| Bläserklasse GLOBUS - Baritonsaxophon Concert band - Beginner De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1135382-401 Kleine...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1135382-401 Kleine Werke aus aller Welt. Composed by Eric J. Hovi, Jan de Haan, Robert van Beringen, and Thomas Augustine Arne. Arranged by Jan de Haan. Yamaha Bläser Klasse. Book Only. Composed 2013. 24 pages. De Haske Publications #DHP 1135382-401. Published by De Haske Publications (BT.DHP-1135382-401). ISBN 9789043140713. 9x12 inches. German. BLÄSERKLASSE GLOBUS führt junge Musiker vom Proberaum in die weite Welt: Durch alle fünf Kontinente geht es von Amerika über Europa nach Japan und nach Afrika und schließlich zu den Kängurus nach Australien. Als Souvenirs nehmen die Reisenden Eindrücke von den Klangwelten in den verschiedenen Regionen mit. Vertraute Anhaltspunkte sind bekannte Melodien, die hier und da durchklingen, wie zum Beispiel das bekannte Lied von der Brücke in Avignon. Ebenfalls werden, unter anderem mit einem Variationensatz, einer Suite und einem Medley, diverse Gattungen gestreift. Die Stücke bringen nicht nur viel Abwechslung ins Spiel, sondern sie sind auch soarrangiert, dass sie genau auf die Lernfortschritte in Band 1 und 2 von Essential Elements, der kompletten Methode für den Musikunterricht in Schulen und Blasorchestern, Bezug nehmen. Die entsprechenden Kapitel in Essential Elements sind im Inhaltsverzeichnis der Partitur angegeben. Aber auch unabhängig von Essential Elements bieten die im ansteigenden Schwierigkeitsgrad angeordneten Arrangements abwechslungsreiches Spielmaterial für Bläserklassen und Jugendblasorchester. Sind die Stücke im Unterricht erst einmal einstudiert, kann ein buntes, szenisch ausgestaltetes Konzert unter dem Motto Weltreise“ vorbereitet werden. So gehen Spielspaß, Lernerfolg, Erfolgserlebnis und daraus resultierende Motivation Hand in Hand! Sehr nützlich für das Kennenlernen und Einstudieren der Arrangements in BLÄSERKLASSE GLOBUS ist die separat erhältliche CD mit vollständigen Orchesteraufnahmen aller Stücke (Bestellnummer DHR 13-860-3). $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Bläserklasse GLOBUS - Posaune/Bariton BC Concert band - Beginner De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1135385-401 Kleine...(+)
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1135385-401 Kleine Werke aus aller Welt. Composed by Eric J. Hovi, Jan de Haan, Robert van Beringen, and Thomas Augustine Arne. Arranged by Jan de Haan. Yamaha Bläser Klasse. Book Only. Composed 2013. 24 pages. De Haske Publications #DHP 1135385-401. Published by De Haske Publications (BT.DHP-1135385-401). ISBN 9789043140744. 9x12 inches. German. BLÄSERKLASSE GLOBUS führt junge Musiker vom Proberaum in die weite Welt: Durch alle fünf Kontinente geht es von Amerika über Europa nach Japan und nach Afrika und schließlich zu den Kängurus nach Australien. Als Souvenirs nehmen die Reisenden Eindrücke von den Klangwelten in den verschiedenen Regionen mit. Vertraute Anhaltspunkte sind bekannte Melodien, die hier und da durchklingen, wie zum Beispiel das bekannte Lied von der Brücke in Avignon. Ebenfalls werden, unter anderem mit einem Variationensatz, einer Suite und einem Medley, diverse Gattungen gestreift. Die Stücke bringen nicht nur viel Abwechslung ins Spiel, sondern sie sind auch soarrangiert, dass sie genau auf die Lernfortschritte in Band 1 und 2 von Essential Elements, der kompletten Methode für den Musikunterricht in Schulen und Blasorchestern, Bezug nehmen. Die entsprechenden Kapitel in Essential Elements sind im Inhaltsverzeichnis der Partitur angegeben. Aber auch unabhängig von Essential Elements bieten die im ansteigenden Schwierigkeitsgrad angeordneten Arrangements abwechslungsreiches Spielmaterial für Bläserklassen und Jugendblasorchester. Sind die Stücke im Unterricht erst einmal einstudiert, kann ein buntes, szenisch ausgestaltetes Konzert unter dem Motto Weltreise“ vorbereitet werden. So gehen Spielspaß, Lernerfolg, Erfolgserlebnis und daraus resultierende Motivation Hand in Hand! Sehr nützlich für das Kennenlernen und Einstudieren der Arrangements in BLÄSERKLASSE GLOBUS ist die separat erhältliche CD mit vollständigen Orchesteraufnahmen aller Stücke (Bestellnummer DHR 13-860-3). $10.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Stabat Mater Op. 53 PWM (Polskie Wydawnictwo Muzyczne)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Ba...(+)
