SKU: GI.G-M523
ISBN 9781579992378. English.
This major band method by James O. Froseth has it all: Artist performers set musical standards in sound with more than 80 great performances on CD for every instrument, and one CD lasts for the entire book! Performers include: Michael Henoch (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser (Cleveland State University), Brian Bowman (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs (Plymouth Symphony Orchestra). Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles. Music of other times includes 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll. The repertoire and recorded contexts are motivating, informative, and entirely musical. Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture. A unique Rhythmic Pattern Dictionary allows students to look it up and listen up. An individualized format allows students to progress at different rates with a theme and variation format. Ear training and improvisation are integral parts of the lesson format. A 550+ page Teacher's Resource edition and musical score provides options galore, including a double CD with listen and play exercises for group instruction, supplementary exercises for technical development, and resource material for improvisation and composition. All the resources needed for teaching to the National Standards for Music are provided (coordinates with rhythm flashcards). Book 2 features innovative, but optional use of world percussion instruments, as developed by percussion educator Steve Houghton. Click here to download the audio recordings for the Book 2 Teacher's Edition.
SKU: GI.G-M585
English.
This major band method by James O. Frosethhas it all:* Artist performers set musical standards in sound with more than 80 great performanceson CD for every instrument, and one CD lasts for the entire book! Performers include Michael Henoch (Chicago Symphony Orchestra), Randall Hawes, Jeffrey Zook, Sharon Sparrow, Kevin Good (Detroit Symphony Orchestra), Albert Blaser (Cleveland State University), Brian Bowman (Duquesne University), Timothy McAllister (Crane School of Music, SUNY at Potsdam), Steve Houghton (LA percussion recording artist and clinician), Donald Sinta, Richard Beene, Bryan Kennedy, Debra Chodacki, Fritz Kaenzig (University of Michigan), Kristin Beene (Toledo Symphony Orchestra), and Jean Moorehead Libs (Plymouth Symphony Orchestra).* Professional studio backgrounds capture the rich diversity of American music culture with a repertoire of American, Latin American, African, European, and Far Eastern styles.* Music of other times includes 12th-century conductus, 15th-century Dance of the Bouffons, 16th-century French branle, 18th- and 19th-century folk songs and dances, 1940s and '50s jazz, blues, and rock-and-roll.* The repertoire and recorded contexts are motivating, informative, and entirely musical.* Every song includes text, providing information about phrasing, rhythm, style, affect, emotion, history, and culture.* A unique Rhythmic Pattern Dictionary allows students to “look it up†and “listen up.â€* An individualized format allows students to progress at different rates with a “themeand-variation†format.* Ear training and improvisation are integral parts of the lesson format.* A 550+ page teacher's resource edition and musical score provides options galore, including a double CD with “listen and play†exercises for group instruction, supplementary exercises for technical development, and resource material for improvisation and composition. All the resources needed for teaching to the National Standards for Music are provided. (Coordinates with rhythm flashcards)* Book 2 features innovative but optional use of world percussion instruments, as developed by percussion educator Steve Houghton.
SKU: HL.50600900
ISBN 9790080149980. 10.25x14.25x0.429 inches. Laszlo Tihanyi.
The title of the work refers to the ornament-like musical motifs of the solo part. These open the piece and later, during the elaboration of the form, they provide for building blocks. The composition, lasting approximately 12 minutes, includes 13 small formal sections. The first three of them serve as an introduction; the presentation of the solo viola, accompanied by percussion istruments, is broken by the interjection of the winds and the piano. The strings appear in Section 4, the first pure Tutti for the first time: the solo instrument is silent here. This is followed by two longer joint sections of the solo and the ensemble; in these a classical, responding-contrapuntal relationship comes to effect between soloist and ensemble players. Section 7 is the first cadenza of the viola, answered by the ensemble alone in Section 8. The next section is a sort of an accompanied Toccata, featuring the rapid figurations of the solo instrument. Sections 10 and 12 are further viola cadenzas, with a Tutti between them, accompanied by the viola. In the concluding section musical ideas with farewell or coda-like character, played by the full ensemble, prevail.(Laszlo Tihanyi).
