Soli SATB, SATB Choir, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118659 (+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118659
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf. 1x
31.186/71 oboe 1, 1x
31.186/72 oboe 2, 1x
31.186/73 taille, 1x
31.186/74 bassoon.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Sacred vocal
music, Cantatas, Advent.
Set of Orchestra Parts.
Composed 1723. BWV 186.
Duration 40 minutes.
Carus Verlag #CV
31.186/59. Published by
Carus Verlag
(CA.3118659).
ISBN
9790007209896. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score and parts
available separately -
see item CA.3118600.
Oboe - very easy, easy SKU: BT.DHP-1001895-401 By Jean Castelain and Mich...(+)
Oboe - very easy, easy
SKU:
BT.DHP-1001895-401
By
Jean Castelain and
Michiel Oldenkamp. By
Traditional.
Ãâ°couter, Lire et
Jouer. Educational Tool.
Book Only. Composed 2000.
24 pages. De Haske
Publications #DHP
1001895-401. Published by
De Haske Publications
(BT.DHP-1001895-401).
Trombone - very easy, easy SKU: BT.DHP-1001901-401 By Jean Castelain and ...(+)
Trombone - very easy,
easy
SKU:
BT.DHP-1001901-401
By
Jean Castelain and
Michiel Oldenkamp. By
Traditional. Écouter,
Lire et Jouer.
Educational Tool. Book
Only. Composed 2000. 24
pages. De Haske
Publications #DHP
1001901-401. Published by
De Haske Publications
(BT.DHP-1001901-401).
Flute - very easy, easy SKU: BT.DHP-1001894-401 By Jean Castelain and Mic...(+)
Flute - very easy, easy
SKU:
BT.DHP-1001894-401
By
Jean Castelain and
Michiel Oldenkamp. By
Traditional. Écouter,
Lire et Jouer.
Educational Tool. Book
Only. Composed 2000. 24
pages. De Haske
Publications #DHP
1001894-401. Published by
De Haske Publications
(BT.DHP-1001894-401).
Clarinet - very easy, easy SKU: BT.DHP-1001896-401 By Jean Castelain and ...(+)
Clarinet - very easy,
easy
SKU:
BT.DHP-1001896-401
By
Jean Castelain and
Michiel Oldenkamp. By
Traditional. Écouter,
Lire et Jouer.
Educational Tool. Book
Only. Composed 2000. 24
pages. De Haske
Publications #DHP
1001896-401. Published by
De Haske Publications
(BT.DHP-1001896-401).
Saxophone - very easy-easy SKU: HL.44010453 By Jean Castelain_Michiel Old...(+)
Saxophone - very
easy-easy
SKU:
HL.44010453
By Jean
Castelain_Michiel
Oldenkamp. By
Traditional. De Haske
Play-Along Book.
Educational Tool. Book
[Softcover]. Composed
2000. 24 pages. De Haske
Publications #1001897.
Published by De Haske
Publications
(HL.44010453).
ISBN
9789043107341. UPC:
884088472122.
9.0x12.0x0.103 inches.
French.
Des la
Lecon 2 du premier volume
de la methode Ecouter,
lire & jouer, l'eleve
peut partir a la
decouverte du recueil des
Chansons Celebres
contenant des airs
traditionnels tels que
A la claire fontaine,
C'est la mere Michel,
J'ai du bon tabac, Nous
n'irons plus au bois, Une
souris verte, Vive le
vent et 60 autres
airs francais et du
repertoire traditionnel
international dans des
arrangements courts et
accessibles aux
debutants.
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118699 (+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118699
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Organ. Sacred
vocal music, Cantatas,
Advent. Single Part,
Organ. Composed 1723. BWV
186. 28 pages. Duration
40 minutes. Carus Verlag
#CV 31.186/99. Published
by Carus Verlag
(CA.3118699).
ISBN
9790007209940. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score and part
available separately -
see item CA.3118600.
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118655 (+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118655
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Advent.
Choral Score. Composed
1723. BWV 186. 8 pages.
Duration 40 minutes.
Carus Verlag #CV
31.186/55. Published by
Carus Verlag
(CA.3118655).
ISBN
9790007186562. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score available
separately - see item
CA.3118600.
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118669 (+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118669
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Complete
orchestral parts. Sacred
vocal music, Cantatas,
Advent. Set of Orchestra
Parts. Composed 1723. BWV
186. Duration 40 minutes.
Carus Verlag #CV
31.186/69. Published by
Carus Verlag
(CA.3118669).
