Singapura Suite Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0981357-010 Composed by Jan...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-0981357-010
Composed by Jan Van der
Roost. Performance
Series. Concert Piece.
Set (Score & Parts).
Composed 1998. De Haske
Publications #DHP
0981357-010. Published by
De Haske Publications
(BT.DHP-0981357-010).
‘Singapura
€™ is de
oorspronkelijke naam van
Singapore in het Maleis,
de originele taal van
deze stadstaat. Omdat
Singapore een van de
belangrijkste havens ter
wereld is, opent de
componist met een
‘zeemansdansâ€
. Ook de
authentiekemelodie
Chan Mali Chan is
te herkennen. Het
dynamische aspect van
Singapore wordt verbeeld
in een snelle bourree,
gevolgd door een
contrasterend authentiek
en rustig bootslied:
Dayung
Sampan.
Singapore, la
citt del leone, è uno
dei più importanti
crocevia
dell’Asia.
Singapore mischia
abilmente le culture
provenienti dalla Cina,
dalla Malesia,
dall’India a
quelle occidentali. La
musica tradizionale è
l’immagine delle
molte etnie di questa
citt -stato. I due
movimenti di questa
composizione si ispirano
a canti tradizionali
della Malesia. Il primo
movimento sviluppa
quattro canti
tradizionali di carattere
contrastante e
contrastato. Il secondo
movimento è basato sui
canti Lenggang Kangkung e
Katang Lompat, che, come
d’abitudine in
oriente, descrivono
animali e
l’ambiente in cui
vivono legandoli a
simbolismi, e un canto
tradizionale in occasione
di matrimoni. I
duemovimenti di questa
rapsodia non sono legati
tra loro, rendendo
possibile eseguirli
separatamente.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144407270
Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270).
UPC:
680160681891. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Singapura Suite Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-0981357-140 Composed by Jan...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-0981357-140
Composed by Jan Van der
Roost. Performance
Series. Concert Piece.
Score Only. Composed
1998. 76 pages. De Haske
Publications #DHP
0981357-140. Published by
De Haske Publications
(BT.DHP-0981357-140).
‘Singapura
€™ is de
oorspronkelijke naam van
Singapore in het Maleis,
de originele taal van
deze stadstaat. Omdat
Singapore een van de
belangrijkste havens ter
wereld is, opent de
componist met een
‘zeemansdansâ€
. Ook de
authentiekemelodie
Chan Mali Chan is
te herkennen. Het
dynamische aspect van
Singapore wordt verbeeld
in een snelle bourree,
gevolgd door een
contrasterend authentiek
en rustig bootslied:
Dayung
Sampan.
Singapore, la
citt del leone, è uno
dei più importanti
crocevia
dell’Asia.
Singapore mischia
abilmente le culture
provenienti dalla Cina,
dalla Malesia,
dall’India a
quelle occidentali. La
musica tradizionale è
l’immagine delle
molte etnie di questa
citt -stato. I due
movimenti di questa
composizione si ispirano
a canti tradizionali
della Malesia. Il primo
movimento sviluppa
quattro canti
tradizionali di carattere
contrastante e
contrastato. Il secondo
movimento è basato sui
canti Lenggang Kangkung e
Katang Lompat, che, come
d’abitudine in
oriente, descrivono
animali e
l’ambiente in cui
vivono legandoli a
simbolismi, e un canto
tradizionale in occasione
di matrimoni. I
duemovimenti di questa
rapsodia non sono legati
tra loro, rendendo
possibile eseguirli
separatamente.
(Favola in musica in un prologo e cinque atti). Composed by Claudio Monteverdi (...(+)
(Favola in musica in un
prologo e cinque atti).
Composed by Claudio
Monteverdi (1567-1643).
Edited by Rinaldo
Alessandrini. For soprano
voice solo (7), tenor
voice solo (4), bass
voice solo (3), SSATTB
choir, TTBBB choir,
orchestra. This edition:
Urtext edition.
Paperback. Score.
Language: Italian, Text
Language:
Italian/English/German.
141 pages. Published by
Baerenreiter Verlag
Violin and piano - intermediate SKU: HL.49045186 Fantasy for Violin an...(+)
Violin and piano -
intermediate
SKU:
HL.49045186
Fantasy for Violin and
Piano. Composed by
Edward Mollenhauer.
