SKU: BO.B.3340
ISBN 9788480207591.
English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentarios del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
SKU: UT.APS-4
ISBN 9788881094677. 6.5 x 9.5 inches.
Essays by Tomasz Baranowski, Andrzej Chwalba, Stephen Downes, Peter Franklin, Stefan Keym, Ryszard D. Golianek, Agata Mierzejewska, Michael Murphy, Jadwiga Paja-Stach, Luca Sala, Renata Suchowiejko, Emma Sutton, Andrzej Tuchowski, Alistair Wightman, James L. ZychowiczIn this volume I aim to examine the figure of Mieczyslaw Karlowicz in the broader sociocultural context which fostered his work. The attempt to contextualize an immense intellectual patrimony -- despite being restricted to a tiny number of works when compared to more prolific authors, especially in the context of the xix and the xx centuries -- is always a complex and hazardous task. My primary intention in organizing the volume has been to explicate Karlowicz the man as well as Karlowicz the composer, against the complex background of the European fin-de-siecle. The various essays aim to present the reader with an exhaustive reconstruction of Karlowicz's intellectual work. Karlowicz's oeuvre offers a broad artistic portrayal of Poland at the end of the nineteenth century as a fast-evolving country, politically divided and filled with contradictions. Hence the necessity to investigate the fin-de-siecle context with its social and historical implications, showing the influence of the European cultural milieu on the composer's poetics and on his thought. We shall examine the spectrum of relationships and affinities linking Karlowicz's works to the Polish cultural world (on the wave of the rising 'autochthonous' avant-garde movements) and to the wider cultural life pulsating beyond its borders, with special reference to German Wagnerism and Symphonism. Essentially, we are striving to define the uniqueness of his oeuvre, which -- in relation to the manifold influences co-existing in Poland, an insubstantial nation from the political viewpoint and divided along three socio-cultural fronts -- could be defined as distinctively Polish, yet ultimately European. (Luca Sala).
SKU: HL.49007596
ISBN 9783795702182. German.
Die Kriterien, die fur die Wahl eines Fingersatzes entscheidend sind, richten sich nicht nur nach Stil und Charakter des betreffenden Werkes, sondern auch nach dem interpretatorischen Zeitstil und dem personlichen Geschmack des Geigers. Die Spezialliteratur hat bisher neue Tendenzen allenfalls angedeutet. Daher hat Klaus Eichholz in diesem Buch den Versuch unternommen, rationale und rationelle Prinzipien des Geigenfingersatzes aufzuzeigen und anhand von uber 400 Notenbeispielen anschaulich vergleichend darzustellen.
SKU: HL.49015144
ISBN 9790001056359. 7.5x10.75x0.177 inches. German.
A number of sketches for this work were made in Greece in the summer of 1958. When the work was finished, I dedicated it to Benjamin Britten. In 1963, on the occasion of the 60th birthday of my old friend Josef Rufer, I added an epilogue in which I recapture the mood of the whole work and introduce a sort of quotation from Schonberg's Chamber Symphony No. 1, as a greeting to Rufer who devoted his whole life to the Viennese master.- Hans Werner Henze.
SKU: HL.1418387
UPC: 841300102410. 16.0x26.5x17.0 inches.
