SKU: PR.16400261S
UPC: 680160038411.
Since the bassoon is my own instrument, many people have asked me why I've written so little for the instrument. Beyond my early Concerto Da Camera for bassoon and small orchestra, written for Leonard Sharrow in 1975, I've not written a single piece that features the bassoon as a solo vehicle (though I have written three woodwind quintets). When I first began composing seriously, critics were quick to point out that my orchestral writing revealed nothing of my roots as a woodwind player--and bassoonists asked why my pieces didn't have more bassoon solos. Perhaps I was so aware that people were looking at me as a bassoonist/composer that I was determined to remove that stigma. Now that my transformation from performer to composer is complete, however, it's time to re-address my instrument. I wanted this new piece to be serious rather than whimsical. The Wind Won't Listen represents my return to the bassoon as the highly expressive, poetic soul that it is. As such, it shouldn't come as a surprise that the piece is based on a poem, and that the title of the piece as well as both its movement titles come from lines in that poem. I first read Beth Gylys' poem Split at the MacDowell Colony in the summer of 2001, and it made a big impression on me. My personal life had been ruptured by divorce in the preceding year. This poem, with its dry insistence on observation rather than feeling, expressed the wrung-out state of my emotions at the time better than any I had seen. I set it to music, as a song, immediately. In this format, for voice and piano, I was able to put a musical note to every word of the poem. The first lines of the poem, Everyone I know is crying, or should be crying, became a melody that haunted me even without the words. The work for bassoon and string quartet is an outgrowth of the song. The first movement is labeled Romanza, and has a loose formal arch structure of A-B-C-B-A, with B and C being fast sections framed by the lamenting A music. In addition to hearing the bassoon's first notes attached to the lines Everyone I know is crying, there's a sense of agitation, of loss, of longing, and at times of desperation in the music. At one point, the opening theme from Tristan even appears in the strings. The second movement follows, without a real pause--the pizzicato final chords of the first movement becoming the increasingly aggressive opening chords of the second. The recitative is actually a foreshadowing of the basic theme that will be varied, again to the words of the song: Life makes itself without us. Don't let me tell you how it is. Go out. Look. The recitative begins in an anguished state, but subsides into more gentle singing by the end, when it simply falls into an ostinato 5/8-3/4 pattern to begin the variations. Marked Very steady tempo; Dancing, this set of variations consists of three dances, each faster than the previous. The first, in the aforementioned 5/8-3/4 meter, gives way to a 3/8 scherzo, which in turn takes on a furious 2/4 scurrying motion. The music becomes breathless, almost pulse-less, and an ethereal theme appears in the violins while the rushing music continues, sotto voce in the bassoon. This new theme is also from the song: Why do I do this? The wind won't listen. The bassoon re-states its Everyone I know is crying melody from the first movement, and at length the 5/8-3/4 music returns, more subdued this time. The piece ends on a major-minor chord, suspended. The Wind Won't Listen is dedicated to the man who commissioned it, bassoonist Steven Dibner--who shares my passion for poetry and language. --Dan Welcher.
SKU: HL.14030704
The second sonata is on a much larger scale than the first, and has three movements which develop in intensity, reaching a climax in the last movement which is a passacaglia. It is a stormy work, in the sense that it opens peacefully and closes in a similar manner, with a heavy shower of notes and ideas in between. There is little hint of this in the gentle opening of the first movement, and although it follows the pattern of its previous sonata in developing a climax and releasing it again, it is not until the scherzo, with its powerful motor rhythms, that the full fury of the storm breaks. The concluding passacaglia is built on repetition. The nature of the form party makes this inevitable, but repetition becomes a subtext, with the idea of speeding up to a climax being itself repeated, the second time subsiding into the peace of a storm blown out. ~ John Joubert.
SKU: BR.OB-16107-15
ISBN 9790004342527. 10 x 12.5 inches.
Brahms' Piano Symphony in the Urtext of the complete editionJohannes Brahms enjoyed a bit of understatement every now and then, and whenever his second piano concerto was the object of discussion, he called it his little concerto - although it was more than clear that, with its four movements (including Scherzo), he was giving his contemporaries something truly symphonic to chew on. The press didn't hesitate long: soon it was being derisively called piano symphony, which, however, did nothing to prevent its popularity. Brahms himself and other pianists played the work everywhere in the 1880s, and the piano reduction was so successful that it had to be reprinted three times within three months after its first printing.The Urtext edition follows the text of the respective volume in the Brahms Complete Edition published in 2013. It takes the first printing of the score as the main source; moreover, both the autograph as well as the printed reduction provided further information with which engraving errors of the first edition could be corrected.
SKU: BT.DHP-1063912-020
9x12 inches. English-German-French-Dutch.
Paul Dukas (1865-1935) was a composer who had little self-confidence and was very self-critical. As a result of this he destroyed the manuscripts of all but seven large and five small works. Luckily kept what is now his best know composition, the symphonic scherzo L’apprenti sorcier (The Sorcerer’s Apprentice). He also came very close to destroying the manuscript of his ballet music La Peri (The Fairy). This was however rescued by his friends. Thus we can still enjoy this magnificent fanfare which was originally used as an opener for the ballet. This magnificent transcription for fanfare band will make a great opening item for any concert.In Paul Dukas’ ballet La Péri (De fee) is in stilistisch opzicht zijn bewondering voor Wagner (de romantiek) en het Franse impressionisme merkbaar: een interessante en unieke mix, want deze twee stijlen werden maar weinig gecombineerd.De populaire fanfare die voorafgaat aan La Péri is van oorsprong alleen voor koperblazers geschreven en pas naderhand aan het werk toegevoegd. Het gebruikte idioom is moderner dan dat in het ballet zelf. Deze schitterendefanfare wordt vaak afzonderlijk uitgevoerd en is geschikt als openingswerk voor diverse gelegenheden.In den Werken des französischen Komponisten Paul Dukas (1865-1935) ist stilistisch die Bewunderung für Wagner sowie für den französischen Impressionismus spürbar, woraus sich ein interessanter, seltener Stilmix ergibt. Das Ballett La Péri enthält immense dynamische Abstufungen und fordert die Musiker dementsprechend stark. Die populäre Fanfare, welche dem Werk vorangeht, eignet sich in der gelungenen Blasorchesterbearbeitung von Wil van der Beek als Eröffnungswerk für viele Anlässe.
