SKU: BT.AMP-337-140
9x12 inches. English-German-French-Dutch.
The composer writes:On March 11th 2011 a massive 9.0- magnitude earthquake occurred off the coast of north-eastern Japan.I'm writing these programme notes barely a week later and the death toll caused by the quake and resulting tsunami already exceeds 6000, with thousands of people still unaccounted for. I have many friends associated with many bands throughout Japan and one of these, Yutaka Nishida, suggested I write a piece to raise money to help those affected by the disaster. I was immediately attracted by the idea and have arranged Cantilena (a brass band piece recently commissioned by the Grenland International Brass Festival, Norway) for wind band, giving it a new title tohonour my friends in the Land of the Rising Sun.I will be donating royalties from this piece to the Japanese Red Cross Society Emergency Relief Fund and am delighted to say that my distributors, De Haske, who will generously also donate all net profits from sales of this piece, have pledged a substantial advance payment to the Red Cross so that what little help this project generates can be immediate.It is my sincere wish that this 'Band Aid' project will allow wind bands around the world support the people of Japan, where bands are a way of life for many, in this difficult time.Philip Sparke De componist schrijft:Op 11 maart 2011 vond er vlak bij de noordkust van Japan een enorme aardbeving - 9.0 op de schaal van Richter - plaats.Ik maak deze werkbeschrijving nauwelijks een week later en het aantal doden dat de aardbevingen de daaropvolgende tsunami hebben geëist, komt al uit boven de 6000, terwijl er nog steeds duizenden mensen worden vermist.Ik heb veel vrienden die met orkesten in heel Japan werken, en een van hen, Yutaka Nishida, steldevoor dat ik een stuk zou schrijven om geld bij elkaar te krijgen voor hulp aan de slachtoffers van de ramp. Ik vond het meteen een goed idee en ik heb vervolgens Cantilena ( een brassbandwerk dat ik recentelijk heb gecomponeerd voorhet Grenland International Brass festival in Noorwegen) gearrangeerd voor harmonieorkest en er een nieuwe titel aan gegeven, als eerbewijs aan mijn vrienden in het land van de rijzende zon.De royalty's die ik voor dit werk krijg,zal ik doneren aan het Japanse noodhulpfonds van het Rode Kruis, en ik ben heel blij dat mijn distributeur, De Haske, die eveneens alle nettowinst op dit werk zal doneren, bereid is alvast een grote vooruitbetaling te doen aanhet Rode Kruis, zodat de hulp die uit dit project voortkomt, hoe bescheiden wellicht ook, onmiddellijk in gang gezet kan worden.Ik hoop oprecht dat dit 'Band Aid-project' het blaasorkesten wereldwijd mogelijk maakt de mensen in Japante steunen - een land waar blaasmuziek voor velen een manier van leven is. Der Komponist schreibt über sein Stück:Am 11. März 2011 ereignete sich ein Erdbeben der Stärke 9,0 vor der nordöstlichen Küste Japans.Diese Werkbeschreibung schreibe ich nur eine Woche später. Die Zahl der Todesopfer des Erdbebens und des dadurch ausgelösten Tsunamis überschreitet bereits die 6000, wobei noch tausende Menschen als vermisst gelten.Ich habe zahlreiche Freunde in Japan, die mit vielen Blasorchestern im ganzen Land verbunden sind. Einer dieser Freunde, Yutaka Nishida, schlug mir vor, ein Stück zu schreiben, um mit dem Erlös den von der Katastrophe betroffenen Menschen zu helfen. Ich war gleich begeistert von dieser Idee und habe daraufhin Cantilena(ein Brass-Band-Stück, das ich jüngst für das Grenland International Brass Festival in Norwegen komponierte) für Blasorchester bearbeitet und ihm zu Ehren meiner Freunde im Land der aufgehenden Sonne einen neuen Titel gegeben.Ich werde meine Tantiemen für dieses Stück dem Hilfsfonds des Japanischen Roten Kreuzes spenden. Ich bin auch sehr froh, dass mein Verlag De Haske, der ebenfalls alle Erlöse aus diesem Stück spenden wird, dem Roten Kreuz bereits im Voraus eine bedeutende Summe geschickt hat, damit der kleine Beitrag, den dieses Projekt beitragen kann, sofort ankommt.Es ist mein inniger Wunsch, dass dieses Band Aid“-Projekt Blasorchestern auf der ganzen Welt ermöglichen wird, den Menschen in Japan zu helfen, wo Blasorchester in dieser schweren Zeit für viele ein Weg sind, das Leben aufrecht zu erhalten.“Philip Sparke Le 11 mars 2011, un violent séisme de magnitude 9.0 s’est produit près de la côte nord-est du Japon. J’écris cette note de programme tout juste une semaine après la terrible catastrophe, et le nombre de morts causé par le tremblement de terre et le tsunami provoqué par ce dernier, s’élève déj plus de 6000 personnes, tout en sachant que des milliers d’autres sont toujours portées disparues. J’ai beaucoup d’amis dans le milieu des Orchestres Vent au Japon et l’un d’entre eux, Yutaka Nishida, m’a suggéré d’écrire une œuvre destinée collecter des fonds pour venir en aide aux personnes affectées par ce cataclysme. Ayant étéimmédiatement séduit par sa proposition, j’ai écrit un arrangement pour Orchestre d’Harmonie de la pièce Cantilena (une œuvre pour