuses exclusively on a single note - the drone? This particular sonority, is on, is ubiquitously present throughout the piece; the music begins and ends with it, and its echo is felt even when the actual sound is not heard! But it is always there in the background and it serves as a nucleus with a gravitational sonic power, around which the identity of the music is displayed. The title alludes to the genre of capriccio, in terms ofboth its free formal design and the overall character of the music, which invariably consistsof rhythmic gestures with a high degree of virtuosity. And who better than its dedicatee, with whom I have collaborated for a number of years now, could give all these and much more! TS Duration: c. 8'.
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