ISBN
9790007187262. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score and parts
available separately -
see item CA.3118600.
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118653 (+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118653
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Advent.
Vocal score. Composed
1723. BWV 186. 48 pages.
Duration 40 minutes.
Carus Verlag #CV
31.186/53. Published by
Carus Verlag
(CA.3118653).
ISBN
9790007186517. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score available
separately - see item
CA.3118600.
Soli SATB, SATB Choir, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118650 (+)
Soli SATB, SATB Choir, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118650
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Advent.
Full score. Composed
1723. BWV 186. 56 pages.
Duration 40 minutes.
Carus Verlag #CV
31.186/50. Published by
Carus Verlag
(CA.3118650).
ISBN
9790007181550. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score available
separately - see item
CA.3118600.
Soli SATB, Coro SATB, 2 Ob, Tl (Eh), Fg, 2 Vl, Va, Bc SKU: CA.3118657 ...(+)
Soli SATB, Coro SATB, 2
Ob, Tl (Eh), Fg, 2 Vl,
Va, Bc
SKU:
CA.3118657
Cantata
for the 7th Sunday after
Trinity. Composed by
Johann Sebastian Bach.
Edited by Uwe Wolf.
Stuttgart Urtext Edition:
Bach vocal. Sacred vocal
music, Cantatas, Advent.
Study score. Composed
1723. BWV 186. 56 pages.
Duration 40 minutes.
Carus Verlag #CV
31.186/57. Published by
Carus Verlag
(CA.3118657).
ISBN
9790007245023. Key: G
minor / c dorian.
Language:
German/English.
The
cantata Argre dich, o
Seele, nicht BWV 186 is
in a sense the companion
work to the much
better-known cantata Herz
und Mund und Tat und
Leben BWV 147. Both were
composed in Advent 1716
as Bach's last two
cantatas for the Weimar
court, and both were
arranged for another
Sunday in Bach's first
Leipzig cantata cycle by
the addition of
recitatives and a
large-scale chorale
movement, heard at the
end of both parts. The
sound of the Cantata BWV
186 is characterized by
the four-part woodwind
ensemble writing. The
final chorale, heard
twice, anticipates the
opening choruses of the
chorale cantatas from
Bach's second cycle.
Cantata BWV 186 for the
7th Sunday after Trinity
is a considerably
expanded reworking of a
Weimar Advent cantata of
1716. Only the text
survives of the Advent
cantata, but Diethard
Hellmann has been able to
reconstruct the work from
the later version (Carus
31.186). Score available
separately - see item
CA.3118600.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.
Soli SATB, SATB Choir, [2 Ob], Fg, 2 Vl, Va, Bc SKU: CA.3118603 Cantat...(+)
Soli SATB, SATB Choir, [2
Ob], Fg, 2 Vl, Va, Bc
SKU: CA.3118603
Cantata for the 3rd
Sunday in Advent.
Composed by Johann
Sebastian Bach. Edited by
Diethard Hellmann.
Arranged by Diethard
Hellmann. Stuttgart
Urtext Edition: Bach
vocal. Sacred vocal
music, Cantatas, Advent,
Whitsun. Vocal score.
Composed 1716. BWV 186a.
32 pages. Duration 20
minutes. Carus Verlag #CV
31.186/03. Published by
Carus Verlag
(CA.3118603).
ISBN
9790007188177. Key: G
minor / c dorian.
Language: German. Text:
Franck,
Salomo.
Bach was
not able to use the
Weimar Advent cantata
Argre dich, o Seele,
nicht BWV 186a in
Leipzig, as there was no
performance of church
music there between the
1st Sunday of Advent and
Christmas. Bach expanded
and revised the cantata
during his first year in
Leipzig and performed it
for the first time in its
new form on the 7th
Sunday after Trinity
1723. Only a wordbook
survives from the
original Weimar form of
the work. Starting from
the Weimar wordbook and
Bach's Leipzig score,
Diethard Hellmann has
created a reconstruction
of Bach's sole known
cantata for the 3rd
Sunday of Advent. Bach's
Leipzig version of the
cantata is available
separately (Carus
31.186/50). Score
available separately -
see item CA.3118600.
SKU: HL.1117978 With Switch. Lewitt Audio. Microphone. Hal Leonard...(+)
SKU: HL.1117978
With Switch.
Lewitt Audio. Microphone.
Hal Leonard #MTP350CMS.