Vocal, Mixed Choir and Orchestra SKU: BT.PWM5447 For Soprano, Alto, Baritone, Mixed Choir and Orchestra. Composed by Karol Szymanowski. Classical. Book Only. Composed 2000. 68 pages. Polskie Wydawnictwo Muzyczne #PWM5447. Published by Polskie Wydawnictwo Muzyczne (BT.PWM5447). ''Stabat Mater'' by Karol Szymanowski for solo voices, chorus and orchestra, Op. 53, is one of the most famous and, at the same time, most personal works of the composer, making its appeal to the audience through the depth of its expression and sheer artistry. The first sketches of the work were made in the spring of 1925, while work on the full score occupied the composer from 20 January to 2 March 1926. Józef Jankowskis Polish translation of the medieval sequence formed the basis of the composition. This text, which was simple in a folk-like way, devoid of pathos but full of religious zeal, harmonized perfectly from the poetic point of view with the composers creative design. In an interview for the monthly Muzyka Szymanowski stated: ''in its Polish vestments that eternal, naive hymn was filled for me with its own immediate expressive content; it became something painted in colours which were recognisable and comprehensible as distinct from the black and white of the archaic original'' (''A Footnote to Stabat Mater'', Muzyka 1926, Nos. 11/12). In the score, the Latin text is given beside the Polish text, making it possible for the work to be performed more easily by foreign performers. In this work, the universal tradition of the Christian church was fused with the Polish religious tradition. The composer creates the religious folk-like climate primarily through the character of the melodies which are akin to to the plainchant melodies to the text of Stabat Mater (the sequence, and especially the hymn) and their paraphrases in Polish religious songs (e.g. Sta a Matka Bole ciwa [The Dolorous Mother was standing]) as well as motifs from Polish Lenten songs and Gorzkie ale (Bitter Laments). Szymanowski did not introduce them as quotations, but intersperses the melodic lines, which are more fully developed and frequently highly chromatic, with diatonic phrases, based on modal scales. They appear in all the movements of the work determining its cohesion. In dividing the twenty-stanza text into separate segments, Szymanowski created a six- movement cantata. He took care to distinguish between the emotional shades of the various movements, varying his selection of solo voices (soprano, contralto, baritone), the voices of the chorus (female or mixed) and the orchestral forces. In the first and third movements the lyrical idiom prevails; the first movement, portraying the Mother of God at the foot of the cross, has a narrative character, whereas the third is a kind of prayer from a man who sympathizes with, and who wishes to be associated with Mater Dolorosas pain. In these movements only the female voices are used (soprano, contralto and female chorus), while the orchestra is employed in a chamber style, sometimes drawing on solo accompanying parts (e.g. the beginning of the third movement). The fourth movement, which continues the mood of prayerful contemplation, is designed for soprano and contralto solo as well as unaccompanied chorus. On the other hand, the second and fifth movements, involving the participation of solo baritone and the full chorus and orchestra, are similar with regard to forces and their dramatic character, which is austere in expression, harsh in tone, and markedly dissonant. Here grand climaxes appear with powerful orchestral tutti. The sixth movement crowns the whole. The lyrical, soft melody of the solo soprano at the beginning is gradually strengthened by the addition of the female chorus and the solo contralto, and in the final section, the solo baritone as well as the tutti of chorus and orchestra. The conclusion, subdued and full of concentration, suggests the introvert character of the experience as opposed to its dramatic pathos. Stabat Mater by Szymanowski is part of a long tradition of compositions based on the text of the medieval sequence - ranging from polyphonic works by Josquin des Prés and Palestrina to