SKU: DH.DP200502-SC
After an opening gong, the composition's motif is presented by solo flute, accompanied by soft low woodwinds, then clarinets, then tutti. The main theme, a somber melody in Dorian mode, is first introduced in a slow tempo, then as an agitated Allegro with aggressive percussion. Excellent for contest or festival.
SKU: BT.CMP-0122-97-040
The majestic hymn ‘Coronation’ is presented here in a setting that creates an atmosphere of dignity and praise. The music is written in a ‘classical’ style, interweaving original interludes with three complete verse settings.
SKU: CL.012-1438-00
A delightful, well conceived work utilizing many of the best know American tunes from the Revolutionary era to the present. Each tune ranging from fife and drum melodies to America the Beatiful are tremendously score. Very Nice!
SKU: CL.LDP-7307-01
After an opening gong, the composition’s motif is presented by solo flute, accompanied by soft low woodwinds, then clarinets, then tutti. The main theme, a somber melody in Dorian mode, is first introduced in a slow tempo, then as an agitated Allegro with aggressive percussion. Excellent for contest or festival.
SKU: HL.50490256
ISBN 9790080147054. UPC: 884088531652. 9.0x12.0x0.125 inches. Antal Farkas; Tamas Antal Farkas.
This reworked edition of the Folksong Suite by Antal Farkas will help to widen the repertoire of youth ensembles and adult amateur orchestras. The composer's son, Tamas Farkas has supplemented the score of the work, adding symphonic wind ensemble parts, and has in a number of places reworked it slightly in accordance with present-day requirements. 'I recommend this work to any orchestra active anywhere in the world. The piece provides an enjoyable experience, helps in correcting faulty intonation, in interpreting various musical styles, in fostering a homogeneous sound, in developing technique and ensemble playing, and it is certain of a favourable response from audiences. I hope every musician will find pleasure in it!' (Jozsef Csikota, president of the East European section of the World Association for Symphonic Bands and Ensembles.)3 fl1, 3 fl2, (ob1), (ob2), (cor i), (2 fg), 3 cl1 Bb, 3 cl2 Bb, 3 cl3 Bb, (cl a Eb), (2 cl b Bb), 2 sax a1 Eb, 2 sax a2 Eb, (2 sax t Bb), (sax bar Eb) - 2 crnt1 Bb, 2 crnt2 Bb, 2 tr1 Bb, 2 tr2 Bb, cor1, cor2, cor3, cor4, 2 trb1, 2 trb2, trb b, 2 euf1/flic t Bb, 2 euf2/flic t Bb, 2 tb1, 2 tb2 - 3 perc (trgl, tamb b, tamb mil, ptti, gr c).
SKU: BT.GOB-000760-140
The Yiddish word ‘Klezmer’ has been derived from the Old Hebrew words ‘Kley’ (tool, instrument) and ‘Zemer’ (song, singing, making music).Klezmer is the traditional music of Jews from Eastern Europe.Yiddish musicians (Klezmorim) were regularly invited to come and play at Yiddish weddings as well as several other Jewish celebrations and festive occasions. Despite its close connection with traditional Eastern European folk music, Klezmer music has succeeded in preserving its distinctive Jewish character. ‘Klezmer Discovery’ is a voyage of discovery through the richly varied music of the Jewish people from Eastern Europe.The introduction consists of anumber of motives from different traditional melodies (a Mitzve Tenzel and L’cha Dodi), followed by a melody in 3/8th time (Kandel’s Hora). This dance melody originally came from Bessarabia (present-day Moldavia) and was taken along to America by Jewish musicians round 1900. Subsequently, ‘Der Terk in Amerika’, a composition by famous clarinet player Naftule Brandwein can be heard. A number of fast, cheerful dance melodies (bulgars) form the finale of ‘Klezmer Discovery’ (Lebedyk un Freylekh, Lomir sich iberbetn and Sherele). Het Jiddische woord ‘Klezmer’ stamt af van de oud-Hebreeuwse woorden ‘Kley’ (werktuig, instrument) en ‘Zemer’ (lied, gezang, musiceren).Klezmer is de traditionele muziek van de Joden in Oost-Europa.Jiddische muzikanten (Klezmorim)werden geregeld uitgenodigd om te komen spelen op traditionele Jiddische bruiloften en diverse andere Joodse feesten en gelegenheden. Ondanks de sterke verwantschap met de traditionele volksmuziek uit Oost-Europa, heeftde klezmermuziek een duidelijk Joods karakter weten te behouden.‘Klezmer Discovery’ is een ontdekkingstocht door de rijk gevarieerde muziek van de Joden in Oost-Europa.De inleiding bestaat uit een aantal motieven vanverschillende traditionele melodieën (a Mitzve Tenzel en L’cha Dodi). Daarna volgt een melodie in 3/8e maat (Kandel’s Hora). Deze dansmelodie komt oorspronkelijk uit Bessarabië (het tegenwoordige Moldavië) en is door Joodsemuzikanten zo rond 1900 meegenomen naar Amerika.Vervolgens klinkt ‘Der Terk in Amerika’, een compositie van de befaamde klarinetist Naftule Brandwein.Een aantal snelle, vrolijke dansmelodieën (bulgars) vormen het slot van‘Klezmer Discovery’ (Lebedyk un Freylekh, Lomir sich iberbetn en Sherele).