Published by Hal Leonard
(HL.1117978).
UPC:
196288301660.
8.25x10.25x4.25
inches.
Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Clear and
precise condenser sound
The MTP 350 CMs is a
condenser vocal
microphone with a
lightweight diaphragm
condenser capsule. This
brings a high level of
sonic clarity to your
vocal performance.
Durable materials for
longevity To make sure
your beloved microphone
survives even your
roughest touring
routines, the enclosure
is made out of durable
zinc die-cast parts. A
rubber-suspension
protects the capsule
while minimizing unwanted
handling noise. The
built-in wind and
pop-filter prevents
hissing sounds and
plosives. On top of that,
the capsule is protected
from moisture. Cardioid
polar pattern Its
cardioid polar pattern
picks up sound coming
mainly from the front of
the microphone. Sound
coming from directly
behind the mic is
dampened to guarantee
high monitor levels. A
solid show is assured as
you don't have to worry
about nasty feedback
issues. What's in the
box? The MTP 350 CMs
comes with a snap-in mic
clip, a windscreen and a
transport bag.
SKU: HL.1117977 Lewitt Audio. Microphone. Hal Leonard #MTP350CM. Publishe...(+)
SKU: HL.1117977
Lewitt Audio. Microphone.
Hal Leonard #MTP350CM.
Published by Hal Leonard
(HL.1117977).
UPC:
847986001412.
8.0x10.0x4.5
inches.
Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Clear and
precise condenser sound
The MTP 350 CM is a
condenser vocal
microphone with a
lightweight diaphragm
condenser capsule. This
brings a high level of
sonic clarity to your
vocal performance.
Durable materials for
longevity To make sure
your beloved microphone
survives even your
roughest touring
routines, the enclosure
is made out of durable
zinc die-cast parts. A
rubber-suspension
protects the capsule
while minimizing unwanted
handling noise. The
built-in wind and
pop-filter prevents
hissing sounds and
plosives. On top of that,
the capsule is protected
from moisture. Cardioid
polar pattern Its
cardioid polar pattern
picks up sound coming
mainly from the front of
the microphone. Sound
coming from directly
behind the mic is
dampened to guarantee
high monitor levels. A
solid show is assured as
you don't have to worry
about nasty feedback
issues. What's in the
box? The MTP 350 CM comes
with a snap-in mic clip,
a windscreen and a
transport bag.
SKU: HL.1117975 Lewitt Audio. Microphone. Hal Leonard #MTP250DM. Publishe...(+)
SKU: HL.1117975
Lewitt Audio. Microphone.
Hal Leonard #MTP250DM.
Published by Hal Leonard
(HL.1117975).
UPC:
847986001399.
8.0x10.0x4.5
inches.
Please
note: although we don't
keep stock on hand, this
item will drop ship
direct from the
manufacturer at the time
of your order. Tailored
vocal sound The MTP 250
DM features full and
clear live sound. Your
voice sits well in the
mix and you can hear
yourself clearly on the
monitors. Engage with
your fans. They can hear
you loud and clear!
Durable materials for
longevity To make sure
your beloved microphone
survives even your
roughest touring
routines, the enclosure
is made out of durable
zinc die-cast parts. A
rubber-suspension
protects the capsule
while minimizing unwanted
handling noise. The
built-in wind and
pop-filter prevents
hissing sounds and
plosives. On top of that,
the capsule is protected
from moisture. Cardioid
polar pattern A cardioid
polar pattern picks up
sound coming mainly from
the front of the
microphone, sound from
directly behind the MTP
250 DM is dampened. You
can run your monitor
signal at high volume
without having to worry
about nasty feedback
issues. You'll perform
confidently, and a solid
show is assured. What's
in the box? The MTP 250
DM comes with a snap-in
mic clip, a windscreen
and a transport bag.
The Piano Student's Hymnal arranged by Gayle Kowalchyk and E. L. Lancaster. For ...(+)
The Piano Student's
Hymnal arranged by Gayle
Kowalchyk and E. L.
Lancaster. For Piano.
Piano Collection; Piano
Supplemental. Late
Elementary/Early
Intermediate level piece
for the Hymn Playing
event with the National
Federation of Music Clubs
(NFMC) Festivals Bulletin
2008-2009-2010. Hymn;
Sacred. Early
Intermediate; Late
Elementary. Book. 32
pages. Published by
Alfred Music Publishing
I Will Survive Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 3 SKU: BT.DHP-0950643-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 3
SKU:
BT.DHP-0950643-015
Composed by D. Fekaris,
F. Perren. Arranged by
Ron Sebregts. De Haske
Pop Collection. Original
Light Music. Set (Score
and Parts). Composed
1995. De Haske
Publications #DHP
0950643-015. Published by
De Haske Publications
(BT.DHP-0950643-015).