Faster and easier Cable-free DJing without sound delays is now possible with the WAVE-EIGHT thanks to SonicLink. This new ultra-low-latency technology wirelessly transmits audio much faster than a Bluetooth connection so only a fraction of a second passes between pressing play on the decks and hearing the track through the speakers, which lets you mix without missing a beat. Take the included transmitter out of its storage compartment on the WAVE-EIGHT and connect it to your DJ gear, and you can instantly create a wireless connection, enabling you to throw a DJ party anywhere you want. And if you combine the WAVE-EIGHT with the new OMNIS-DUO portable all-in-one DJ system, which features battery power, you can play cable-free for total freedom. Professional sound with effortless setup With a highly efficient Class D amplifier, a newly designed 8-inch driver, and a Vortex Bass Accelerator which delivers clear and powerful bass, the WAVE-EIGHT will bring the vibes and the punch to your party's sound, even in outdoor settings. To cover larger events and spaces, you can easily add more units to your setup with the SonicLink connection: e.g., using 2 speakers in stereo for an expansive experience, or with a third added as a dedicated subwoofer for a club-like heavy bass sound. There are even several modes you can change between with a single switch to create the type of sound you need, including Mono, Stereo, and Subwoofer mode. Battery power and waterproof design for outdoor events A full battery charge gives you 8 hours of music on the WAVE-EIGHT so you can keep the tunes going throughout the evening and night. The unit is also waterproof, with an IPX4 rating, so it's ideal for using outdoors. And, if you need to charge your phone or another device, you can plug it into the USB Type-C port. Find party venues wherever you go The extendable handle, casters, and additional grab handles make it easy to carry the WAVE-EIGHT to any location on your own. There's a pole socket built-in, too, so you can mount the speaker on a stand for extra height, making it ideal for use in a variety of locations.
SKU: HL.345316
UPC: 840126918960. 5.0x5.0x0.15 inches.
This eighties rock tune has continued to be heard in commercials and sports venues around the world. It is used to inspire sports crowds, convince us to buy a product and now it can be used by you to get your audience rocking.
SKU: CF.SAS6
ISBN 9781491159286. UPC: 680160917860.
Bruckner began composing the Eighth Symphony, his last completed symphony, in July 1884, working mainly during the summer vacations from his duties at the University of Vienna and the Vienna Conservatory. When he finished the work's revelatory finale, he signed it Hallelujah, and reported enthusiastically, The Finale is the most significant movement of my life. Following the premiere performance, a peer composer penned, Its success was almost without precedent. It was the absolute victory of light over darkness. This work leaps to life with awe-inspiring power in this first-ever setting for string orchestra with optional timpani. Transposed from its original key of C minor/major to D minor/major, the music sits nicely for all parts, ready for any concert or festival. The conductor should encourage students to vary the bow lanes, weight, and speed to produce powerful forte and expressive piano dynamics. Encourage mature players to make expressive fingering choices and to use vibrato. Students should practice coloring the tone and intensity through bowing lanes, variable bow weight, and appropriate bow speeds.Bruckner began composing the Eighth Symphony, his last completed symphony, in July 1884, working mainly during the summer vacations from his duties at the University of Vienna and the Vienna Conservatory. When he finished the work's revelatory finale, he signed it Hallelujah,†and reported enthusiastically, “The Finale is the most significant movement of my life. Following the premiere performance, a peer composer penned, “Its success was almost without precedent. It was the absolute victory of light over darkness.â€This work leaps to life with awe-inspiring power in this first-ever setting for string orchestra with optional timpani. Transposed from its original key of C minor/major to D minor/major, the music sits nicely for all parts, ready for any concert or festival.The conductor should encourage students to vary the bow lanes, weight, and speed to produce powerful forte and expressive piano dynamics. Encourage mature players to make expressive fingering choices and to use vibrato. Students should practice coloring the tone and intensity through bowing lanes, variable bow weight, and appropriate bow speeds.
SKU: CF.SAS6F
ISBN 9781491159453. UPC: 680160918034.
SKU: HL.456816
UPC: 809164026488. 17.0x48.5x4.2 inches.
Element 4OP With a blend of style, tone and incredible playability the Element 4OP was designed to be played and enjoyed. The open pore finish preserves the natural acoustic properties of the sungkai body, a tonewood that offers an even tone across all frequencies and loads of sustain. The maple neck and fingerboard provide a tight low end with a solid bite. The 34″ scale length combined with the comfort “C†neck profile and satin finish gives the Element 4OP a smooth and quick playing feel. Created with the most demanding players in mind, the electronics were designed to offer complete sonic flexibility. The Element 4OP is equipped with two Rockfield single coil pickups and paired with a 2-band active preamp for quickly dialing in a wide range of sounds. A push/pull pot bypasses the preamp for a passive vintage tone. From tight low-end punch to sparkling highs, the Element 4OP will quickly become your go to instrument on stage or in the studio.
