SKU: HL.14043769
ISBN 9788759836651. 11.75x8.25x0.44 inches. English.
Turbulence - or, the underlying forces usually hidden- an Opera in three scenes by Juliana Hodkinson (2013). Libretto by Cynthia Troup. For soprano voice with electronic pocket piano- and groovebox-, young female actor with hand-held microphone and shortwave radio, vintage fans, audio samples (-may be redistributed to off-stage player or sound desk). The libretto and score for Turbulence were commissioned by Chamber Made Opera in 2012. Turbulence was first performed by Deborah Kayser (soprano) and Anneli Bjorasen (actor), and directed by David Young, with sound design in performance by Jethro Woodward &mdash, the premiere season opened in Melbourne on 3 October 2013, as partof Chamber Made Opera&rsquo,s Living Room Opera series.
SKU: HL.158688
UPC: 888680614058. 8.75x11 inches.
Dedicated to the city of Pasadena on the occasion of its centennial celebration. Premiered by the Pasadena Chamber Orchestra, Robert De, conductor and Juliana Gondek, soprano. Contains four song settings, each by a different author:1. Confronting a Longing (Sappho)2. The Autumn Mountain (Princess Oku)3. The World (Lady Mary Wortley Montagu)4. Greatly Shining (Julia de Burgos).
SKU: HL.14047777
ISBN 9788759837207. 11.75x8.25 inches. English.
Lightness for 3 percussionists playing safety matches and sandpaper with amplification. Composed by Juliana Hodkinson in 2015 for SPEAK Percusssion Melbourne.
SKU: HL.14043251
ISBN 9788759831380. English.
Juliana Hodkinson 's Is There Something You Can Tell Us for String Quartet. This ten minute piece was written for the Anima Quartet and was comissioned by SWR (South-West German Radio) for first performance at Theaterhaus Stuttgart on 7th June 2014 during the festival 'Lost & Found - Stimme. Text. Szene.'.The quartet's title and the titles of the individual movements are taken from Cynthia Troup's libretto 'Turbulence'. I Degrees of freedom II Hidden by an almost perfect balance III We are taught that it is out of reach IV For the real earth we do not know yet.
SKU: HL.14042066
ISBN 9788759825815. UPC: 888680029722. 8.5x11.75x0.153 inches.
Edited and revised by Julia A. Burt.
SKU: CF.B3470
ISBN 9781491159460. UPC: 680160918058.
The awardee of two Guggenheim fellowships, Julia Perry studied composition with Luigi Dallapiccola and Nadia Boulanger, and conducted her works on a tour throughout Europe with the Vienna Philharmonic and the BBC Orchestra. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic. Although she had an auspicious and promising career in her early life, it was tragically cut short by a series of strokes leading to partial paralysis and eventually, her death, at age 55 in 1979.Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, shows the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument. Angular, muscled, and sparkling by turns, this piece is a sophisticated entry to the serious violinist's concert repertoire.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.What is extraordinary about Julia Perry’s musical career was the astonishing success she attained in her early years. In her youth she studied piano, voice, violin and cello. She began to compose in her teenage years, her first publication being a choral work in 1947 by Carl Fischer. Her Stabat Mater was published in 1951 and would become one of her most often performed pieces, with performances in Europe and the United States. In 1953 she was awarded a Guggenheim fellowship to study with the Italian composer Luigi Dallapiccola, first at the Berkshire Music Center in Tanglewood, later in Florence, Italy. During this time, she also pursued studies with Nadia Boulanger in Paris and was awarded a second Guggenheim fellowship. She studied conducting at this time, touring Europe in 1957 to conduct her own works with the Vienna Philharmonic and the BBC Orchestra. During her European sojourns, she learned and mastered French, German and Italian. She would become one of the first African-American female composers to have an orchestral work performed by the New York Philharmonic.Perry’s circumstances would change dramatically once she reached forty years of age, having returned permanently to the United States. At some point in the spring of 1970, she suffered the first of two strokes that would paralyze her right side and confine her to a wheelchair for the rest of her life. Nonetheless, she continued to compose and to promote her works with publishers and conductors. A second stroke contributed to her death in 1979 at age 55. She likely endured harsh ethnic and gender discrimination in the course of her career, and her later years would witness a period of extreme civil unrest. These matters and the significance of music in her life are undoubtedly what led her to say, “Music has a great role to play in establishing the brotherhood of man.