SKU: BT.EMBZ14998
The title of the work refers to the ornament-like musical motifs of the solo part. These open the piece and later, during the elaboration of the form, they provide for building blocks. The composition, lasting approximately 12 minutes, includes 13 small formal sections. The first three of them serve as an introduction the presentation of the solo viola, accompanied by percussion istruments, is broken by the interjection of the winds and the piano. The strings appear in Section 4, the first pure Tutti for the first time: the solo instrument is silent here. This is followed by two longer joint sections of the solo and the ensemble in these a classical, responding-contrapuntalrelationship comes to effect between soloist and ensemble players. Section 7 is the first cadenza of the viola, answered by the ensemble alone in Section 8. The next section is a sort of an accompanied Toccata, featuring the rapid figurations of the solo instrument. Sections 10 and 12 are further viola cadenzas, with a Tutti between them, accompanied by the viola. In the concluding section musical ideas with farewell or coda-like character, played by the full ensemble, prevail.(László Tihanyi)The piece was premiered by Péter Bársony and the THReNSeMBLe (conducted by the composer) on 3rd May 2016 in Budapest.
SKU: BR.BG-1397
ISBN 9790004122907. 9 x 12 inches.
World premiere Witten 1979This composition is the result of an intense study of the timbre element. It was premiered in 1979 during the Wittener Tage fur neue Kammermusik. The composition is bipartite; it contains a multitude of differentiation processes concerning articulation, linked with a tremendous rhythmic accuracy in every detail, and extremely small melodious shifts. Consequently the sound material is freed from its strait jacket of preconceived, external, and imposed structural restrictions. Minimal tone movements arise, sound spaces with an intense drama, out of which a new time-experience is created for the listener.The composition was inspired by the sculpture La Meditation by Auguste Rodin, which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence, never before has it been strained like this by its own soul and eased again by the elasticity of its own blood.(Paul-Heinz Dittrich).
SKU: DY.DO-1538
ISBN 9782897963187.
When guitarist John Olson and soprano Gioia De Cari commissioned me to write a piece for them, I envi- sioned writing something theatrical that might especially suit Gioia, who is both a singer and an actress. Eventually, I thought of Mark Twain. The great American writer and humorist of substance wrote a short, little-known book called The Diary of Adam and Eve, which is, of course, about the first days of human life on this earth, in Twainâs witty, but touching take on the Bible story. Adam and Eve each write diary entries. I chose several passages from Eveâs diary that convey the sense of constant wonder that she felt because absolutely everything in her world was new.Setting prose, rather than poetry, is a challenge for a composer because it has neither the innate rhythm nor the lyricism of poetry. On some intuitive level, this challenge led me to a process that allowed the music to evolve mostly from the guitar part. Whereas normally the vocal melody might emerge first, motivated by the text and with the accompaniment then added for support, here the guitar part was the prime mover. An example of this is the last song, which is a passacaglia played by the guitar, providing the ground over which the vocal line can soar. Eveâs Diary was composed in 2015.Lorsque le guitariste John Olson et la soprano Gioia De Cari m'ont commandé une pièce pour eux, j'ai imaginé écrire quelque chose de théâtral qui pourrait particulièrement convenir à Gioia, qui est à la fois chanteuse et actrice. Finalement, j'ai pensé à Mark Twain. Le grand écrivain et humoriste américain a écrit un petit livre peu connu intitulé Le Journal d'Adam et Ãve, qui raconte les premiers jours de la vie humaine sur terre selon l'interprétation spirituelle et espiègle de Twain de l'histoire biblique. Adam et Ãve tiennent chacun un journal. J'ai choisi plusieurs passages du journal d'Ãve qui expriment ce sentiment d'émerveillement constant qu'elle ressentait, car absolument tout dans son monde était nouveau.Mettre en musique de la prose, plutôt que de la poésie, est un défi pour un compositeur car elle n'a ni le rythme inné ni le lyrisme de la poésie. Intuitivement, ce défi m'a conduit à un processus qui a permis à la musique d'évoluer principalement à partir de la partie de guitare. Alors que normalement la mélodie vocale pourrait émerger en premier, motivée par le texte et avec l'accompagnement ajouté ensuite pour le soutien, ici la partie de guitare était le moteur principal. Un exemple en est la dernière chanson, qui est une passacaille jouée à la guitare, fournissant le fond sur lequel la ligne vocale peut s'élever. Le Journal d'Ãve a été composé en 2015.
