SKU: HL.50602320
UPC: 840126906646.
This work for flute, clarinet, vibraphone, piano and strings comes with the tagline gressbakker og himmel, meaning grassy hills and sky..
SKU: PR.11641963S
UPC: 680160684472.
The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer. Full of excitement and inner power, the musical image is vivid, energetic, sometimes lyrical and sometimes dramatic. The major angular thematic material (a three note motive) consists of big leaps in interval (a perfect fourth downward and then a minor seventh upward, first introduced by the violin solo in measures 27-29). Except for the cadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments. The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty. Happy Rain on a Spring Night by Du Fu (712-770 in Tang Dynasty) Happy rain comes in time, When spring is in its prime. With night breeze it will fall, And quietly moisten all. Clouds darken wild roads, Light brightens a little boat. Saturated at dawn, With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) The following is the poem in its original Chinese form, and the detailed introduction on the structural plan of the violin concerto Spring in Dresden. It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. The music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 63 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 39-80) represents the first four lines of the poem. The wind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high woodwind gestures. The music in Rehearsal C and D (measures 81-126) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy sound and key slaps on the flutes create a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led by the marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G, the location of the Golden Section, according to the length of the music without cadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), which stands on the energetic peak until the clear cutoff on measure 239, followed by the short, yet powerful solo conclusion with the lingering echo produced by the high string harmonics. On the top, there is a recall of the three note motive in the sound of wonderland, touched by the motor-on vibraphone meaningfully. The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1: xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings. Duration is about 20 minutes.The violin concerto is commissioned by Friends of Dresden Music Foundation for American soloist Mira Wang and the New York Philharmonic and Staatskapelle Dresden as an American commemoration of the reconstruction of the Dresden Frauenkirche, 60 years after its destruction in World War II by American and British Forces. The world premiere is given at the Semperoper in Dresden, Germany, on October 9, 10 & 11, 2005, conducted by Ivan Fischer.Full of excitement and inner power, the musical image is vivid, energetic, sometimeslyrical and sometimes dramatic. The major angular thematic material (a three notemotive) consists of big leaps in interval (a perfect fourth downward and then a minorseventh upward, first introduced by the violin solo in measures 27-29). Except for thecadenzas which stand at the middle (Rehearsal E, measure 127) and the two ends of the piece as a frame, the virtuosic violin solo line is always accompanied by the ever moving and growing textures in the background. The rests between long and short phrases symbolize the space in Chinese paintings. The Beijing Opera reciting tune, and the fingerings to produce sliding tones in the performance of the Chinese fiddle erhu are also borrowed in the writing and the performing of the western instruments.The musical imagination of the violin concerto came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in Tang Dynasty.Happy Rain on a Spring Nightby Du Fu (712-770 in Tang Dynasty)Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town.(English translation by Chen Yi from the original poem in Chinese)The following is the poem in its original Chinese form, and the detailed introduction onthe structural plan of the violin concerto Spring in Dresden.It’s like the welcome rain on a quiet spring night that nurtures the budding seeds, our newsociety is pushing us forward to the new future. The music reflects the scenes and theexpression according to the meaning of the poem when it’s being unfolded line by line.Although the tempo is set 63 quarter notes per minute throughout (played vividly, neverslow down), the tension is being built up from the quiet background in the beginning, tothe sustained climax towards the end. The musical image in Rehearsal A and B (measures39-80) represents the first four lines of the poem. The wind instruments response to therustling of fast moving notes on muted string triplets, decorated by occasional strokesproduced by metallic string sound and high woodwind gestures. The music in RehearsalC and D (measures 81-126) represents the next two lines of the poem. It's so dark, a littlelight in the boat is shimmering on the lake... The breathy sound and key slaps on theflutes create a mysterious atmosphere, in a dialogue with other instruments. The celloglissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. Themusic in Rehearsal F, G and H (m 129-202) is a toccata, starting in the orchestra (led bythe marimba), which builds up a big shape, to reach the climax in m. 157 (Rehearsal G,the location of the Golden Section, according to the length of the music withoutcadenzas), and keeps the vivid scene towards the coda (from Rehearsal I, m. 203), whichstands on the energetic peak until the clear cutoff on measure 239, followed by the short,yet powerful solo conclusion with the lingering echo produced by the high stringharmonics. On the top, there is a recall of the three note motive in the sound ofwonderland, touched by the motor-on vibraphone meaningfully.The music is written for 2 flutes, 2 oboes, 2 clarinets (in Bb), 2 bassoons, 4 French horns (in F), 2 trumpets (in Bb), 3 trombones, tuba, harp, 3 percussion players (Perc. 1:xylophone; Perc. 2: suspended cymbal, Japanese high woodblock, snare drum, bass drum and vibraphone; Perc. 3: marimba and tam-tam), solo violin, and strings.Duration is about 20 minutes.
SKU: PR.11641963SP
UPC: 680160684496.
SKU: PR.11641963L
UPC: 680160684489.
SKU: PR.41641487L
UPC: 680160616282.
Solo Tenor Saxophone, 2 Flutes, Piccolo, 2 Oboes, English Horn, 2 Clarinets, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in Bb, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion:, I: Vibraphone, Xylophone, Glockenspiel, II: Ocean Drum, Triangle, Bass Drum, Cowbells, Anvil, Tambourine, Sus. Cymbal, III: Large Gong, Small Temple Block, Tam-tam, Snare Drum, Piano, Strings.
SKU: PR.416415010
UPC: 680160619306. 9 x 12 inches.
Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, 4 Horns in F, 3 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, 4 Percussion: Glockenspiel, Vibraphone, Xylophone, Bass Drum, Cabasa, Cymbals, Daf, Guiro, Sleigh Bells, Snare Drum, Tambourine, Tam-Tam, Triangle, Wood Blocks, Celesta, Harp, Solo Piano, Strings.
SKU: PR.41641502L
UPC: 680160619382. 11 x 17 inches.
Piccolo, 2 Flutes, 2 Oboes, English Horn, 2 Clarinets in Bb, Bass Clarinet in Bb, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets in C, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion: Glockenspiel, Vibraphone, Xylophone, Bass Drum, Cymbals, Snare Drum, Tam-Tam, Triangle, Tubular Bells, Metal wind Chimes, Celesta, Harp, Strings.
SKU: PR.41641501L
UPC: 680160619313. 11 x 17 inches.
SKU: PR.41641484L
UPC: 680160616220.
3 Flutes (3 double Piccolo), 3 Oboes, 2 Clarinets in Bb, Bass Clarinet, 2 Bassoons, Contrabassoon, 4 Horns in F, 3 Trumpets, 2 Trombones, Bass Trombone, Tuba, Timpani, 3 Percussion:, I: Tom-toms, Xylophone, Chimes, Vibraphone, Crotales, II: Sus. Cym., Tam-tam, Marimba, Large Thai Gong, III: Bass Drum, Piano, Strings.
SKU: MH.1-59913-020-3
ISBN 9781599130200.
Program Notes: Festival in Russia is a transcription for concert band of Anatoli Liadov's dazzling orchestral work, Polonaise (Op. 49). Written at the turn of the century, its energetic dance rhythms and melodic expressiveness will bring a delightful Old World charm to today's audiences. Liadov (1855-1914) was a student of Rimsky-Korsakov at the St. Petersburg Conservatory, and succeeded him as the composition teacher. (One of Liadov's most notable students at the Conservatory was Sergei Prokofiev.) At the time the Polonaise was written (1899), Liadov was at the height of his profession and one of his era's most respected and widely-known composers. The first performance of this transcription for concert band was given by the West Virginia University Wind Symphony at the Kennedy Center for the Performing Arts on February 24, 1988, Don Wilcox conducting. Ensemble instrumentation: 1 Piccolo, 4 Flute I, 4 Flute II, 1 Oboe I, 1 Oboe II, 1 English Horn, 1 Bassoon I, 1 Bassoon II, 1 Eb Clarinet, 4 Bb Clarinet I, 4 Bb Clarinet II, 4 Bb Clarinet III, 1 Eb Alto Clarinet, 1 Eb ContrabassClarinet, 3 Bb Bass Clarinet & Bb Contrabass Clarinet, 3 Eb Alto Saxophone I, 3 Eb Alto Saxophone II, 2 Bb Tenor Saxophone, 2 Eb Baritone Saxophone, 3 Bb Cornet I, 3 Bb Cornet II, 3 Bb Cornet III, 2 Bb Trumpet I, 2 Bb Trumpet II, 2 F Horn I & III, 2 F Horn II & IV, 2 Trombone I, 2 Trombone II, 2 Bass Trombone, 3 Euphonium, 2 Euphonium T.C., 4 Tuba, 2 Timpani, 2 Bells & Vibraphone, 3 Chimes, Triangle & Cymbals, 2 Xylophone & Marimba, 2 Snare Drum & Bass Drum.
SKU: MH.1-59913-021-1
ISBN 9781599130217.
SKU: MH.0-931329-35-3
ISBN 9780931329357.
Composer's Preface: Antithigram is coined from the words antithesis and program. The work is bi-thematic -- the first theme comprised of eleven notes, the second (beginning at measure 63) more like a chorale in structure. A four-note tone cluster (B flat, C, F sharp, B natural) appears in the first measure, and subsequently appears as an arpeggiated ostinato (B flat, C, and F sharp, in orchestra bells and vibraphone) that underpins and adheres subsequent sections. After the themes are treated in a number of traditional ways (two-voice counterpoint, canon, chorale, and diminution) they are joined at measure 110 in a polychordal statement. The work should be performed with energy, with special attention to a precise and lively style of articulation. Antithigram was composed in the Summer of 1977 and premiered by the East Carolina University Symphonic Band in April of 1978 with the composer conducting. Ensemble instrumentation: 1 Piccolo, 2 Oboe, 2 Bassoon, 1 Eb Clarinet, 4 Bb Clarinet 1, 4 Bb Clarinet 2, 4 Bb Clarinet 3, 2 Eb Alto Clarinet, 2 Bb Bass Clarinet, 1 Eb Contrabass Clarinet, 1 Bb Contrabass Clarinet, 4 Eb Alto Saxophone 1, 2, 2 Bb Tenor Saxophone, 1 Eb Baritone Saxophone, 3 Bb Cornet 1, 3 Bb Cornet 2, 3 Bb Cornet 3, 2 F Horns 1 & 2, 2 F Horns 3 & 4, 2 Trombone 1, 2 Trombone 2, 2 Trombone 3, 2 Baritone, Treble Clef, 2 Baritone, Bass Clef, 4 Tuba, 1 Timpani, 1 Percussion 1 (Xylophone, Vibraphone, Bongos), 1 Percussion 2 (Orchestra Bells, Tambourine), 1 Percussion 3 (Chimes), 1 Percussion 4 (Snare Drum, Tambourine, Triangle), 1 Percussion 5 (Bass Drum, Tam-tam, Cymbal-susp.).
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