Edited by Peter Mohrs.
This edition: Saddle
stitching. Sheet music.
String. Softcover. 12
pages. Schott Music
#ED22363. Published by
Schott Music
(HL.49045186).
ISBN
9790001136587. UPC:
841886027008.
9.0x12.0x0.054
inches.
There is
not a great deal known
about the violinist,
teacher and composer
Edward Mollenhauer
(1827-1914) from Erfurt.
However, two of his
compositions virtually
immortalized him: the
fantasia The Infant
Paganini as well as the
somewhat more difficult
sister work The Boy
Paganini (Schott ED
21703). Both are played
with great enthusiasm by
young violinists all over
the world. Both
compositions present a
sparkling display of
beautiful melodies and
brilliant idiomatic
figurations which are
effective without being
too difficult.
Piano Accompaniment; Violin (Violin/Piano) - easy SKU: HL.49046262 Vio...(+)
Piano Accompaniment;
Violin (Violin/Piano) -
easy
SKU:
HL.49046262
Violin
and Piano. Edited by
Peter Mohrs. This
edition: Saddle
stitching. Sheet music.
String Solo. Classical.
Softcover. Op. 15. 20
pages. Schott Music
#SE1042. Published by
Schott Music
(HL.49046262).
ISBN
9783795716660. UPC:
888680954178.
9.0x12.0x0.067 inches.
German - English -
French.
Ferdinand
Küchler is regarded as
one of the great violin
teachers of the 20th
century. Apart from his
Violin Method, it is,
above all, his
concertinos that are an
absolute must for the
development of any violin
pupil, especially his
famous Concertino in G
major Op. 11 (Schott SE
1001) as well as his
Concertino in D major Op.
15 which both enjoy great
popularity. Composed
“in the style of
Antonio Vivaldiâ€,
the work has, without
doubt, been one of the
most frequently played
works in student violin
literature for decades.
It is the perfect
educational link to
Vivaldi's somewhat more
difficult “student
concertosâ€. The
completely baroque-style
movements appeal to every
pupil. The fast outer
movements contain
rewarding, always
seemingly violinistic
runs and idiomatic
figurations. The appeal
of the slow middle
movement lies in its
simple, yet tonally
demanding Siciliano
theme. The works requires
knowledge of the 2nd and
3rd positions and is here
presented in a new modern
edition. Bowing,
articulation and
fingerings are based on
today's experience of
interpreting Vivaldi's
music, providing creative
space and possibilities
for personal ideas in
modern violin lessons.
This edition is part of
the new Schott Student
Edition series which
offers varied literature
at five different levels
of difficulty,from 1
(easy) to 5 (difficult),
for instrumental lessons.
For more information see
www.schott-student-editio
n.com.
For String Orchestra. Composed by Sergei Prokofiev (1891-1953). Arranged by ...(+)
For String Orchestra.
Composed by Sergei
Prokofiev
(1891-1953). Arranged by
Lauren Keiser. Southern
Music. Classical.
Softcover.
Hal Leonard #SO130C.
Published by Hal Leonard
Chamber Music Flute, Piano, Viola SKU: PR.11440719S Composed by Nathan Cu...(+)
Chamber Music Flute,
Piano, Viola
SKU:
PR.11440719S
Composed
by Nathan Currier. Set of
Score and Parts. With
Standard notation. 44
pages. Duration 11
minutes, 30 seconds.
Theodore Presser Company
#114-40719S. Published by
Theodore Presser Company
(PR.11440719S).
UPC:
680160011087. 8.5 x 11
inches.
Sambuca,
which most people know
today as a
licorice-flavored
liqueur, was the name the
Greeks gave to a kind of
sharp, shrill-sounding
harp, of Eastern,
possibly Jewish origin.
The Greeks then gave this
same name to a wooden
flute made from the elder
bush, and in the middle
ages it was also
associated with the viol,
at least to the extent
that the Hurdy-gurdy, an
instrument shaped like a
viol and played by means
of a rotating wheel, was
sometimes called a
Sambuca rotata. Thus, the
word Sambuca is tied up
with the ancestors - in
each case, ancestors of
ow birth, as it were - of
the modern harp, flute,
and viola. Somehow, the
present-day association
with alcohol seems very
meet, in that a certain
objectionable quality
seems to have gone with
the name - in 1545 one
George Ascham wrote, This
I am sure... all maner of
pypes, barbitons,
sambukes... be condemned
of Aristotle. The word
Sambucistria - for a
female Sambuca player -
was used by Plutarch and
others to evoke a feeling
of foreign-inspired
decadence [Grove's
Dictionary of Musical
Instruments, 1984].
