Per Selberg og Eva Sandvik Stugu er kjente navn blant landetspianolaerere og elever. Med erfaring som fa kan vise til, har de denbeste forutsetning for a vite hva som er fengende og laererikt repertoarblant vare unge pianister
SKU: BT.ALHE32180
French.
For recorder and tambourine.
SKU: PR.47600225L
UPC: 680160637126. 11x17 inches.
SKU: GI.G-2516
English.
Presider, Asmbly, Acc, Flute, Handbells, Orff Xylophone, 2 Orff Glockenspiels, Finger Cymbals, Small Drum, Triangle, Timpani, Tambourine, Chinese Bells.
SKU: PR.476002250
UPC: 680160637119. 9x12 inches.
SKU: BR.KM-2515
World premiere: 's-Hertogenbosch, December 16, 2007
ISBN 9790004503355. 11 x 14 inches.
Libro de glosas is based on the Trattado de glosas by Diego Ortiz (1510 - ca. 1570). The intertextuality between different materials and musical techniques and processes of the 16th century was one of my main interests when I wrote this piece for the wonderful sound and quality of the Calefax ensemble.The intertextual relationships are as follows:Recercada I is based on the first chords of the chanson Doulce memoire by Pierre Sandrin. It is also used in Trattado de glosas.Recercada II is based on the incipit of the madrigal O felici occhi miei by Jacques Arcadelt. It is also used in Trattado de glosas.Recercada III is based on the ostinato Passamezzo antico. It is also used in Trattado de glosas.Recercada IV is freely based on the tenor La Spagna. It is also used in Trattado de glosas.Batalla (V) is a free composition in form of a battaglia and is based on some ostinati of Spanish origin as well as on an anonymous theme from the 16th century. There are also some bars of a batalla by Joseph Ximenez (18th century).Libro de glosas esta basada en el Trattado de glosas de Diego Ortiz (1510 - ca. 1570). La intertextualidad entre diferentes materiales y tecnicas y procesos de la musica del siglo XVI era uno de mis principales intereses cuando escribi esta pieza para el maravilloso sonido y calidad del Calefax ensemble.Las relaciones intertextuales son las siguientes:Recercada I esta basada libremente sobre los primeros acordes de la chanson Doulce memoire de Pierre Sandrin. Esta es utilizada como ejemplo en el Trattado de glosas.Recercada II esta basada libremente sobre el incipit del madrigal O felici occhi miei de Jacques Arcadelt. Esta pieza es utilizada tambien como ejemplo en el Trattado de glosas.Recercada III esta basada libremente sobre el ostinato Passamezzo antico. Tambien es presentada en el Trattado de glosas.Recercada IV esta construida libremente sobre el tenor La Spagna. Tambien es utilizado por Ortiz en el Trattado de glosas.Batalla (V) es una libre composicion en forma de battaglia sobre ostinati de origen espanol y sobre un tema anonimo (siglo XVI). Tambien aparecen brevemente varios compases de una batalla de Joseph Ximenez (siglo XVIII).(Jose M. Sanchez-Verdu).
SKU: HL.14028075
English-Spanish.
SKU: HL.49019910
ISBN 9790220134395. UPC: 888680089528. 8.25x11.75x0.25 inches.
My Concerto for Orchestra (2007) is a twenty-minute work in which different sections of the orchestra, as well as individual solos and duos from within the orchestra, are highlighted as the music unfolds. The work continues my interest in two-movement forms that began with my Cello Concerto (1991), and was later developed in Sortilege (1996) and Symphony (Broken Consort) (2004). In these works, and in the Concerto for Orchestra, each movement is given equal weight and importance with the second developing earlier material and taking it in new directions.The two-movement form of the Concerto for Orchestra derives from a symphonic sonata structure, reshaping the traditional four-movement form and combining this with aspects of sonata form, a tradition that goes back to Liszt, Schoenberg and Sibelius:1st movement (i) exposition of ideas - dramatic and sudden (ii) scherzo and development 1 - resolute2nd movement (iii) adagio - calm and unhurried (iv) development 2 with recapitulation - intense and energeticThe Concerto for Orchestra was commissioned by the Musikalische Akademie des Nationaltheatre-Orchesters Mannheim with the support of Die Landesbank Baden-Wurttemberg for its first two performances on 31st March and 1st April 2008 conducted by Friedemann Layer. The score is dedicated in friendship and admiration to Ronald Zollman.John Casken3(3.pic).2.ca.2(2.Ebcl).bcl.3(3.cbsn)-4.3(1.Dtpt).2.btbn.1-timp.3perc(crot, vib, tub bells, sizz cym, Chinese cym, h.h, Swiss cow-bell, gong, horizontal gong, 2tam-t, tamb, bng, s.d, 5tom-t, b.d, clav, casts, marac, 5tempbl, wdbl, cabaca, vibraslap)-hp-str.