SKU: FG.55011-462-3
ISBN 9790550114623.
Sonata for Flute and Piano was commissioned by Sami Junnonen. It was written between April and August 2018, and the composition process was especially complicated, involving the rewriting of the first movement many times. The Flute Sonata is unusually dark in character, and ends in disaster. While not really programmatic, the Sonata does reflect my feelings about the scary and grim future of humankind facing the climate change and very erratic world politics. The first movement is a light and capricious Allegretto, the second movement is very gloomy and slow and the last movement is a very agitated moto perpetuo.
SKU: HL.48024526
ISBN 9781784544409. UPC: 888680925765. 9x12 inches. Text: Jacopone da Todi.
Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements Stabat Mater has a duration of 53 minutes. Following the première London's Financial Times commented that the composer “speaks of a 'painful world of loss, violence, and spiritual desolation' [...]. Both sides of MacMillan are to be found here,the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble.&rdquo.
SKU: HL.48024551
ISBN 9781784544393. UPC: 888680916695. 7.25x10.0x0.472 inches. Text: Jacopone de Todi.
Composed in 2015, Stabat Mater was commissioned by the Genesis Foundation for Harry Christophers and The Sixteen. Scored for mixed chorus and string orchestra, it is a long-awaited sequel to the early masterpiece Seven Last Words from the Cross (1993), for the same forces; indeed, the later work begins with the pianissimo 'dying breaths' with which the earlier score so unforgettably closes. Cast in four movements, Stabat Mater has a duration of 53 minutes. Following the premiere London's Financial Times commented that the composer speaks of a 'painful world of loss, violence, and spiritual desolation'. Both sides of MacMillan are to be found here, the devotional and the painter of bold, dramatic canvases - the former in the ethereal writing for solo and ensemble voices, the latter in the lacerating blows and feverish anxieties depicted in the string ensemble..
SKU: BT.DHP-1043670-015
Versailles, composed by Christian Bouthier, reflectsa number of impressions of the royal castle inVersailles, near Paris. There are four movementsconsisting of Le Chateau, Le grand Trianon,L’Appartement du Roi and Les Grandes Eaux eachof which depicts a different aspect of Versaillesboth inside and outside. Bring a touch of regalnessto any concert band programme. Versailles, gecomponeerd door Christian Bouthier, geeft een aantal indrukken weer van het koninklijke kasteel te Versailles, vlak bij Parijs. De vier afwisselende delen beschrijven achtereenvolgens Le ch teau (het kasteelzelf), Le grand Trianon (het extra complex dat Lodewijk XIV liet bouwen), L’Appartement du Roi (het appartement van de koning) en Les Grandes Eaux (de waterpartijen). De fraaie thema’s worden verklankt inboeiende, gemakkelijk te spelen muziek voor blaasorkest.Versailles, aus der Feder von Christian Bouthier, spiegelt eine Reihe von Impressionen des königlichen Schlosses in Versailles bei Paris wider. Die vier abwechslungsreichen Sätze beschreiben das Schloss selbst, den Nebenpalast Le Grand Trianon, die Gemächer des Königs und das weitläufige System an Wasserläufen und Teichen, welches die ganze Anlage einst versorgte. Prächtige Motive, verpackt in interessante, leicht spielbare Musik. Versailles de Christian Bouthier est une suite en quatre tableaux inspirés du célèbre Ch teau de Versailles près de Paris.1. Le Ch teau Dès 1623, Louis XIII, le père de Louis XIV (dit le Roi-Soleil), construit Versailles un premier ch teau majestueux. Plus tard, l’architecte Philibert Le Roy s’est vu confier la t che de l’agrandir. Et durant des siècles, divers autres architectes se consacrent l’agrandissement et l’embellissement de ce superbe palais pour en faire cet ensemble de façades et de b timents majestueux, célèbre dans le monde entier.2. Le grand Trianon Trianon est le nom d'un village acheté