SKU: HL.49044677
ISBN 9783795706722. 7.0x9.75x0.827 inches. German.
Uber die Carmina Burana hinaus sind die Buhnenwerke von Carl Orff - darunter die gewichtigen Opern nach antiken Stoffen und das endzeitliche De temporum fine comoedia - nach wie vor zu entdecken. Interdisziplinar beleuchtet werden Entstehungs- und Wirkungsgeschichte, Asthetik, Satztechnik, Dramaturgie, Inszenierungsstile und Instrumententarium bis hin zur Kommerzialisierung von Orffs Musik in der Werbung.
SKU: FG.55011-442-5
ISBN 9790550114425.
Finnish Repertoire for Alto Saxophone and Piano opens up the national romantic era treasure box for saxophonists, who will now be able to play and perform works by important Finnish composers of the early 1900s. These new transcriptions are done with three parameters in mind: key, register and level of difficulty. The works use a wide range of keys and utilize the instrument's range richly. Difficulty level of the works in this collection range between levels 2-4.
SKU: BT.MS0420
Spanish.
Con este método Vd va a aprender y sobre todo comprender, por fin, cómo utilizar la escala mayor en el piano, y también descubrir todo su potencial melódico para explotarlo al máximo. Después de unas cuantas páginas imprescindibles dedicadas a la teor a, abordará dichas 12 escalas mayores - que todo pianista tiene que dominar - con la mayor coherencia y eficacia posibles. As , para cada una de ellas, Vd descubrirá en la página izquierda el nombre y la colocación de las notas en el teclado (2 octavas), as como los acordes en los cuales la escala puede tocarse con toda seguridad. En la página derecha, a modo de ilustración, uno descubrirá una larga improvisación quese vale de esa sola y única escala, acompañada de dos grabaciones (para descargar), la primera para la demostración y la segunda para la aplicación (en playback). Vd podrá entonces tocar a su vez en esta banda sonora, no sólo el ejemplo presentado sino también otro solo, otra melod a o improvisación de su creación… sacados de la escala mayor, por supuesto. Todas las grabaciones de nuestro método (ejemplos y playbacks) se pueden descargar gratis, con toda facilidad.
SKU: BT.MS0423
Con este método Vd va a aprender y sobre todo comprender, por fin, cómo utilizar la escala menor en el piano, y también descubrir todo su potencial melódico para explotarlo al máximo. Después de unas cuantas páginas imprescindibles dedicadas a la teor a, abordará dichas 12 escalas menores - que todo pianista tiene que dominar - con la mayor coherencia y eficacia posibles. As , para cada una de ellas, Vd descubrirá en la página izquierda el nombre y la colocación de las notas en el teclado (2 octavas), as como los acordes en los cuales la escala puede tocarse con toda seguridad. En la página derecha, a modo de ilustración, uno descubrirá una larga improvisación quese vale de esa sola y única escala, acompañada de dos grabaciones (para descargar), la primera para la demostración y la segunda para la aplicación (en playback). Vd podrá entonces tocar a su vez en esta banda sonora, no sólo el ejemplo presentado sino también otro solo, otra melod a o improvisación de su creación… sacados de la escala menor, por supuesto. Todas las grabaciones de nuestro método (ejemplos y playbacks) se pueden descargar gratis, con toda facilidad.
SKU: HL.49008218
ISBN 9790001124355. UPC: 842819104438. 9.0x12.0x0.119 inches.
This edition contains compositionally free arrangements of folksongs; quasi 'folksong fantasias en miniature' they are not to be mistaken for simple folksong arrangements. Only moder-ately difficult they should appeal to a wide circle of recorder lovers. Contents: Folksongs from England, Ireland, Russia, Hungary, Bulgaria, Greece, France, Spain, Portugal, Germany, Switzerland and Italy. For soprano, alto, tenor, and bass recorders.