This classic
disco hit was released by
Gloria Gaynor in 1978.
Following massive airplay
it reached number one in
pop charts around the
world and in 1980
received a Grammy for
Best Disco Recording.
Since then it has
appeared in many films
and television programs
and has been adopted by
many causes such as
HIV/AIDS awareness and
the campaign for
womenâ??s rights. It is
also the â??stadium
anthemâ?? for the Dutch
football team Feyenoord.
Ensure your audience
leaves any concert in an
upbeat mood with this
disco
masterpiece.
I
Will Survive was in
de jaren zeventig een
megahit voor Gloria
Gaynor. In discotheken
werd het nummer
grijsgedraaid. Men begaf
zich destijds maar al te
graag op de dansvloer om
op de energieke klanken
van deze song te
swingen.In de jaren
negentig was I Will
Survive opnieuw een
enorm succes. Breng
tijdens uw concert met
deze bewerking van Ron
Sebregts leven in de
brouwerij!
Das
Remake eines der
grö�ten Hits von
Gloria Gaynor erreichte
zur FuÃ?ball-WM 1998 in
der Version der Hermes
House Band Kultstatus.
Inzwischen gehört der
Song zum
Standardrepertoire der
Fanclubs groÃ?er und
kleiner Vereine auf der
ganzen Welt und darf auch
bei der
FuÃ?ball-Europameistersc
haft im Jahr 2008 nicht
fehlen!
Gloria Gaynor,
è considerata come una
delle più grandi dive
della musica da
discoteca. Nel 1978
interpreta la canzone
I Will Survive che
diviene un inno
dellâ??emancipazione
femminile. Nel 1997,
ripresa dal gruppo Hermes
House Band, la canzone
diventa lâ??inno dei
giocatori di rugby
francese, in seguito
lâ??inno della nazionale
di calcio transalpina in
occasione dei Mondiali di
calcio del 1998.
The Baltic Way Ensemble de cuivres [Conducteur] - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1206253-130 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206253-130
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2019. 48 pages. De Haske
Publications #DHP
1206253-130. Published by
De Haske Publications
(BT.DHP-1206253-130).
English-German-French-
Dutch.
In 1989, the
demonstration named the
Baltic Way also
known as the Baltic
Chain— was held in
the Baltic states of
Estonia, Latvia and
Lithuania by its citizens
in a call for
independence from the
Soviet Union. On 23rd
August 1989, some two
million participants
formed a human chain,
hand-in-hand all the way
from the Estonian capital
of Tallinn its Latvian
counterpart, Riga,
through to the Lithuanian
capital of Vilnius - six
hundred kilometres long.
It became the longest
human chain ever created
and turned out to be the
final push needed for
much sought-after
independence. This
historic event became the
source of inspiration for
this composition. The
introduction of thefirst
movement, ‘Struggle
for Independence’,
is based on a nocturne
for piano by the renowned
Lithuanian composer and
painter Mikalojus
Konstantinas iurlionis
(1875-1911), thematic
material from which has
been incorporated
throughout the whole
composition. The
melancholic beginning is
followed by a powerful
theme which reflects the
resolve of the Baltic
people. The sudden
aggressive, dissonant
chords and a dominant
and—in rhythmic
terms—contrary
bass drum announce that
the resistance is not
going smoothly. Just for
a moment, we hear the
anthem of the Soviet
Union in the lower brass,
but this is relentlessly
pushed to the background
by the rest of the band
playing the Lithuanian
national anthem,
‘Tautiška giesm
’ (Lithuania, our
homeland). The second
movement, ‘Decades
of Suffering’,
echoes life under the
Soviet Union's thumb. In
the pursuit of
independence, a peaceful
protest is planned in
which a human chain is
formed across the Baltic
states of Estonia, Latvia
and Lithuania. This
‘Chain of
Freedom’ is
depicted in the final
movement of the work.