SKU: HL.49044134
ISBN 9790001192880. UPC: 888680097493. 9.0x12.0x0.251 inches.
Die Struktur musikalischer Hierarchien in drei Satzen: 'Do' fur die westliche, 'Mi' fur die ostliche, pentatonische Musikkultur, 'Re' im Wechsel. Eotvos baut in seinem zweiten Violinkonzert komplexe Weltbilder; gewidmet ist das Werk der Geigerin Midori.3 (2. auch Picc., 3. auch Altfl.) * 2 (2. auch Engl. Hr.) * 3 (2. auch Es-Klar., 3. auch Bassklar.) * 2 (2. auch Kfg.) - 2 * 2 * 1 * 0 - S. (I [links]: Glsp. * Trgl. [t.] * Bong. (sehr h.) * 2 Rohren (Metall) * Sizzle-Beck. * Marac. * 3 Woodbl. * Chin. Dom-Beck. [t.] - II [Mitte]: Crot. * Xyl. * Trgl. [m.] * Rohrengl. * 2 Gongs * Caxixi * Guiro [m./h.] * Chin. Dom-Beck. [m.] - III [rechts]: Cowbells * 2 Beck. [t./m.] * Trgl. [h.] * Bong. [h.]* Sizzle-Beck. * Marac. * Tamb. * Chin. Dom-Beck. [h.] * Tamt. [t.]) (3 Spieler) - Hfe. * Cel. - Str. (8 * 6 * 6 * 6 * 4 [3./4. 5-Saiter]).
SKU: HL.48188149
UPC: 888680847524. 7.0x10.5x0.036 inches. French.
SKU: TM.05581SC
Marche (Trompette et Tambour), Berceuse (La Poupee), Impromptu (La Toupie), Duo, Galop.
SKU: TM.05581SET
SKU: HL.49018708
ISBN 9790001175838. 8.25x11.75x0.225 inches.
Jorg Widmann dedicated 'Freie Stucke' to his teacher Wolfgang Rihm on his fiftieth birthday in 2002. The ten pieces for mixed ensemble or orchestra are 'inspired by the wish for concentration and reduction. Each piece focusses on one sound phenomenon (pulse, shaking ground, noise, monophony, overtone structures, etc.). All parts are locked together, however. The ending of each piece is the beginning of the next one. Thus, something disparate becomes something continuously narrated.' (Jorg Widmann)2 (2. auch Picc.) * 1 (auch Engl. Hr.) * 2 (1. auch Bassklar., 2. auch Kb-Klar., beide auch Pedalp.) * 1 (auch Kfg. und Lotosfl.) - 1 * 1 (auch Lotosfl.) * 1 * 0 - S. (I: Crot. * Lotosfl. * Wassergong [kl. Tamt.] * Wassergong [c']* Tamt. * Xylorimba * gr. Tr. * Beck. * Glsp. * 5 Woodbl. * 2 Peking-Oper-Gongs * Trillerpf. * hohes Tomt. * 2 hohe Tamb. * Steel Drum * Rototoms [chrom.] * Buckelgongs; II: Chin. Beck. * 5 Woodbl. * Lotosfl. * Pedalpauke [auch m. schwerem 20-Zoll-Ride-Beck. m. Kuppe aufgelegt] * 5 Beck. * Xylorimba * Peitsche * gr. Tr. * Crot. * Trgl. * Glsp * Flex. * Guiro * Peking-Oper-Gong * Trillerpf. * Rohrengl.) (2 Spieler) - Str. (1 * 1 * 1 * 1 * 1 [Kb. mit 5. Saite H], oder chorisch).
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