SKU: ML.013761080
Available from July 2024Combining art and sport, the muscle with the spirit as Pierre de Coubertin said, is one of the foundations of Olympism. For the Paris 2024 Games, art and sport will interact and enrich each other. To ensure that the Games are open, participatory, unifying and inclusive, Paris 2024 is encouraging everyone - artists, companies, associations, local authorities, sports clubs, etc. - to play a part in the cultural programming of the Games. It is against this backdrop that the Confédération Musicale de France in Hauts de France has commissioned a piece from composer Guillaume Détrez.Available from July 2024De combinatie van kunst en sport, de spier met de geest zoals Pierre de Coubertin zei, is een van de fundamenten van het Olympisme. Voor de Spelen van Parijs 2024 zullen kunst en sport op elkaar inwerken en elkaar verrijken. Om ervoor te zorgen dat de Spelen open, participatief, verenigend en inclusief zijn, moedigt Parijs 2024 iedereen aan - kunstenaars, bedrijven, verenigingen, lokale overheden, sportclubs, enz. - om een rol te spelen in de culturele programmering van de Spelen. Tegen deze achtergrond heeft de Confédération Musicale de France in Hauts de France opdracht gegeven voor een stuk van componist Guillaume Détrez.Available from July 2024Associer l'art et le sport, le muscle à l'esprit comme le disait Pierre de Coubertin, est l'un des fondements de l'Olympisme. Pour les Jeux deParis 2024, l'art et le sport interagiront et s'enrichiront mutuellement. Pour que les Jeux soient ouverts, participatifs, fédérateurs et inclusifs,Paris 2024 encourage chacun - artistes, entreprises, associations, collectivités locales, clubs sportifs, etc. - à s'impliquer dans laprogrammation culturelle des Jeux. C'est dans ce contexte que la Confédération Musicale de France de la région Hauts de France a commandé une oeuvre au compositeur Guillaume Détrez.Available from July 2024Die Verbindung von Kunst und Sport, der Muskel mit dem Geist, wie Pierre de Coubertin sagte, ist eine der Grundlagen des Olympismus. Bei den Spielen von Paris 2024 werden Kunst und Sport zusammenwirken und sich gegenseitig bereichern. Damit die Spiele offen, partizipativ, verbindend und integrativ sind, fordert Paris 2024 alle auf - Künstler, Unternehmen, Verbände, lokale Behörden, Sportvereine usw. - dazu auf, sich an der kulturellen Gestaltung der Spiele zu beteiligen. Vor diesem Hintergrund hat die Confédération Musicale de France in Hauts de France ein Stück bei dem Komponisten Guillaume Détrez in Auftrag gegeben.
SKU: UT.HS-329R
ISBN 9790215327962. 9 x 12 inches.
Performance Material on Hire[Solo: Bs - Picc.2.2.2.2 - 2.2.2.0 - Str]In the second half of the 19th century, in Italy, melodrama was still the most practised musical genre, but space for instrumental production began to grow, especially thanks to the Quartet societies which tried to reduce the gap remaining compared to other European countries, offering it to the public with an energy which was certainly praiseworthy. However, they were not the only institutions where instrumental music was cultivated. In this context it must be remembered that music conservatories also played an important role, especially through the music recitals given by the best students. In one of these, which was held at the Milan Conservatory on 9 July 1884, the concert piece Andante e Polacca for bassoon and orchestra by Simplicio Gualco (1861-1942) was performed, a piece which aroused a great deal of interest as stated in the ‘Gazzetta Musicale di Milano’ of 20 July of that year. After the recital, the piece ended up in the Conservatory archives and was never played again. It was rediscovered recently, thanks to the research work on the composer by the musicologists Italo Vescovo and Flavio Menardi Noguera, both connected to the composer’s hometown.
SKU: BR.EB-9261
World premiere: Montreal, July 7, 2000
ISBN 9790004185612. 9 x 12 inches.