SKU: BT.GOB-000999-140
The Horn of Plenty is a composition which allows to present the Horn in many styles. The opening has an heroic character and exudes an Spanish atmosphere. The next part is a playful and lighthearted Leggiero. The melody used in bar 38 has an oriental sound through melodic use of the harmonic scale. The Andante is a parody on a piano etude by the composer Stephen Heller, a Frenchman of Hungarian descent. The piece ends with a relaxed swing area in which the Horn also in a different way can be heard.The Horn of Plenty' is een compositie waarin de hoorn zich in vele stijlen laat horen. De opening heeft een hero?sch karakter en ademt een Spaanse sfeer. Het hierop volgende Leggiero gedeelte is speels en lichtvoetig. Demelodie die in maat 38 wordt ingezet heeft een Oosterse klank door het melodische gebruik van de harmonische toonladder. In het Andante wordt een persiflage gegeven op een piano etude van de componist Stephan Heller,een Fransman van Hongaarse afkomst. Het stuk eindigt met een ontspannen Swing gedeelte, waarin de hoorn ook eens op een andere manier kan worden beluisterd.
SKU: AP.98-RWS210101
Berlioz’s most famous Romantic Era standard, Symphony Fantastique is a colorful, evocative musical masterpiece that continues to withstand the test of time, pleasing all audiences. In this transcription, Evan VanDoren has artfully crafted its fourth movement, March to the Scaffold, for the modern wind ensemble, taking creative care to present the work in its truest form while maximizing playability!
SKU: BT.GOB-000905-140
The tradition of the Christmas tree in Western Europe dates back to a time long before any Christianization had taken place. During the severely cold winter nights, so it was believed, evil spirits tried to 'kill' nature. Needle-leaved trees were the only ones which kept their green colour throughout the year, and therefore became symbols of immortality. These 'living' trees, said to be the work of benign spirits, were brought into people's houses to ward off evil, life-threatening powers. In the 14th century people first started to decorate Christmas trees. It was a pagan custom, originated by the inhabitants of Alsace. This custom was taken over by the Church inthe course of the 15th and 16th century. At first the decoration consisted mainly of edibles, such as apples and wafers, but later small presents were added. Legend has it that the reformer Martin Luther was the first person to decorate a Christmas tree with candles. The flickering candle flames were meant to create the image of a starry sky in which Christ's apparition could be recognized. The German organ-player Ernst Anschütz from Leipzig was the first person to notate the song 'O Tannenbaum', the melody being a well-known folk song. Next to 'Stille Nacht' 'O Tannenbaum' is the most famous German Christmas song, now known throughout the world. In the United States of America the melody of 'O Tannenbaum' has even been used in four States (among which the State of Maryland) for their State song. In David Well's arrangement the song is first heard as many of us know it. After this introduction, however, it is transformed into a solid rock version, and the beat has been changed. In the second part the familiar three-four time is back, but here the rhythm is different from the original. After the richly ornamented rock beat the basic theme can be heard once again and the composition is concluded in a festive manner. De traditie van de ‘Kerstboom’ gaat in West-Europa terug tot ver voordat er van enige kerstening sprake was. Gedurende de koude strenge winters dacht men dat kwade geesten de natuur ‘vermoordde’. Naaldbomen behielden als enige hungroene kleur en werden daardoor symbolen van onsterflijkheid. Deze ‘levende’ bomen, het werk van goede machten, werden in huis gehaald om kwade geesten en levensbedreigende krachten buitenshuis te houden. Van ‘versierde’ kerstbomenwas het eerst