the romantic Stabat by Giuseppe Verdi and Anton n Dvo ák. And it was perhaps because of his consciousness of this tradition that Szymanowski used stylizing devices in the spirit of early music. The archaization manifests itself not only in the character of the melodies and their modal framework, but also in the harmonies (with their predominance of triads, open fourths and fifths chords and doubled thirds), the simple rhythms as well as the texture of the choruses (esp. the fourth movement). The composer does not, however, imitate the style of any specific historical epoch, but combines resources taken from early music with modern tonal and harmonic techniques. Archaization in Stabat Mater serves, moreover, a symbolic function; in evoking the many-centuries old tradition of church music, it emphasizes the universal nature of the idea contained in the text of the sequence, while the re-reading of the text by the composer gives the work its individual features. [Zofia Helman, translated by Ewa Cholewka]. $28.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Eugen Onegin Op. 24 Deutscher Verlag für Musik
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB - picc.2.2.2.2. - 4.2.3.0. - timp - hp - str) SKU: BR.DV-6081 Lyrical Opera in 3 Acts. Composed by Pjotr Iljitsch Tschaikowsky. Edited by Manfred Koerth / Wo Ebermann. Arranged by M. Koerth and W. Ebermann. Choir; Softbound. Deutscher Verlag. Opera; Music theatre; Romantic. Piano/Vocal Score. 300 pages. Deutscher Verlag fur Musik #DV 6081. Published by Deutscher Verlag fur Musik (BR.DV-6081). ISBN 9790200460032. 9.5 x 12 inches. Duration: full evening
Translation: German (W. Ebermann/M. Koerth), Engl. (D. Llyod-Jones), French (M. Delines) Place and time: Partly on the estate, partly in Petersburg, in 20ies of the 19th Century
Characters: Larina, Owner of the Estate (mezzo-soprano) - Tatiana (soprano) and Olga (alto), her Daughters - Filipjewna, Wet Nurse (mezzo-soprano/alto) - Eugen Onegin (baritone) - Lenskij (tenor) - Prince Gremin (bass) - A Commander (bass) - Saretzkij (bass) - Triquet, a French Man (tenor) - Guillot, a Valet (silent part) - Country Folk, Ball Guests, Squire, Officers (chorus) - Waltz, mazurka, polonaise and Russian dance (Ballet )
There is an interesting parallel between the subject of the opera and Tchaikovsky's life during the year he wrote the work (1877): in each case, a letter provokes fateful developments in the lives of the protagonists. In the opera, Tatyana's love letter to Eugene sets off the tragedy, whereas in real life, the love letter of a pupil led the composer into a marriage, which lasted all of ... three months. Tchaikovsky took this doomed decision without love, solely because the circumstances want it and because I cannot act differently. Certain allusions made, for example, in a letter of January 1878 to Taneyev suggest that the composer's personal situation also flowed into the work: I did not want anything to do with the so-called 'grand opera.' I am looking for an intimate but powerful drama which is built on the conflict of circumstances which I myself have seen and experienced, a conflict which truly moves me. Partly for this reason the composer decided to call the work not an opera but lyrical scenes.Eugene Onegin, conceived by Tchaikovsky for limited resources and a small stage, is the most frequently performed Russian opera today along with Mussorgsky's Boris Godunov, which represents a completely contrary aesthetic stance.
Tschaikowskys letzte Oper - auf ein Libretto seines Bruders Modest nach der Dramenvorlage des danischen Schriftstellers Henrik Hertz - lebt von den poetischen Momenten und den symbolbeladenen Charakterportrats der Hauptfiguren: Die junge blinde Jolanthe wird von ihrem Vater aus Sorge um ihren Makel und zum Schutz ihrer Jungfraulichkeit und vor den Widrigkeiten der Welt in einen paradiesischen Garten gesperrt. Er befielt zu ihrem Schutz sie um ihre Blindheit unwissend zu lassen. Ein Arzt warnt sehen werde sie nur konnen wenn sie es selbst wolle gleich welche Angste aus der vollstandigen Erkenntnis der Welt erwachsen. Als der junge Vaudemont in ihre Abgeschiedenheit einbricht und sich beide ineinander verlieben befreit er sie von ihrer Unwissenheit erklart was Farbe und Licht bedeuten. Erst die Liebe zu ihm macht sie sehend.