par Louis XIV dans le but de construire sur ces nouvelles terres unautre palais. Cherchant se défaire du protocole trop pesant de Versailles, le Roi est Trianon plus proche des siens. Trianon demeurera un lieu de détente, loin de l'étiquette et des fatigues du pouvoir. Les travaux du premier Trianon débutent en 1670. De nombreux b timents et péristyles seront rajoutés au fil des années.3. L'Appartement du Roi En 1683, Louis XIV quitte son Grand Appartement pour vivre dans son appartement intérieur qu'on appelle l'Appartement du Roi. Depuis 1701, la suite des pièces est la suivante : salle des Gardes, antichambre du Grand Couvert, antichambre de l'Œil-de-bœuf, chambre du Roi, cabinet du Conseil. L'apparat des plafonds peints qui caractérisait le décor du Grand Appartement, fait place un décor sobre où les plafonds sont laissés nus. Cet allégement correspond un nouveau go t du Roi-Soleil.4. Les Grandes EauxTrouver les ressources en eaux pour les fontaines de Versailles fut la préoccupation constante du Roi-Soleil. Même en pleine guerre, il s'en inquiétait. Ce sera l’extraordinaire Machine de Marly qui apportera les eaux de la Seine Versailles. L’arrivée des eaux au Ch teau aura nécessité la construction d’un réseau hydraulique de rigoles, de fossés et d'aqueducs s’étendant sur près de deux cent kilomètres. L'ensemble demeure unique notamment par son état de conservation.
SKU: BT.DHP-1043670-030
Versailles, composed by Christian Bouthier, reflects a number of impressions of the royal castle in Versailles, near Paris. There are four movements consisting of Le Chateau, Le grand Trianon, L’Appartement du Roi and Les Grandes Eaux each of which depicts a different aspect of Versailles both inside and outside. Bring a touch of regalness to any concert band programme. Versailles, gecomponeerd door Christian Bouthier, geeft een aantal indrukken weer van het koninklijke kasteel te Versailles, vlak bij Parijs. De vier afwisselende delen beschrijven achtereenvolgens Le ch teau (het kasteelzelf), Le grand Trianon (het extra complex dat Lodewijk XIV liet bouwen), L’Appartement du Roi (het appartement van de koning) en Les Grandes Eaux (de waterpartijen). De fraaie thema’s worden verklankt inboeiende, gemakkelijk te spelen muziek voor blaasorkest.Versailles, aus der Feder von Christian Bouthier, spiegelt eine Reihe von Impressionen des königlichen Schlosses in Versailles bei Paris wider. Die vier abwechslungsreichen Sätze beschreiben das Schloss selbst, den Nebenpalast Le Grand Trianon, die Gemächer des Königs und das weitläufige System an Wasserläufen und Teichen, welches die ganze Anlage einst versorgte. Prächtige Motive, verpackt in interessante, leicht spielbare Musik für Brass Band.Versailles de Christian Bouthier est une suite en quatre tableaux inspirés du célèbre Ch teau de Versailles près de Paris.1. Le Ch teau Dès 1623, Louis XIII, le père de Louis XIV (dit le Roi-Soleil), construit Versailles un premier ch teau majestueux. Plus tard, l’architecte Philibert Le Roy s’est vu confier la t che de l’agrandir. Et durant des siècles, divers autres architectes se consacrent l’agrandissement et l’embellissement de ce superbe palais pour en faire cet ensemble de façades et de b timents majestueux, célèbre dans le monde entier.2. Le grand Trianon Trianon est le nom d'un village acheté par Louis XIV dans le but de construire sur ces nouvelles terres unautre palais. Cherchant se défaire du protocole trop pesant de Versailles, le Roi est Trianon plus proche des siens. Trianon demeurera un lieu de détente, loin de l'étiquette et des fatigues du pouvoir. Les travaux du premier Trianon débutent en 1670. De nombreux b timents et péristyles seront rajoutés au fil des années.3. L'Appartement du Roi En 1683, Louis XIV quitte son Grand Appartement pour vivre dans son appartement intérieur qu'on appelle l'Appartement du Roi. Depuis 1701, la suite des pièces est la suivante : salle des Gardes, antichambre du Grand Couvert, antichambre de l'Œil-de-bœuf, chambre du Roi, cabinet