SKU: HL.360518
ISBN 9781789361735. UPC: 840126990638. 9.0x12.0x0.355 inches.
Learn to play rock and pop with Rockschool. These specially written arrangements develop the skills and techniques you need to help you achieve your musical goals. For Rockschool's piano series, Rockschool has commissioned arrangements of titles reflecting popular music's rich heritage in all its forms. Each piece has been tailored to fit the relevant grade level and support progression while learning your instrument. The music has been arranged and performed by top session musicians and was recorded at Abbey Road Studios. Songs include: Birdland (Weather Report) • Bohemian Rhapsody (Queen) • End Credits from E.T. • Rather Be (Clean Bandit ft Jess Glynne) • Spain (Chick Corea) • These Are the Days (Jamie Cullum). Plus: • Band and artist fact files with recommended listening • In-depth walkthroughs of every track • Easy-access downloadable audio of backing tracks and full recordings of all performance pieces • Example tests and exercises.
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.49018069
ISBN 9783254082640. UPC: 884088538774. 4.75x7.5x1.295 inches. German.
Today, more than ever, Gustav Mahler is highly acclaimed as a 'pioneer of new music'. Unlike any other composer in the late 19th century, he meteorically became the focus of attention of the musical public. Mahler's music is an adventure, as beautiful and frightening, as peaceful and unpredictable as the world of which it is about. During his lifetime, Gustav Mahler was known rather as a powerful court opera director and less as a composer, for he could compose his own works only during the summer months. But as such, Mahler had to compete with his fellow composers Anton Bruckner and Richard Strauss. In his newly edited book, Karl-Josef Muller tries to examine this discrepancy between Mahler's high ethical demands as a composer and his qualification by his environment.
SKU: HL.14021104
UPC: 884088433321. 9.75x13.75 inches.
The composer writes: Pilgrim was inspired, it will be no surprise to learn, by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance, yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression, not least because of its theme of a journey of self-discovery, and a rediscovery or renewal of faith. These are ideas which have a strong interest for me, not in religious terms but in their application to every aspect of human life (including great journeys), and this piece reflects my response in musical terms to this concern. The tempo of the whole piece, which lasts about 18 minutes, is basically slow. There are two quick episodes, but these act somewhat like the trio sections of a classical scherzo, save that the tempo relationships are inverted (the classical trios would have been slower, not quicker) and the canvas is much larger, being that of a single, substantial, slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops, and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is, however, one feature which, upon completion of the score, struck me with some force, which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council, and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed, as part of a joint scheme, by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
SKU: HL.14021105
ISBN 9780711997950. UPC: 884088433307. 8.25x11.75x0.088 inches.
SKU: ST.CN12P
ISBN 9790220224690.
Among the UK's most noted choral composers and conductors, Ronald Corp does not hesitate to bring his own musical vision to a much-loved poem by the sixteenth-century lutenist songwriter and 'Doctor of Physick' Thomas Campion, following the example not only of Campion himself but also of Charles Wood and Hubert Parry. Eschewing the manner of Parry's resonant polyphony for a simple harmonised setting in a flexible verbal rhythm reflecting the measure of the words, this is a heartfelt plea for spiritual release uttered in a quietly elegiac tone, in which the serenity of the entreaty rather than its pathos is to the fore.
SKU: BT.1165-04-140-MS
Can't Take My Eyes Off You war ein Riesenerfolg für das Duo Bob Crewe und Bob Gaudio. Bekannte Künstler, wie unter anderem Diana Ross, Gloria Gaynor und später die Pet Shop Boys, brachten den Titel über drei Jahrzehnte hinweg immer wieder in die Hitparaden und die Menschen in den Discos zum Tanzen. Toshio Mashima bearbeitete den unwiderstehlich flotten Popsongs für Blasorchester. Bei diesem Titel kann niemand still sitzen! Les auteurs-compositeurs Bob Crewe et Bob Gaudio ont formé un tandem couronné de succès. Dans les années 60 et 70, ils signent de nombreux tubes pour Frankie Valli & The Four Seasons dont l’immense standard de l’année 1967, Can’t Take My Eyes Off You. Toshio Mashima signe cet arrangement entraînant pour Orchestre d’Harmonie. There have been many arrangements of Beatles’ songs for various kinds of ensembles, so rather than just producing a further medley of Beatles’ hits, Peter Kleine Schaars has added a new twist to them with this excellent new work. All You Need Is Love and With a Little Help from my Friends pass by in a swing march, Michelle sounds like a newly composed ballad and When I’m Sixty Four is played in Dixie swing style. A Hard Day’s Night is transformed into a funk theme with a samba interlude, Let It Be into a slow march, and Ob-La-Di, Ob-La-Da in a rock beat. Experience The Beatles as you have never heard them before.
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