Die dunkle Welt der Jolanthe zeichnet Tschaikowsky zu Beginn musikalisch durch eine Introduktion ausschliesslich fur Blaser. Erst mit dem Eintritt in die unbekannte Welt der Liebe und des Sehens verwendet Tschaikowsky einen warmen Streicherklang. Gerade dadurch stiess die Oper wohl bei Zeitgenossen auf Verstorung. Tschaikowskys ,,Jolanthe nimmt in seinem Opernschaffen eine Sonderstellung ein: neben dem glucklichen Ende einer Apotheose des Lichts und der Liebe mit einem religios gepragten Schlusschoral ist es eines der wenigen Buhnenwerke Tschaikowskys ohne Bezug zur russischen Geschichte. Der ausgepragte Lyrismus des Werks verweist stattdessen auf Tschaikowskys Nahe zur franzosischen Kultur die im 19. Jahrhundert einen starken Einfluss auf Russland hatte. Die Oper wurde 1892 am Mariinsky-Theater in Sankt Petersburg als Auftragswerk zusammen mit seinem Ballett ,,Der Nussknacker uraufgefuhrt.
Neben der Produktion des Munchner Rundfunkorchesters wurde ,,Jolanthe szenisch erfolgreich bei den Festspielen Baden-Baden mit Anna Netrebko und Piotr Beczala als Liebespaar rehabilitiert. Ausserhalb Deutschlands lief die Opernraritat in Toulouse Tokyo San Sebastian und Monte Carlo. Zuletzt erneut die ,,Suddeutsche Zeitung: ,,Jolanthe ist eine Opernausgrabung die ,,wirklich zu Unrecht vergessen ist. Tchaikovsky's last opera - on a libretto by the composer's brother Modest based on the drama by the Danish author Henrik Hertz - derives its life-blood from its poetic moments and the symbol-laden portraits of the leading characters: the blind young Yolanta is kept prisoner in a paradisiacal garden by her father who fears for her purity and her virginity and seeks to protect her from the adversities of the world. To do so he orders everyone to keep her ignorant of the fact that she is blind. A doctor warns that she will only be able to see when she is ready to do so herself no matter what fears might result from a complete experience of the world. When the young Vaudemont breaks into her secluded world and the two fall in love he frees her from her ignorance and explains the significance of color and light. It is through her love for him that she is finally able to see. At the beginning of the work Tchaikovsky depicts Yolanta's dark world with an introduction scored exclusively for winds. It is not until her discovery of the unknown world of love and sight that Tchaikovsky uses a warm string sound. This is what many of the composer's contemporaries found disturbing about the opera.
Tchaikovsky's Yolanta occupies a special place in the composer's operatic oeuvre: for one it has a happy ending an apotheosis of light and love with a religiously stamped closing chorale; for another it is one of Tchaikovsky's few stage works without any reference to Russian history. Instead the work's pronounced lyricism points to the composer's closeness to French culture. which exerted a strong influence on Russia in the 19th century.
The opera was given its world premiere at the Mariinsky Theater in St. Petersburg in 1892. It had been commissioned along with the ballet The Nutcracker. Next to the production by the Munchner Rundfunkorchester Yolanta was also successfully rehabilitated in a recent staged production at the Baden-Baden Festival with Anna Netrebko and Piotr Beczala as the lovers. Outside of Germany the operatic rarity was performed in Toulouse Tokyo San Sebastian and Monte Carlo.
In closing another quote from the Suddeutsche Zeitung: 'Yolanta' is an operatic rediscovery of a work that was truly 'wrongly forgotten'. $76.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Der Schulmeister Choral 2-part SA, Piano [Score and Parts] Barenreiter
Komische Kantate (auch szenisch darzustellen) fur Solostimme (deutsch/englisch),...(+)
Komische Kantate (auch szenisch darzustellen) fur Solostimme (deutsch/englisch), 2stimmigen Knabenchor (lateinisch) und Instrumente, Rekonstruktion. Der Partitur liegen die Instrumentalstimmen bei - Comic Cantata for Solo Voice (English/German) and 2part Boy`s Chorus, (Latin) and Instruments, Reconstruction. Score with Instrumental Parts. By Georg Philipp Telemann. Edited by Fritz Stein. For Baritone solo, Boys' choir-SA, 2 Violin, Basso continuo. Score; Set of Parts. Published by Baerenreiter-Ausgaben (German import).
$29.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
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