â€Perry’s catalog is widely varied, featuring thirteen symphonies, numerous chamber and solo works, pieces for band, choral and vocal music, and four operas. Her Violin Concerto, completed in 1968, is indicative of the influence of Dallapiccola’s teachings: sharp harmonic dissonances organized around specific pitch centers, short repetitive patterns that establish significant musical materials, and contrapuntal textures. The work is a single movement of 392 measures organized around three alternating tempos: Slow (Å’ = 60), Moderate (Å’ = 84) and Fast (Å’ = 120). The opening thirty-measure cadenza for the solo violin introduces most of the thematic material for the piece. The orchestration commonly features antiphonal writing between orchestral groups, for example, strings alternating with brass, or strings alternating with winds. The harp and piano generally appear as solo instruments, rather than as members of the orchestra. Her fastidious performance markings in the solo violin part indicate her profound understanding of the instrument.There is no evidence or documentation that the Violin Concerto was ever premiered or performed during her lifetime, despite the fact that the composer prepared a full score, piano reduction and orchestral parts. Regrettably, this is the case with the majority of her works composed in the final decade of her life.
SKU: JK.01812
Youthful nativity for mixed chorus (SATB) and piano in F major, appropriate for youth or Christmas program. Sopranos' highest note: D. Composer: Julia Ryan & Thayne Martin Arranger: Thayne Martin Lyricist: Julia Ryan Difficulty: Medium Performance time: 3:15Reference: Luke 2:4-16, Matthew 2:1-2.
SKU: HP.VN100
UPC: 763628141615. Words by Julia Ward Howe. 1 John 4:17, 2 Corinthians 5:10, Isaiah 30:28, Isaiah 52:7, Isaiah 63:1-4, John 8:32, Luke 2:30, Luke 21:27, Matthew 6:28-29, Psalms 43:3, Psalms 76:12, Revelation 19:15, Romans 14:10.
Traditional American Melody with words by Julia Ward Howe Choral Setting by Vaclac Nelhybel.
SKU: PR.11442131S
UPC: 680160681006.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
SKU: BT.DHP-1125351-400
9x12 inches. Dutch.
Ze is jong en verlegen. Maar ook bijzonder talentvol én idolaat van een jurylid van een talentenshow op televisie… Dat is Julia, de hoofdpersonage van Idolaat! Tegen het decor van een talentenjacht (vrij naar X-factor, Idols en The Voice of Holland) ontspint zich in ongeveer een uur tijd een muzikaal verhaal over het meisje Julia dat door haar vriendinnen wordt aangemeld voor een talentenshow. Aansprekende thema’s voor de jeugd zoals vriendschappen, onzekerheid, populariteit, verliefdheid en roem spelen een belangrijke rol. Maar dat beroemdheid geen garantie is voor geluk, wordt ook duidelijk…Componist Jacob de Haan en tekstschrijver Joost Marsman schreven depopsical Idolaat! speciaal voor jongeren uit het voortgezet onderwijs. Een popsical is een muzikale (theater)productie waarin popliedjes het verhaal vertellen. SongbookIn dit songbook vind je alle liedjes uit Idolaat! De songs zijn voorzien van een uitgeschreven pianobegeleiding met akkoordschema. Het boek bevat ook een handige demo-cd. Daarop staan alle liedjes + de Idolaat!-tune. Gewoon een gave cd om naar te luisteren of om lekker mee te zingen!UitvoeringsmogelijkhedenJe kunt Idolaat! uitvoeren met een standaard popcombo, bestaande uit drums, basgitaar, gitaar en piano. Maar een voorstelling met een orkest is ook mogelijk. Voor een uitvoering zonder combo of orkest leveren we een speciale voorstellings-cd. Meer informatie? www.dehaske.com, www.popsicalidolaatwww.facebook.com/idolaat.