du Conseil. L'apparat des plafonds peints qui caractérisait le décor du Grand Appartement, fait place un décor sobre où les plafonds sont laissés nus. Cet allégement correspond un nouveau go t du Roi-Soleil.4. Les Grandes EauxTrouver les ressources en eaux pour les fontaines de Versailles fut la préoccupation constante du Roi-Soleil. Même en pleine guerre, il s'en inquiétait. Ce sera l’extraordinaire Machine de Marly qui apportera les eaux de la Seine Versailles. L’arrivée des eaux au Ch teau aura nécessité la construction d’un réseau hydraulique de rigoles, de fossés et d'aqueducs s’étendant sur près de deux cent kilomètres. L'ensemble demeure unique notamment par son état de conservation.
SKU: BT.DHP-1043670-216
Versailles, composed by Christian Bouthier, reflects a number of impressions of the royal castle in Versailles, near Paris. There are four movements consisting of Le Chateau, Le grand Trianon, L’Appartement du Roi and Les Grandes Eaux each of which depicts a different aspect of Versailles both inside and outside. Bring a touch of regalness to any concert band programme. Versailles, gecomponeerd door Christian Bouthier, geeft een aantal indrukken weer van het koninklijke kasteel te Versailles, vlak bij Parijs. De vier afwisselende delen beschrijven achtereenvolgens Le ch teau (het kasteelzelf), Le grand Trianon (het extra complex dat Lodewijk XIV liet bouwen), L’Appartement du Roi (het appartement van de koning) en Les Grandes Eaux (de waterpartijen). De fraaie thema’s worden verklankt inboeiende, gemakkelijk te spelen muziek voor blaasorkest.Versailles, aus der Feder von Christian Bouthier, spiegelt eine Reihe von Impressionen des königlichen Schlosses in Versailles bei Paris wider. Die vier abwechslungsreichen Sätze beschreiben das Schloss selbst, den Nebenpalast Le Grand Trianon, die Gemächer des Königs und das weitläufige System an Wasserläufen und Teichen, welches die ganze Anlage einst versorgte. Prächtige Motive, verpackt in interessante, leicht spielbare Musik. Versailles de Christian Bouthier est une suite en quatre tableaux inspirés du célèbre Ch teau de Versailles près de Paris.1. Le Ch teau Dès 1623, Louis XIII, le père de Louis XIV (dit le Roi-Soleil), construit Versailles un premier ch teau majestueux. Plus tard, l’architecte Philibert Le Roy s’est vu confier la t che de l’agrandir. Et durant des siècles, divers autres architectes se consacrent l’agrandissement et l’embellissement de ce superbe palais pour en faire cet ensemble de façades et de b timents majestueux, célèbre dans le monde entier.2. Le grand Trianon Trianon est le nom d'un village acheté par Louis XIV dans le but de construire sur ces nouvelles terres unautre palais. Cherchant se défaire du protocole trop pesant de Versailles, le Roi est Trianon plus proche des siens. Trianon demeurera un lieu de détente, loin de l'étiquette et des fatigues du pouvoir. Les travaux du premier Trianon débutent en 1670. De nombreux b timents et péristyles seront rajoutés au fil des années.3. L'Appartement du Roi En 1683, Louis XIV quitte son Grand Appartement pour vivre dans son appartement intérieur qu'on appelle l'Appartement du Roi. Depuis 1701, la suite des pièces est la suivante : salle des Gardes, antichambre du Grand Couvert, antichambre de l'Œil-de-bœuf, chambre du Roi, cabinet du Conseil. L'apparat des plafonds peints qui caractérisait le décor du Grand Appartement, fait place un décor sobre où les plafonds sont laissés nus. Cet allégement correspond un nouveau go t du Roi-Soleil.4. Les Grandes EauxTrouver les ressources en eaux pour les fontaines de Versailles fut la préoccupation constante du Roi-Soleil. Même en pleine guerre, il s'en inquiétait. Ce sera l’extraordinaire Machine de Marly qui apportera les eaux de la Seine Versailles. L’arrivée des eaux au Ch teau aura nécessité la construction d’un réseau hydraulique de rigoles, de fossés et d'aqueducs s’étendant sur près de deux cent kilomètres. L'ensemble demeure unique notamment par son état de conservation.