SKU: BR.OB-16107-16
ISBN 9790004342534. 10 x 12.5 inches.
SKU: BT.AMP-369-400
ISBN 9789043138888. 9x12 inches. English-German-French-Dutch.
Philip Sparke’s Super Solos is the third volume of a progressive series of solo books that takes the young wind player from beginner to accomplished musician. Following on from the first two books in the series (Starter Solos and Skilful Solos) this collection generally contains longer pieces suitable for the developing young musicians. Specifically tailored for each instrument, Super Solos extends technical and musical demands, takes the player into new keys with larger instrumental ranges and adds new notes in a gradual and logical manner.The books provide invaluable additional material to complement any teaching method. Including play-along CD.Na Starter Solos en Skilful Solos sluit Philip Spark deze reeks met het nieuw verschenen boek Super Solos. De solos in deze boeken zijn qua mogelijkheden en moeilijkheidsgraad perfect toegesneden op het betreffende instrument.Bovendien vult het de vorige uitgaven in deze reeks gestructureerd aan, waardoor het de instrumentalist een zinvol en motiverend vervolg biedt. Elk boek bevat een cd met begeleiding. Het voordeel hiervan is dat jonge muzikanten de belangrijkeaspecten van het samenspel al vanaf het begin kunnen ervaren. Zo ontwikkelen ze essentiële vaardigheden, zoals het luisteren tijdens het spelen en het handhaven van een strak tempo.Nach STARTER SOLOS und SKILFUL SOLOS vollendete Philip Sparke seine Reihe Solobücher mit SUPER SOLOS. Die Soli in jedem Buch sind genau auf die Bedürfnisse und Anforderungen des jeweiligen Instruments zugeschnitten, im Schwierigkeitsgrad angepasstund schaffen somit einen Rahmen, in dem sich Instrumentalschüler neue Elemente in sinnvoller Reihenfolge aneignen können. Dank der im Buch und auf CD enthaltenen Klavierbegleitung lernen sie außerdem wichtige Aspekte des Ensemblespiels.SUPER SOLOS für fortgeschrittene Schüler hält mitreißende Stücke parat, mit denen neue technische und musikalische Schwierigkeiten gemeistert und ein größerer Tonumfang sowie neue Tonarten gelernt werden können.
Inhalt: Little Overture - Berceuse - March of the Toy Soldiers - Air and Variations - Chicago Blues - Moto Perpetuo - Song of Farewell - Promenade - September Song - Scherzo Finale
SKU: BT.WMP2515
ISBN 9789811479915. English.
SKU: BT.DHP-1063912-140
Paul Dukas (1865-1935) was a composer who had little self-confidence and was very self-critical. As a result of this he destroyed the manuscripts of all but seven large and five small works. Luckily he kept what is now his bestknow composition, the symphonic scherzo L'apprenti sorcier (The Sorcerer's Apprentice). He also came very close to destroying the manuscript of his ballet music La Peri (The Fairy). This was however rescued by his friends. Thus wecan still enjoy this magnificent fanfare which was originally used as an opener for the ballet. This fabulous transcription for concert band will make a great opening item for any concert.In den Werken des französischen Komponisten Paul Dukas (1865-1935) ist stilistisch die Bewunderung für Wagner sowie für den französischen Impressionismus spürbar, woraus sich ein interessanter, seltener Stilmix ergibt. Das Ballett La Péri enthält immense dynamische Abstufungen und fordert die Musiker dementsprechend stark. Die populäre Fanfare, welche dem Werk vorangeht, eignet sich in der gelungenen Blasorchestertranskription von Wil van der Beek als Eröffnungswerk für viele Anlässe.
SKU: BT.DHP-1063912-120
SKU: TM.14471SC
Sandra Dackow Little Known Gem - Grade V+ or Playable VI (Advanced). Andante, Allegro, Moderato, Allegro, Adagio, Scherzo, Moderato.
SKU: TM.14472SET
SKU: BR.EB-11231
ISBN 9790201812311. 12 x 9.5 inches.
Brahms' Piano Symphony in the Urtext of the complete edition Johannes Brahms enjoyed a bit of understatement every now and then, and whenever his second piano concerto was the object of discussion, he called it his little concerto - although it was more than clear that, with its four movements (including Scherzo ), he was giving his contemporaries something truly symphonic to chew on. The press didn't hesitate long: soon it was being derisively called piano symphony, which, however, did nothing to prevent its popularity. Brahms himself and other pianists played the work everywhere in the 1880s, and the piano reduction was so successful that it had to be reprinted three times within three months after its first printing. The Urtext edition follows the text of the respective volume in the Brahms Complete Edition published in 2013. It takes the first printing of the score as the main source; moreover, both the autograph as well as the printed reduction provided further information with which engraving errors of the first edition could be corrected.The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.
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