Currier's work is truly a
Sambuca sonata. Written
for the three Sambuca
instruments, Currier has
first of all seemingly
endeavoured to make the
harp part particularly
Sambuca-like (i.e., sharp
and shrill) with its many
nail and xylophonic
effects, but more
importantly, has used
musical material that
corresponds to the
low-brow, somewhat
Dionysian, indeed, today
even Bacchanalian
implication of the name -
thus, rock music seems to
inspire a great deal
Currier's work [the
Samba, an appropriately
Bacchanalian Brazilian
Carnival dance, in duple
meter with syncopations,
while apparently having
no etymological
connection to Sambuca,
might seem to be
musically involved, too].
The Sambuca which lies
behind this rather
drunken piece is probably
the only musical
instrument which became a
model for an instrument
of war; one Craxton wrote
in 1489 that Sambuce is
an engyn whiche is made
in manere of a harpe able
to perce a walle. But
whether talking of the
modern liqueur or the
ancient instrument
condemned of Aristotle
and mentioned four times
in the Book of Daniel, it
is a shame that Debussy -
inspired by the Dionysian
side of classical culture
(as in Prelude a
l'apres-midi d'un faune)
- seems to have remained
ignorant Sambuca, a word
which to some extent must
lie behind all works for
this wonderful
instrumentation which he
invented, and which I
might seem to have
striven unconsciously,
equally ignorant, to make
the sole basis of
Currier's work - until,
having completed this
piece, written for
harpist Marie-Pierre
Langlamet, and rummaging
around for a title, I
chanced upon it in an old
dictionary.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440727S
Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S).
UPC:
680160681907. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Clarinet, piano SKU: FG.55011-733-4 Suite for clarinet and piano. ...(+)
Clarinet, piano
SKU:
FG.55011-733-4
Suite for clarinet and
piano. Composed by
Ilkka Kuusisto.
Classical. Score & part.
Fennica Gehrman
#55011-733-4. Published
by Fennica Gehrman
(FG.55011-733-4).
ISBN
9790550117334.
Ilkk
a Kuusisto's raucous and
technically somewhat
challenging suite for
clarinet and piano
Kissalan Aapelin
soitteita (Aapeli of
Kissala plays the
Clarinet) is a musical
portrait gallery of the
Seven Brothers by
playwright Aleksis Kivi.
They all get musical
pictures played by
Aapeli, a character also
appearing in the play.
Musical motives are
derived from the
characteristics of the
main persons, ie. the
movement Tuomas is in
slow tempo, as if
portraying the
trustworthiness of stable
Tuomas. Aapo's Menuetto
may refer to the
characters abilities to
tell stories. Simeoni
wrestles with the Devil,
as he does in the book
with both alcohol and in
his religious beliefs.
Eero, the youngest of the
brothers is portrayed in
a fast polka. The suite
was commissioned by Tapio
Lotjonen for specifically
for piccolo clarinet. In
this volume the solo part
is published both in
B-flat and E-flat
transpositions, as
prepared by the composer.
Contents: 1. Jussin
polska * Jussi's polska
2. Tuomas 3. Menuetti
Aapolle * A Menuetto for
Aapo 4. Simeoni ja
Perkele * Simeoni and the
Devil 5. Timon Masurkka *
Timo's mazurka 6. Laurin
marssi * Lauri's march 7.
Eeron polkka * Eeros's
polka.
Orchestra Orchestra SKU: PR.11641373S Composed by Peter Schickele. Full s...(+)
Orchestra Orchestra
SKU: PR.11641373S
Composed by Peter
Schickele. Full score.
Duration 24 minutes.
Theodore Presser Company
#116-41373S. Published by
Theodore Presser Company
(PR.11641373S).
UPC:
680160680344.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.
Pophits.nl Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1104915-020 Arranged by Peter Kleine S...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1104915-020
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Set (Score & Parts).
Composed 2010. De Haske
Publications #DHP
1104915-020. Published by
De Haske Publications
(BT.DHP-1104915-020).