sprake in de 14e eeuw. Het was een heidens gebruik, dat in deze periode in de Elzas voorkwam. Tijdens de 15e en 16e eeuw werd het versieren van de kerstboom door de kerk overgenomen. De versiering bestond in eersteinstantie vooral uit etenswaar, als appels en koekjes. Later ging men ook kleine cadeautjes als versiering gebruiken. Er wordt beweerd dat Martin Luther, de hervormer, als eerste kaarsen in een kerstboom deed. De fonkelende vlammetjescreëerden een sterrenhemel waarin men Christus’ verschijning leek te herkennen. De Duitse organist Ernst Anschütz uit Leipzig, was de eerste die het lied ‘O Tannenbaum’ op schrift stelde. De melodie was een bekend volkswijsje.Naast ‘Stille Nacht’ is ‘O Tannenbaum’ het meest bekende kerstlied dat vanuit Duitsland de hele wereld veroverde. De melodie van ‘O Tannenbaum’ wordt zelfs in de Verenigde Staten van Amerika in vier verschillende staten (o.a.Maryland) als volkslied gebruikt. In het arrangement van David Well hoort u het lied eerst op de manier zoals velen het kennen. Na deze inleiding klinkt een stevige rock-versie en is de maatsoort niet meer de gebruikelijke. Het tussendeelis weer in de vertrouwde driekwarts-maatsoort. Hier is echter de ritmiek in een ander jasje gestoken. Na de rijkelijk met slingers versierde rock-beat klinkt nog één keer het oorspronkelijke thema om daarna feestelijk af.
SKU: CL.012-4766-00
Christmas Long Ago presents a fresh, contemporary take on three seldom-heard Christmas classics, In Dulci Jubilo, Coventry Carol, and Noel Nouvelet. The spirited tempos, colorful woodwind/brass themes, and vivid percussion colors really make the music sparkle. A truly unique holiday arrangement which allows the time-honored character of these appealing melodies to shine through.
SKU: AP.98-RWS210100
SKU: BT.GOB-000851-010
In the composition 'La terre' several aspects of Earth have been translated into sounds in an associative manner. The first part depicts Nature, Mother Earth, stability, the soil which is the source of life. Earth symbolizes tradition, rituals, fertility. In the music of the composition this can be heard in tonic and ostinato passages. Furthermore, human emotions such as gladness, sorrow, wonder, resignation, hope and despair, indissolubly connected as they are to mankind's life on earth, are musically reflected in sudden gusts of expression. Earth for us human beings is the solid ground on which everything in life takes place. In the second part different moodsare evoked in a sort of toccata. Now and then the music sounds fragmented, at other times as a solid whole. The robustness of the music in this part has its roots in the earth, originates from it. It reflects stability and strength, but love and nostalgia are also present in soft and fragile tones. 'La terre' is a musical narrative about Earth, in which music has been given ample room to show its many-sided beauty. In het werk La terre worden op een associatieve manier allerlei elementen in klanken vertaald. De grondstoffen voor de instrumenten zijn de bouwstoffen voor de compositie. Het eerste gedeelte schildert de natuur, moeder aarde, houvast,de grond, waaruit alles voortkomt. De grond staat voor traditie, rituelen, vruchtbaarheid. In de muziek vertaalt zich dit in grondtonige passages, ostinato, maar ook de windvlagen van de inspiratie. De reflecties van menselijkeemoties, verbonden aan de aarde, het leven op de aarde, zijn o.a.: blijdschap, verdriet, verwondering, berusting, hoop, wanhoop. De aarde is de vaste grond, waarop alles zich voltrekt. In het tweede deel wordt gespeeld met destemmingen in een soort toccata. Soms verbrokkelt, dan weer als een massief geheel. De robuustheid van de klank is gegrond op de aarde, komt er uit voort. Er klinkt houvast en kracht in door, maar ook de liefde en nostalgie wordtervaren in de zachte en broze klanken. La terre is het verhaal van de aarde, waaruit muziek oprijst in zijn veelzijdige schoonheid.