SKU: HL.48025252
UPC: 196288142966.
Nobody, premiered at the music festival Heidelberger Frühling in 2022, was written by Johannes Boris Borowski for Trio Catch. According to the composer, the work, which lasts a good quarter of an hour, “appears in playful, dreamy lightness. The surrounding atmosphere is tender and optimistic. However, a tragic and existential undertone becomes perceptible, in which the foreboding of theabsurd and horrific of life flares up time and again.†The composition, divided into six short prologues and the actual piece, is based on verses by Emily Dickinson, in which the poles of melancholy, rapture, tenderness and abysmalness are given archetypical expression and which, in their simple, yet visionary style of writing, perfectly correspond to Borowski's modern musical language. There are passages with brief interjections of other language levels in the poetic text, especially fragments and phrases from populist rhetoric, as well as vulgar and violent language.
SKU: HL.48025251
UPC: 196288142959.
SKU: BT.EMBZ14076
This set of early dances of bygone days which proves to be of lasting freshness and popularity was arranged for flute with piano accompaniment this time. The composer Ferenc Farkas dedicated the work to the outstanding flutist András Adorján.
SKU: HL.49002726
ISBN 9781495076602. UPC: 073999930863. 8.75x11.5x1.128 inches. English - German.
Splintered and rich in reference as Tippett's operas are in their music and in their text, they carry at their heart a glowing confidence in the power ofhuman beings to find a centre and, from that centre, to sing. In The Ice Break that confidence has a global reach. The settings are anonymous: an airportlounge, a hospital, the street. For the first time since The Midsummer Marriage, Tippett uses a chorus, here to represent the mass of humanity, whose divisions are pointed in the central cast: divisions between generations, between sexes, between races, between exile and native. Lev arrives in a new world to join his wife Nadia, who had emigrated with their baby son, Yuri. Also at the airport are Yuri's girlfriend Gayle and her friend Hannah, there to meet the black 'champion', Olympion together with his fans. Out of a series of violent tensions, individual and collective, there develops a riot in which Olympion and Gayle are killed and Yuri is near-fatally wounded. Nadia dies peacefully. During an interlude in which a group attempts a psychadelic 'trip', the messenger, Astron, is mistaken for God - a claim he dismisses ironically. Yuri is operated on by Luke, a young doctor, and, released from the cracking plaster, he finds reconciliation with his father.(Paul Griffiths)2 (2pic).2.ca.2 (Ebcl)*bcl.2.cbn-4.2.3.1-timp.7perc (s.d., t.d., b.d., slit dr., 5 tuned dr., jazz kit, timbales, bng., cym., sus.cym., w.bl., t.bl., cast., wh., tri., large tri., sleigh bells, flexatone, tam-tam, xyl., vib., glock., tub.bells, claves, guiro, glass chimes, bamboo wind chimes, metal bar, wind machine)-hrp.pno.cel.electric organ.egtr.bgtr-str.
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