Dhamar ist fur zwei Instrumente komponiert, die viel miteinander verbindet. Das Stuck erlebt die Konfrontation von zwei Individualitaten; gleichzeitig aber konnen sich beide Instrumente so intim verschmelzen, dass sie nicht mehr zu trennen sind: sie versuchen, als Soli und als Duo, ein neues Instrument zu entwickeln. Aus dieser Konfiguration entsteht eine Reise voll mit intimen und poetischen, farbigen und rhythmischen Komplexitaten. Das musikalische Material ist durch Sparsamkeit gepragt. Der Titel bezieht sich auf einen Tala aus Indien: dem Rhythmus entspricht eine Struktur, die in 14 Einheiten und in der Reihenfolge: 3+4+3+2+2 geteilt wird. Dieser Tala erscheint subtil und in Transformationen an einigen Momenten der Komposition. (Jose M. Sanchez-Verdu, 2017)World premiere: Montreal, July 7, 2000.
SKU: BR.CHB-5357-00
ISBN 9790004412879. 9 x 12 inches. German.
In the Geistliches Lied op. 30 for four-part mixed choir and organ (or piano for three to four hands), Johannes Brahms sets a text by the Baroque poet Paul Fleming (1609-1640) to music. Although the piece was composed in April 1856, it only premiered as late as July 1865 in the church of St. Jakobi in Chemnitz. This is probably due to changes that were proposed by Joseph Joachim. In February 1864, Brahms sent it together with Op. 29 to Breitkopf & Hartel where it was published in July 1864. The subtitle in brackets in the autograph ,,Doppel-Canon in der None (,,Double canon in the ninth) was not printed on it, although it closely captures the essence of this composition of about three minutes.
SKU: HL.645085
ISBN 9781495081149. UPC: 888680683719. 9.0x12.0x0.108 inches.
Designed so you can start anywhere in the book, according to the season of the year: Appalachian Sunrise (Autumn) * Gliding (Autumn) * Funderal March of a Marionette (Halloween) * Lo, How a Rose E'er Blooming (Christmas) * Fum, Fum, Fum (Christmas) * Nordic Spring (Spring) * Walking the Lakeshore (Spring) * Barefoot Frolic (Summer) * Scarborough Fair (Summer) * The Ash Grove (Summer) * Thunderere (4th of July) * George Washington (4th of July).
SKU: BR.BG-499
ISBN 9790004120026. 0 x 0 inches.
World premiere Darmstadt, July 16, 1963.
SKU: CL.LDP-7026-00
This very appealing piece describes an early twentieth century Fourth of July. The band is heard faintly in the distance, coming closer; the band is right next to you; the band is passing, then fading away. A very attractive patrol march for young bands. A winner!
SKU: BR.EB-9110
World premiere: Nuremberg, July 5, 1997Commissioned by Internationale Orgelwoche Nurnberg
ISBN 9790004181676. 12.5 x 10 inches.
Der Titel bezieht sich auf ein Fragment aus der Apokalypse nach Johannes.Die Aufmerksamkeit des Horers wird in diesem Orgelwerk auf die ruhelos changierenden Klangraume gelenkt. Die Unendlichkeit dieser Raume lassen Farben entstehen wie Wellen eines allen durchflutenden Ozeans.Von Augenblick zu Augenblick wechseln gewaltige Bilder von Licht und Farbe mit geheimnisvollen, ruhenden Momenten, die wie Spaltoffnungen zu anderen Dimensionen sich verhalten.Durch Friedemann Herz hat dieses Werk den ersten idealen Interpreten gefunden.(Adriana Holszky)CD:Dominik Susteck (organ)CD WERGO WER 6789 2Bibliography:Petersen, Birger: Neue Musik. Analysen, Berlin: Simon Verlag fur Bibliothekswissen 2013, pp. 97-110.World premiere: Nuremberg, July 5, 1997, Commissioned by Internationale Orgelwoche Nurnberg.
SKU: CL.LDP-7026-01
SKU: BA.BA04052
ISBN 9790006495702. 33.1 x 26 cm inches. Nicola Francesco Haym.