9x12 inches.
English-German-French-Dut
ch.
Pophits.nl
I> is het vervolg op de
succesvolle medley
Hollandse Hits en bevat
weer vier
Nederlandstalige nummers.
De selectie van deze
nummers kwam totstand
door middel van een door
Kunstfactor uitgeschreven
enquête.Deze medley
bevat:Lippen opde
mijne - Nick &
SimonDit nummer werd de
vijfde nummer-1 hit voor
het duo Nick & Simon.Het
nummer heeft een zomerse
inslag en eenhoog
meezinggehalte.
Dochters - Marco
BorsatoDochters is
de veertiende nummer-1
hit voor MarcoBorsato.
Deze gevoelige ballad
beschrijft de levensfases
van een dochter. Van kind
tot aan getrouwde vrouw.
Weer een meesterwerkvan
de hand van John
Ewbank.Mi Rowsu
(Tuintje In Mijn
Hart) - Jan Smit &
DamaruMi Rowsu is
een nummer van
deSurinaamse zanger
Damaru. Hij schreef het
nummer voor zijn dochter.
Mi rowsu is
Surinaams voormijn roos.
In Nederland werd dit
vrolijke nummer bekend
als duet met Jan Smit en
haalde binnen korte tijd
de nummer-1 notering in
de hitlijsten.So
Incredible - Ilse de
LangeSo Incredible
is een single van Ilsede
Lange. Dit nummer
verscheen op 19 september
2008 en bereikte de
nummer-1 positie in de
Single Top 100. Het heeft
een uitgesproken sound en
is de ideale afsluiter
van dezeprachtige
medley.Deze medley geeft
u de gelegenheid weereen
aantal bekende
Nederlandstalige nummers
toe te voegen aan uw
concert of optreden.
Succes verzekerd bij uw
toeschouwers, maar ook
bij uw
muzikanten!
Peter
Kleine Schaars schuf
dieses Medley aus vier
bezaubernden Liedern von
holländischen
Interpreten, die über
die Grenzen unseres
Nachbarlandes hinaus
bekannt sind: Lippen op
de Mijne von Nick &
Simon, Dochters von Marco
Borsato, Mi Rowsu
(Tuintje in Mijn Hart)
von Damaru & Jan Smit
sowie So Incredible von
Ilse de Lange.
Pophits.nl Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1104915-120 Arranged by Peter Kleine S...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1104915-120
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2010. 24 pages. De Haske
Publications #DHP
1104915-120. Published by
De Haske Publications
(BT.DHP-1104915-120).
9x12 inches.
English-German-French-Dut
ch.
Pophits.nl
I> is het vervolg op de
succesvolle medley
Hollandse Hits en bevat
weer vier
Nederlandstalige nummers.
De selectie van deze
nummers kwam totstand
door middel van een door
Kunstfactor uitgeschreven
enquête.Deze medley
bevat:Lippen opde
mijne - Nick &
SimonDit nummer werd de
vijfde nummer-1 hit voor
het duo Nick & Simon.Het
nummer heeft een zomerse
inslag en eenhoog
meezinggehalte.
Dochters - Marco
BorsatoDochters is
de veertiende nummer-1
hit voor MarcoBorsato.
Deze gevoelige ballad
beschrijft de levensfases
van een dochter. Van kind
tot aan getrouwde vrouw.
Weer een meesterwerkvan
de hand van John
Ewbank.Mi Rowsu
(Tuintje In Mijn
Hart) - Jan Smit &
DamaruMi Rowsu is
een nummer van
deSurinaamse zanger
Damaru. Hij schreef het
nummer voor zijn dochter.
Mi rowsu is
Surinaams voormijn roos.
In Nederland werd dit
vrolijke nummer bekend
als duet met Jan Smit en
haalde binnen korte tijd
de nummer-1 notering in
de hitlijsten.So
Incredible - Ilse de
LangeSo Incredible
is een single van Ilsede
Lange. Dit nummer
verscheen op 19 september
2008 en bereikte de
nummer-1 positie in de
Single Top 100. Het heeft
een uitgesproken sound en
is de ideale afsluiter
van dezeprachtige
medley.Deze medley geeft
u de gelegenheid weereen
aantal bekende
Nederlandstalige nummers
toe te voegen aan uw
concert of optreden.