Brass Band récemment commandée par le Grenland International Brass Festival, en Norvège), et lui ai donné un nouveau titre en hommage mes amis du Pays du Soleil Levant : The Sun Will Rise Again (Le soleil se lèvera nouveau). Je reverserai l’intégralité des droits d’auteur de ce morceau au fonds de secours de la Croix-Rouge japonaise. En outre, je suis ravi d’annoncer que mon distributeur De Haske, qui a généreusement décidé de donner tous les bénéfices nets sur les ventes de cette œuvre, s’est engagé effectuer immédiatement un versement substantiel la Croix-Rouge afin que le Japon puisse profiter sans délai de l’aide modeste générée par ce projet. J’espère très sincèrement que celui-ci permettra aux Orchestres Vent du monde entier de soutenir le peuple japonais, pour qui la musique joue un rôle important, en ces temps difficiles. Philip Sparke La recente tragedia del Giappone, messo in ginocchio dal terremoto, ha spinto Philip Sparke a comporre The Sun Will Rise Again (Il sole sorger nuovamente), un brano che vuole essere un messaggio di solidariet al popolo nipponico, ma anche un aiuto concreto: gli introiti saranno interamente devoluti, sia dal compositore sia dalla casa editrice De Haske, alla Croce Rossa giapponese.
SKU: PR.11441690S
UPC: 680160626021. 9 x 12 inches.
Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago. Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination. Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars. It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920sâ€, first shown at New York’s Metropolitan Museum of Art in 2006-07. Nussbaum would have been a bit too young to be included in this exhibit. His most noteworthy art was created in the last very few years of his short life. The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory†as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure musicâ€, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.   The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened†(das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary†life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace†is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â€If I must perish - do not let my paintings dieâ€; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory†is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes. All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .
SKU: MB.31008M
ISBN 9781513467016. 8.75x11.75 inches.
Blind Lemon Jefferson was a trail blazer, both as a singer and guitarist, but also as a commercial phenomenon, for he was the first blues musician to establish the tremendous appeal that blues, as played and sung by rural African American folk, had for the record-buying public. It is no exaggeration to say that the sales of Lemon’s records paved the way for a host of other solo rural blues musicians to record in his wake and made the record companies more willing to give other musicians a chance, in the hopes of achieving similar success. Lemon’s record sales weren’t what made him a great musician, though - that could only be attributed to his startlingly virtuosic guitar - playing and soulful singing, developed over years of busking, building on his natural gifts with a great deal of practice and work. In the Guitar of Blind Lemon Jefferson author John Miller presents transcriptions, in standard notation and tablature, of 22 of Lemon’s greatest performances, with an additional essay examining Lemon’s senses of time and phrasing and his picking techniques. Also included is a download link to all the original recordings. To present a picture of Lemon the man, noted blues researchers Alan Governar and Kip Lornell have contributed an essay focusing on Lemon’s early life, the origins of his music, and his time spent in a musical partnership with Lead Belly. Links are provided to downloadable performances of the songs in the book from which the transcriptions were made, so that you can have Lemon’s sound in your head as you learn to play his songs.Blind Lemon Jefferson was remarkable, even in a style that abounded in great musicians, and some measure of his influence can be seen in the fact that musicians recorded in the 1960s, more than thirty years after his death, were still covering his songs and stealing guitar licks from him. The Guitar of Blind Lemon Jefferson gives you the resources needed to learn what was so special about Lemon’s music, and to experience his musical excellence from inside the music itself.Titles include: One Dime Blues, Got The Blues, Dry Southern Blues, Big Night Blues, Rabbit Foot Blues, Shuckin' Sugar Blues, Where Shall I Be, Wartime Blues, Black Horse Blues, Prison Cell Blues, Piney Woods Money Mama, See That My Grave Is Kept Clean, He Arose From The Dead, Beggin' Back, Broke And Hungry, Bad Luck Blues, Matchbox Blues, Lemon's Worried Blues, That Crawlin' Baby Blues, Easy Rider Blues, Stocking Feet Blues and Right of Way BluesLevel 2/3 • 160 pages • Direct download link to audio files.Â
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