SKU: CA.927400
ISBN 9790007311902. Language: DT/EN/FR.
Composer Julia Schwartz: âI wrote Der Wind als Liebender (The wind as lover) for a competition in 2015. As I like to compose themed cycles, I searched for additional poems about the weather and found examples in three different languages. This was easy for me as a native English speaker and with French as my first foreign language. And Morgenstern, Teasdale and Verlaine are three of my favorite poets. Of course, the poems are only ostensibly about the phenomenon of weather â they actually deal with nature or love.â.
SKU: HL.50588630
SKU: HL.283650
ISBN 9780990785125. UPC: 888680793692. 10x9 inches.
West Africa's vibrant colors and sounds come alive in this interactive musical storybook depicting the touching tale of a small bird who must face her biggest fear. 4 to 7 year olds will love adding the sounds of Haja's heartbeat, wind and the rain on the mango leaves. Companion audio includes a djembe drum jam track, an audiobook of the story, and the instant classic song “Fly Haja Fly,” performed by author Julia Jordan Kamanda and students from J3Music Studios. A singer/songwriter, teaching artist, and “mom on a music mission,” Julia helps your students explore Haja's world and learn more about the musical element of rhythm.The price of this book includes a unique code that provides access to download audio tracks online.
SKU: BT.DHP-1115218-140
9x12 inches. English-German-French-Dutch.
Romeo and Juliet is a sensitive adaptation of the unforgettable love theme from Nino Rota’s soundtrack to Franco Zeffirelli’s 1968 film, Romeo and Juliet. Retaining the tumultuous romance and tragedy of the story itself, Toshio Mashima’s arrangement is ideal for concert or competition performance. Nino Rota is vooral bekend geworden van zijn filmmuziek bij The Godfather, waarvoor hij een Oscar ontving. Voor de verfilming van Romeo en Julia van Franco Zeffirelli uit het jaar 1968 schreef hij eveneens de muziek.Van het liefdesthema uit deze film heeft Mashima een arrangement geschreven. Romeo en Juliet: een dramatische en prachtige verklanking die de romantiek maar ook de tragiek van het verhaal op onvergetelijke wijze weergeeftNino Rota, der vor allem für seine oscargekrönte Filmmusik zu Der Pate bekannt ist, schrieb auch die Musik zur Verfilmung von Romeo und Julia von Franco Zeffirelli aus dem Jahre 1968. Unvergessen aus diesem Soundtrack ist das Liebesthema“, welches die ganze Romantik und Tragik der Handlung widerspiegelt. Nino Rota, connu pour la musique de la saga Le Parrain et pour laquelle il a été récompensé par un Oscar, a également composé en 1968 la bande originale de la version cinématographique du film Roméo et Juliette de Franco Zeffirelli. Le thème lyrique arrangé par Toshio Mashima, extrêmement poignant, reflète tout le romantisme et l’intrigue de ce bouleversant drame shakespearien.
SKU: AP.1-ADV9048
ISBN 9783954810598. English.
How does one learn to improvise? The well-known jazz pianist Julia Hülsmann provides an easy and accessible introduction to Modern Piano Improvisation in this first volume of the series. In 15 easy pieces she shows how to use just a few tones to develop your own improvisational ideas and motifs. This volume contains known standards by great jazz musicians like Cole Porter and Sonny Rollins as well as compositions by Hülsmann herself which vary in style between modern jazz and pop sounds. Volume 1 is aimed at musicians who have already learnt the first technical basics on the piano and now wish to play more freely. Modern Piano Improvisation provides the tools for you to find your own way of expressing yourself on the instrument.
SKU: PR.114421310
UPC: 680160680993.
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