Succes verzekerd bij uw
toeschouwers, maar ook
bij uw
muzikanten!
Peter
Kleine Schaars schuf
dieses Medley aus vier
bezaubernden Liedern von
holländischen
Interpreten, die über
die Grenzen unseres
Nachbarlandes hinaus
bekannt sind: Lippen op
de Mijne von Nick &
Simon, Dochters von Marco
Borsato, Mi Rowsu
(Tuintje in Mijn Hart)
von Damaru & Jan Smit
sowie So Incredible von
Ilse de Lange.
Piano SKU: SU.28040080 For Piano. Composed by John Newell. Keyboar...(+)
Piano
SKU:
SU.28040080
For
Piano. Composed by
John Newell. Keyboard,
Piano/Harpsichord. Score.
Abierto Music #28040080.
Published by Abierto
Music (SU.28040080).
A set of four
somewhat
neo-impressionistic works
for piano solo, inspired
by scenes from life in
Downeast Maine. The
movements are: I.
Stopping By the Piano On
a Sunny Morning II.
Winter Winds III. Two
Crows In a Tree Watching
Sea Smoke IV. Yes,
ReallyPiano Duration: 15'
Composed: 2015 Published
by: Abierto Music.
Orchestra Orchestra SKU: PR.11641373L Composed by Peter Schickele. Large ...(+)
Orchestra Orchestra
SKU: PR.11641373L
Composed by Peter
Schickele. Large Score.
Duration 24 minutes.
Theodore Presser Company
#116-41373L. Published by
Theodore Presser Company
(PR.11641373L).
UPC:
680160680337.
The
concerto has always
seemed an especially
attractive medium to me,
not necessarily because
of its expectations of
virtuosity (although
flaunting it when you've
got it certainly has its
place), and emphatically
not because of the
perception of a concerto
as a contest, but because
so much of what I write
feels song-like; I'm very
much at home with the
age-old texture of melody
and accompaniment. I
hope, before I move on,
to have the opportunity
to write concertos for
all the major
instruments, and perhaps
some of the rarer ones as
well. The oboe is not
only one of the major
instruments, it is one of
my favorite instruments.
I've always loved its
sound, but since moving
to New York I have gotten
to hear and, in some
cases, know some
extremely fine oboists
who broadened my
appreciation of the
instrument's
possibilities. I
especially remember a
concert, probably in the
late 1960's, in which
Humbert Lucarelli played
a Handel concerto,
filling out large melodic
leaps with cascading
scale passages in a way
that raised the hair on
the back of your neck,
somewhat in the way that
John Coltrane's sheets of
sound did. The sweeping
scales in the second
movement of my concerto
were definitely inspired
by Bert Lucarelli's
performance. The first,
third and fifth movements
of the Concerto for Oboe
and Orchestra are
song-like, whereas the
second and fourth have
strong scherzo and dance
qualities, including a
couple of sections that
sound like out-and-out
pirate dances to me. The
hymn-like tune at the
beginning of the middle
movement was originally
begun as a vocal piece to
be sung by my wife, son
and daughter at my
brother's wedding, but I
couldn't come up with
good works for it, so it
ended up as an
instrumental chant. The
opening and closing of
the concerto make use of
the oboe's uniquely
soulful singing. I had
not heard Pamela Woods
Pecha's solo playing in
person when she
approached me about
writing a concerto, but I
had heard her fine
recording of chamber
music for oboe and
strings by the three B's
(English, that is: Bliss,
Bax and Britten) with the
Audubon Quartet. I
actually already had some
oboe concerto ideas in my
sketchbooks; although I
didn't end up using any
of those earlier ideas,
it's interesting that
most of them tended to
share the general feeling
and tonality of the
eventual opening of the
concerto. The work was
completed on October 13,
1994. I hate the
compromises involved in
making piano reductions
-- perhaps I would feel
differently if I were a
more accomplished pianist
-- so I often decide to
make piano reductions for
four hands rather than
two. My good friend Jon
Kimura Parker is a
terrific sight-reader,
and I roped him into
coming over to my place
on February 17, 1995, to
help me accompany Pamela
on the first read-through
of the piece. The first
performance of the work
took place on July 21,
1995, at the American
Music Festival in Duncan,
Oklahoma, with Mark
Parker conducting the
Festival Orchestra.