SKU: GS.BSG4PROMAR-P
8.5 x 11 inches.
30 energetic pieces to get your audience motivated, and their toes tapping. All four parts share the interesting melodic bits, and the relentless rhythms that provide the energy to forge ahead. You will enjoy sharing some old favorites, like Mendelssohn's Wedding March, Wagner's Bridal March, and for you Alfred Hitchcock fans, Gounod's Funeral March of a Marionette. This collection also includes works by Sousa, Frederick II, Joplin, Mozart, Schubert, etc.
SKU: BT.DHP-1135497-215
9x12 inches. English-German-French-Dutch.
Robert van Beringen chose a classical theme for this funeral march. For this reason, within the trio of this melancholy piece we find echoes of Albinoni’s Adagio which - according to the latest research was actually composed by his biographer Remo Giazotto. Thanks to the four-part variable instrumentation (with ad lib. drums) this funeral march can be played by pretty much any ensemble - whether at a funeral on the way from the church to the cemetery, in the church itself or indeed on stage as part of a memorial concert.Robert van Beringen maakt in het trio van zijn Funeral March gebruik van de bekende melodie ‘Adagio van Albinoni’, en waarvan sinds kort blijkt dat het eigenlijk werd geschreven door Giazotto. Door de _x001E_exibele, vierstemmige bezetting kan dit werk gespeeld worden door elk orkest. Het is geschikt als begeleiding van de kerk naar het kerkhof of in de kerk als een moment van bezinning of eerbetoon. Robert van Beringen wählte für diesen Trauermarsch ein klassisches Thema. So _x001D_finden sich im Trio dieses melancholischen Stückes Anklänge an das Adagio“ von Albinoni, das nach neueren Erkenntnissen aber von dessen Biograf Remo Giazotto zu stammen scheint. Dank der vierstimmig variablen Instrumentierung (mit Schlagzeug ad lib.) kann der Trauermarsch von jeder Besetzung gespielt werden - ob bei einer Beerdigung auf dem Weg von der Kirche zum Friedhof, in der Kirche selbst oder auf der Konzertbühne bei einem Gedenkkonzert.Robert van Beringen s’est inspiré d’un grand thème classique pour cette marche de funérailles, dont le trio mélancolique nous rappelle l’Adagio qui semblerait en fait avoir été composé, selon de récentes découvertes, par le musicologue Remo Giazotto d’après un fragment d’une sonate d’Albinoni retrouvé parmi les ruines de la bibliothèque de Dresde, après son bombardement durant la Seconde Guerre mondiale. Écrite dans une version pour instrumentation variable quatre voix (avec percussion ad libitum), Funeral March pourra être interprété lors d’une cérémonie funéraire, d’une procession de l’église au cimetière, ou lors d’un concert commémoratif.Per questa marcia funebre, Robert van Beringen si è ispirato ad un tema classico. Il malinconico trio ricorda l’Adagio di Albinoni che secondo scoperte recenti sembra sia stato composto dal biografo Remo Giazotto. Scritta per strumentazione variabile a quattro voci (con percussioni ad libitum), Funeral March può essere eseguita in occasione di una cerimonia funebre, di una processione o di un concerto commemorativo.
