SKU: MH.0-931329-53-1

ISBN 9780931329531.

Journey back to ancient Greece and view a place of long-gone legend. Follow the trail to the Kingdom of Ithaca, from the heroic palace, to a place of tranquility, to a reckless dance of abandon, to the return of Odysseus. The melodic material used in 200 B.C. is from a two thousand year old Greek hymn to Apollo. The legendary adventures of Odysseus as described by Homer in the Odyssey (ca. 700 B.C.) provide the programmatic material. The music is freely based upon the First Delphic Hymn (or Paen to Apollo), composed ca. 200 B.C. The source is a transcription appearing on pages 363 - 367 of Ancient and Oriental Music, Edited by Egon Wellesz (Oxford University Press: London, 1957). Each movement of the work depicts a key event in the epic Homeric poem, as described below. Movement I: Intrada - The first four notes of this movement, C - Bb - G - Bb, are the melodic and harmonic foundation for the entire work. These pitches, introduced in a simple and direct manner, are subsequently developed in more complex fashions throughout the suite. Following this stately introduction is a militaristic fanfare that introduces the dotted-eighth and sixteenth-note figure later reprised in the second and fourth movements. Indeed, all the musical ideas which will be central to the remaining movements first appear in the Intrada. This movement depicts the grandeur of Odysseus and his kingdom in Ithaca, and establishes the heroic mood of the entire work. Movement II: Ballad - After a brief restatement of the opening dotted-eighth-and-sixteenth fanfare, the second movement extracts the falling third (Bb to G) from the C - Bb - G - Bb motif and extends it and expands it into a haunting solo for alto saxophone. The C - Bb - G - Bb motif appears again (see measures 23 - 33 in trumpets) as counterpoint to this melody, now pulsing through the thick texture of the band. Many performers have come to view the Ballad as the emotional epicenter of the entire suite; my conception of the Ballad is to achieve a union of pathos and strength. Programmatically, this movement depicts Odysseus's son, Telemachos, as he both longs for Odysseus's return and stoically defends his father's kingdom. Movement III: Dance - It will take Odysseus twenty years to return to Ithaca. During his absence, noblemen besiege his palace, violating the sanctity of the household and seeking the hand of his wife, Penelope. This movement depicts the wanton revelries that result. The original four-note motif is chromatically altered and the meter is made irregular. The rapid tempo, driving percussion, and angular meter and melodies combine in an explosion of reckless abandon. Movement IV: March Building from a delicate woodwind ensemble accompanied by finger cymbals to a fully orchestrated statement replete with thundering percussion, this is a resounding march of victory. Odysseus has returned in triumph to restore dignity to his household and to reclaim the throne of the Kingdom of Ithaca. Ensemble instrumentation: 1 Piccolo, 8 Flute 1 - 2, 2 Oboe 1 - 2, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 1 Eb Alto Clarinet, 3 Bb Bass Clarinet, 2 Bassoon 1 - 2, 3 Eb Alto Saxophone 1, 3 Eb Alto Saxophone 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Trumpet 1, 3 Bb Trumpet 2, 3 Bb Trumpet 3, 2 F Horn 1-2, 2 F Horn 3-4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 3 Euphonium (B.C.), 2 Euphonium T.C., 4 Tuba, 1 Timpani, 2 Mallet Percussion: Bells, Xylophone, 2 Percussion 1: Snare Drum, Tambourine, 2 Percussion 2: Crash Cymbals, Suspended Cymbal, Tom-Tom, Finger Cymbals, 1 Percussion 3: Bass Drum.

SKU: CN.R10220

Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as a little masterpiece. Each of the three included movements is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite.

Jeuz d'enfants was originally written in 1871 as a Suite of twelve pieces for piano duet. Two years later, Bizet scored five of the pieces for orchestra to create a Petite Suite. Each movement shows Bizet's enormous skill as a miniaturist, the music exuding a concentration of power and atmosphere. Wit, warmth, charm, beautiful melody, vivacity; all of these, and more are abundantly evident. No wonder Jeuz d'enfants has been rated as a little masterpiece. Three of the movements are included in this arrangement. Each is complete within itself and playable separately; together the contrasting styles and moods create an attractive Concert Suite. 1) Marche - Trompette and Tambour (Trumpet and Drum) 2) Duo - Petit Mari, Petite Femme (Little Husband, Little Wife) 3) Galop - Le Bal (The Ball).

SKU: BT.1942-12-010-MS

9x12 inches. English-German-French-Dutch.

Even 40 years after his death, Louis Armstrong remains one of the most popular jazz trumpeters and singers of all time. In Louis Armstrong Medley, Naohiro Iwai has beautifully arranged Armstrong’s unmistakable version of the Russian folk song, Dark Eyes (1954). This is then followed by two of his greatest hits: the jazz standard, Georgia on My Mind (1930), which features a tenor saxophone solo, and When You’re Smiling (1929).

Veertig jaar na zijn dood is Louis Armstrong nog steeds de bekendste jazztrompettist en -zanger ooit. Voor deze medley gebruikte Naohiro Iwai Dark Eyes, een van oorsprong Russisch volksliedje waaraan Armstrong in 1954 zijngeheel eigen touchgaf. Daarna volgen twee van zijn grootste hits uit jongere jaren: de jazzstandaard Georgia on My Mind uit 1930, die hier een solo voor de tenorsaxofoon bevat, en When You’re Smiling uit 1929.

Louis Armstrong ist auch 40 Jahre nach seinem Tod einer der bekanntesten Jazztrompeter und -sänger. Naohiro Iwai verwendete in seinem Medley Dark Eyes , ein ursprünglich russisches Volkslied, das Armstrong sich 1954 mit einer unverwechselbaren Version zu eigen machte. Danach folgen mit dem Jazzstandard Georgia on My Mind von 1930, der hier ein Tenorsaxophonsolo enthält, und When You’re Smiling von 1929 zwei seiner größten Hits aus jüngeren Jahren.

Décédé il y a plus de 40 ans, Louis Armstrong est resté le trompettiste et jazz man le plus connu au monde. Naohiro Iwai a associé dans son medley plusieurs grands succès de ce musicien hors pair. La chanson Ochi Chernye (Les Yeux noirs) appartient au patrimoine commun des folklores russe, juif et tzigane. En 1954, cette valse devient un standard de jazz gr ce Louis Armstrong. Laissez-vous ensuite porter par la célèbre chanson Georgia on My Mind , où l’on pourra entendre un chaleureux solo de saxophone ténor. When You’re Smiling vient clore cet époustouflant medley.

Louis Armstrong è uno dei più famosi trombettisti jazz del mondo. Naohiro Iwai ha raccolto nel suo medley alcuni grandi successi di questo artista unico nel suo genere. La canzone Ochi Chernye appartiene al patrimonio della musica folk russa. Nel 1954, questa canzone diviene uno standard del jazz grazie a Louis Armstrong. La splendida Georgia on My Mind, con un caldo assolo di sax tenore fa anch’essa parte di questo medley, così come When You’re Smiling.