SKU: RU.10016S
SKU: CL.026-4957-01
This classic Bach fugue is ideal for bands of all sizes and skills, but especially adapted for those with limited instrumentation desiring to challenge their developing musicians. It is also appropriate for very small ensembles, having been carefully crafted by the arranger to work well with as few as five performers. The required independence of parts provides opportunities for developing technical and musical skills while also presenting the option for performance of a masterwork from the Baroque era. The final product will be well worth the effort in developing and enhancing the overall musicianship of your performers. Great music!
SKU: CL.RWS-2004-01
Teach your young musicians to work together with this African groove that comes from the heart. With limited ranges and technical demands, your students will be able to focus on balance, intonation and rhythmic accuracy. Not only will they enhance their musical skills, they will have fun playing music together and presenting it to their audience.
SKU: BT.CMP-0122-97-140
UPC: 073999319187.
SKU: RU.10262
9 x 12 inches.
The Battle of the Winds is a technical showcase in march form. Charles Duble’s experience as a low brass (trombone) player is particularly evident in the second strain of this march. From the first note, to the final stinger, the execution of the individual parts of this march most certainly present a battle to all wind players. Battle of the Winds is certainly not for the faint of heart – the faster the tempo, the more difficult the march! As this is a circus march, a tempo between 132-160 beats per minute is acceptable, with the technique of the ensemble defining what is most appropriate.
SKU: BT.GOB-000262-140
The work calls to mind an important event from the history of the city Coesfeld in Germany: the battle of Varlar, which took place in the year 1454. The composition presents us with a bird's eye view of the events: First of all, the consecration of the chapel on the Klinkenberg mountain is set to music in a hymn, after which the trumpets and trombones announce the imminent battle. In the subsequent fray not only the sounds of sabres and rapiers can clearly be heard but also the wailing of the wounded. When the Duke of Brunswick is wounded and captured by the troops of Walraf, Konrad von Diepen and his men march on Coesfeld in victory. Set against a festive melody, the hymnresounds in full glory. De slag bij Varlar vond plaats in het jaar 1454 in de buurt van de stad Coesfeld. Rob Goorhuis nam deze historische gebeurtenis als bron van inspiratie voor zijn gelijknamige werk. Beginnend met een hymne, refereert de componist aan de inwijding van een kapel, om vervolgens met trompetgeschal de veldslag aan te kondigen. Het houwen en kletteren van de zwaarden, maar ook de klagende stemmen van de gewonden nemen de krijgsgeluiden over, om tenslotte uit te monden in de klanken van de hymne uit het begin. Dit keer om de glorieuze overwinning te vieren…!Die Schlacht von Varlar fand im Jahre 1454 in der Gegend der Stadt Coesfeld statt. Rob Goorhuis’ musikalisches Luftbild der historischen Ereignisse beginnt mit einer Hymne zur Einweihung einer Kapelle, dann kündigen Trompeten und Posaunen die bevorstehende Schlacht an. Im folgenden Getümmel ist Säbelgerassel, aber auch das Wehklagen der Verwundeten zu hören, bevor mit der Hymne aus dem Eingangsteil der glorreiche Sieg gefeiert wird. La bataille de Varlar a eu lieu en l’an 1454 autour de la ville de Coesfeld (Allemagne). Telle une vue aérienne, l’oeuvre composée par Rob Goorhuis brosse le portrait des événements qui s’enchaînent les uns après les autres : un hymne en honneur de la chapelle près du champ de bataille, puis l’affrontement venir, le bruit des bottes et le cliquetis des sabres, les gémissements des blessés puis nouveau l’hymne de l’introduction, repris cette fois dans un tempo plus rapide car il est destiné célébrer la victoire.Rob Goorhuis riprende gli avvenimenti storici della battaglia di Varlar che ebbe luogo nel 1454 nella citt di Coesfeld in Germania. Il brano inizia con un inno che simboleggia l’inaugurazione di una cappella, mentre le trombe e i tromboni annunciano l’imminente inizio delle ostilit . Segue un passaggio caratterizzato dai suoni tipici della cruenta battaglia, ma anche dai lamenti dei feriti, che anticipano il glorioso inno della vittoria.
SKU: CL.012-1438-01
SKU: CL.LDP-7307-00
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