SKU: BT.DHP-1135497-015
Robert van Beringen chose a classical theme for this funeral march. For this reason, within the trio of this melancholy piece we find echoes of Albinoniâ??s Adagio which - according to the latest research was actually composed by his biographer Remo Giazotto. Thanks to the four-part variable instrumentation (with ad lib. drums) this funeral march can be played by pretty much any ensemble - whether at a funeral on the way from the church to the cemetery, in the church itself or indeed on stage as part of a memorial concert.Robert van Beringen maakt in het trio van zijn Funeral March gebruik van de bekende melodie â??Adagio van Albinoniâ??, en waarvan sinds kort blijkt dat het eigenlijk werd geschreven door Giazotto. Door de _x001E_exibele, vierstemmige bezetting kan dit werk gespeeld worden door elk orkest. Het is geschikt als begeleiding van de kerk naar het kerkhof of in de kerk als een moment van bezinning of eerbetoon. Robert van Beringen wählte fu?r diesen Trauermarsch ein klassisches Thema. So _x001D_finden sich im Trio dieses melancholischen Stu?ckes Anklänge an das Adagioâ?? von Albinoni, das nach neueren Erkenntnissen aber von dessen Biograf Remo Giazotto zu stammen scheint. Dank der vierstimmig variablen Instrumentierung (mit Schlagzeug ad lib.) kann der Trauermarsch von jeder Besetzung gespielt werden - ob bei einer Beerdigung auf dem Weg von der Kirche zum Friedhof, in der Kirche selbst oder auf der Konzertbu?hne bei einem Gedenkkonzert.Robert van Beringen sâ??est inspiré dâ??un grand thème classique pour cette marche de funérailles, dont le trio mélancolique nous rappelle lâ??Adagio qui semblerait en fait avoir été composé, selon de récentes découvertes, par le musicologue Remo Giazotto dâ??après un fragment dâ??une sonate dâ??Albinoni retrouvé parmi les ruines de la bibliothèque de Dresde, après son bombardement durant la Seconde Guerre mondiale. Ã?crite dans une version pour instrumentation variable quatre voix (avec percussion ad libitum), Funeral March pourra être interprété lors dâ??une cérémonie funéraire, dâ??une procession de lâ??église au cimetière, ou lors dâ??un concert commémoratif.Per questa marcia funebre, Robert van Beringen si è ispirato ad un tema classico. Il malinconico trio ricorda lâ??Adagio di Albinoni che secondo scoperte recenti sembra sia stato composto dal biografo Remo Giazotto. Scritta per strumentazione variabile a quattro voci (con percussioni ad libitum), Funeral March può essere eseguita in occasione di una cerimonia funebre, di una processione o di un concerto commemorativo.
SKU: PR.44641192L
UPC: 680160610860. 11 x 14 inches.
One of my greatest pleasures in writing a concerto is exploring the new world that opens for me each time I enter the sometimes alien, but always fascinating, world of a solo instrument or instruments. For me, the challenge is to discover the deepest nature of the solo instrument (its karma, if you will) and to allow that essential character to guide the shape and form of the work and the nature of the interaction between soloists and orchestra. In recent years, many of us have become more aware of the musical world outside the Western tradition of musics that follow different procedures and spring from other aesthetics. And contemporary percussionists have opened many of these worlds to us, as they have ventured around the globe, participating in Brazilian Samba schools, studying Gamelan and African drumming with local experts, collecting instruments from Asia and Africa and South America and the South Pacific, widening our horizons in the process. I will never forget our first meeting in Toronto when Nexus invited me into their world of hundreds of exciting percussion instruments. The vast array of instruments in the collection of the Nexus ensemble is truly global in scope as well as offering a thrilling sound-universe. I was inspired by the incredible range of sound and moved by the fact that so many of these instruments were musical reflections of a spiritual dimension. After long consideration, I decided that it would not only be impossible, but even undesirable for this Western-tradition-steeped composer to attempt to use these instruments in a culturally authentic way. My goal was an existential kind of authenticity: searching instead for universal ideas that would be true to both myself and the performers while acknowledging the traditional uses of the instruments. Since many percussion instruments are associated with various kinds of ritual, I decided that I would allow that concept to shape my piece. Rituals is in four movements, each issuing from a ritual associated with percussion, but with the orchestral interaction providing an essential element in the musical form. I. Invocation alludes to the traditions of invoking the spirit of the instruments, or the gods, or the ancestors before performing. II. Ambulation moves from a processional, through march and dance to fantasy based on all three. III. Remembrances alludes to traditions of memorializing. IV. Contests progresses from friendly competition games, contests to a suggestion of a battle of big band drummers, to warlike exchanges. In the 2nd and 4th movements, another percussion tradition, improvisation, is employed. Written into these movements are a number of seeds for improvisation. Indications in the score call for the soloists to improvise in three different ways, marked A for percussion alone; marked B for percussion with and in response to the orchestra; and C where the percussionists are free to add and embellish the written parts. These improvisations should grow out of and embellish previous motives and gestures in the movement.
SKU: AP.45847S
UPC: 038081523460. English.
The Magic Flute is perhaps one of Mozart's most well known operas. The beginning of the second act is a lovely processional march known as March of the Priests. The scene depicts a solemn procession of priests as they enter the great cathedral. The piece has a very ethereal quality and is lush and beautiful when played by a string orchestra. Close your eyes and imagine yourself at the Met, fully engulfed in the beauty of Mozart's lovely opera. Jerry Brubaker's rich new setting of this beautiful, yet simple piece will give players and audiences much enjoyment every time it is played. This arrangement works well as a concert piece and could even be used as a processional for a wedding. Feel the magic! (2:45).
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