Handel began the composition of Tamerlano, one of the supreme masterpieces of Baroque opera seria, on 3rd July 1724. The libretto was an adaptation by Nicola Haym of Agostino Piovene's Tamerlano, Tragedia per musica, which had been set to music by Francesco Gasparini, and performed in Venice in 1711. When Handel dated the last page of the autograph on 4rd July the work appeared to be complete; but during the three months which passed before the premiere at the King's Theatre in the Haymarket on 31 October, so many alterations and revisions were made that a fresh performing-score had to be writtern very late in the proceedings, to replace an earlier one which is now 1ost.There were twelve performances between 31 October 1724 and 8 May 1725. Handel revived the opera only once, in 1731, for three performances. For this revival he marked in the performing score a number of cuts in the recitatives, which are reproduced in the present edition; there is more recitative in Tamerlano than in any other Handel opera.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BR.DV-7641-02
ISBN 9790200471632. 9 x 12 inches. German.
World premiere Dresden, July 25, 1998.
SKU: BR.EB-9118
World premiere: Ludwigslust, July 20, 1997
ISBN 9790004181324. 9 x 12 inches.
World premiere: Ludwigslust, July 20, 1997.
SKU: CF.CAS29
ISBN 9780825860959. UPC: 798408060954. 8.5 X 11 inches. Key: C major.
A programatic work by composer Doris Gazda that sets out to depict the historic moon landing by the Apollo 11 astronauts and the famous first step by Neil Armstrong. A sound portrait of this remarkable event in America history.In July, 1959 the world watched and listened as the astronauts of Apollo 11 traveled from the Earth to the moon. The mission, launched by NASA, successfully carried men to the surface of the moon and returned them safely to earth. The spaceship was made up of a command module, Columbia, and a lunar module, Eagle. Astronauts Neil Armstrong, flight commander, and Buzz Aldrin, pilot of the lunar module, actually walked on the moon. The third astronaut, Michael Collins, piloted Columbia, the command module that orbited the moon while Armstrong and Aldrin were on the lunar surface.The 238,000-mile trip to the moon took four days. Apollo 11 fell into orbit 60 miles above the moon's surface. The Eagle separated from Columbia, orbited the moon nine miles above the surface and then made a powered descent, touching down on the moon in the Seat of Tranquility. Six hours after landing, Armstrong stepped onto the moon's surface uttering these memorable words that brought to reality the possibilities of space travel and exploration, That's one small step for man, one giant leap for mankind.Armstrong and Aldrin spent two hours walking on the lunar surface. They set up some scientific equipment, raised an American flag and left a plaque signed by the Apollo 11 crew and President Richard Nixon, reading:Here men from planet earth first set foot upon the moon. July 1969 A.D. We came in peace for all mankind.Twenty-one hours after landing, the Eagle with Armstrong and Aldrin onboard, left the moon to reunite with Columbia. After docking successfully, all three men got into Columbia. They jettisoned the Eagle and Columbia left lunar orbit to make the return trip. Two days later Columbia re-entered the Earth's atmosphere and splashed down in the Pacific Ocean.
SKU: PR.114416260
ISBN 9781491101070. UPC: 680160620043. 9 x 12 inches.
Adler's milestone String Quartet No. 10 was composed for the Cassatt String Quartet for performance at the Bowdoin International Music Festival's 50th Anniversary season in 2014. Built in a single movement of contrasting sections, Adler's 10th will continue to be featured in upcoming concerts by the Cassatt Quartet, including a performance in Beijing in July.The String Quartet No. 10 was written in 2013 for the 50th anniversary of the Bowdoin International Summer Music Festival and is dedicated to the Cassatt Quartet who premiered the work during the 50th anniversary celebration in July 2014.  The work was written with a generous grant from the Fromm Music Foundation.The 10th String Quartet is in one continuous movement but divided into four sections.  The first section is a slow introduction which presents the basic harmonic material of the entire work.  This is suddenly interrupted by a very agitated movement forming a great contrast to the calm of the beginning.  This rhythmic drive comes to a stop and is relieved by the third section which is a variation of the beginning, but is a bit longer and more developed.  This is followed by the final section which again captures the agitation of the second section and brings the work to a wild and most aggressive end.—Samuel Adler.
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