De Baltische Weg
(The Baltic Way)
was een demonstratie van
de bevolking van de
Baltische staten die in
1989 plaatsvond als een
roep om onafhankelijkheid
van de Sovjet-Unie. Deze
historische gebeurtenis
vormde de inspiratiebron
voor deze compositie. Van
Vilnius via Riga naar
Tallinn werd een
zeshonderd kilometer
lange keten van naar
schatting twee miljoen
mensen gevormd. Op 23
augustus 1989 gaven al
die mensen elkaar de hand
en werd De Baltische Weg
de langste menselijke
keten ooit. Het bleek de
uiteindelijke opmaat tot
de zo gewenste
onafhankelijkheid. De
inleiding van het eerste
deel, ‘Struggle for
Independence’, is
gebaseerd op een nocturne
voor piano van
devooraanstaande Litouwse
componist en
kunstschilder Mikalojus
Konstantinas iurlionis
(1875-1911). Het
thematische materiaal van
deze nocturne is door de
hele compositie heen
verwerkt. Na het
melancholische begin
volgt een krachtig thema,
waarmee de strijdbaarheid
van de Baltische
bevolking wordt
uitgebeeld. De
plotselinge agressieve
dissonante akkoorden en
een dominante en ritmisch
gezien tegendraadse grote
trom laten horen dat het
verzet niet eenvoudig
verloopt. Even klinkt het
begin van het volkslied
van de Sovjet-Unie in het
lage koper, maar dat
wordt door de rest van de
band onverbiddelijk naar
de achtergrond verwezen
door het Litouwse
nationale volkslied
‘Tautiška giesm
’ (Litouwen, ons
vaderland). In deel twee,
‘Decades of
Suffering’, wordt
het leven onder het juk
van de Sovjet-Unie
verklankt. In het streven
naar onafhankelijkheid
worden plannen gemaakt om
als vreedzaam protest
tegen de onderdrukking
een menselijke keten te
vormen over de wegen van
de Baltische staten
Litouwen, Letland en
Estland. Deze
‘Chain of
Freedom’ wordt in
het laatste deel van het
werk muzikaal
weergegeven.
Der
sogenannte Baltischer Weg
(The Baltic Way)
auch unter dem Namen
Baltische Kette bekannt
war 1989 eine
Demonstration von
Bürgern in den
baltischen Staaten
Estland, Lettland und
Litauen mit dem Aufruf
zur Unabhängigkeit von
der Sowjetunion. Am 23.
August 1989 bildeten rund
zwei Millionen Teilnehmer
eine sechshundert
Kilometer lange
Menschenkette, die von
der estnischen Hauptstadt
Tallinn über das
lettische Riga bis zur
litauischen Hauptstadt
Vilnius reichte. Die
längste Menschenkette,
die jemals geschaffen
wurde, erwies sich als
der letzte Schritt, der
zur lang ersehnten
Unabhängigkeit
führte. Dieses
historische Ereignis
diente der Komposition
alsInspirationsquelle.
Die Einleitung des ersten
Satzes, Struggle for
Independence“,
basiert auf einem
Nocturne für Klavier
des bekannten litauischen
Komponisten und Malers
Mikalojus Konstantinas
iurlionis (1875 1911),
dessen thematisches
Material in der gesamten
Komposition verwendet
wird. Dem melancholischen
Anfang folgt ein
mitreißendes Thema,
das die Entschlossenheit
der baltischen
Bevölkerung
widerspiegelt. Die
plötzlichen
aggressiven, dissonanten
Akkorde und eine
dominante und rhythmisch
gegenläufige Bewegung
in der Basstrommel
kündigen an, dass der
Widerstand nicht
reibungslos verläuft.
Für einen kurzen
Moment erklingt die Hymne
der Sowjetunion in den
tiefen Blechbläsern,
aber diese wird
unerbittlich vom
restlichen Orchester in
den Hintergrund
gedrängt, welches die
litauische Nationalhymne
Tautiška giesm “
(Litauen, unser
Heimatland“)
spielt. Der zweite Satz,
Decades of
Suffering“,
spiegelt das Leben unter
dem Joch der Sowjetunion
wider. Für das Streben
nach Unabhängigkeit
war ein friedlicher
Protest geplant, bei dem
eine Menschenkette durch
die baltischen Staaten
Estland, Lettland und
Litauen gebildet wurde.
Diese Chain of
Freedom“ wird im
letzten Satz des Werkes
beschrieben.
The Baltic Way Ensemble de cuivres [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1206253-030 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206253-030
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2019. De Haske
Publications #DHP
1206253-030. Published by
De Haske Publications
(BT.DHP-1206253-030).
English-German-French-
Dutch.
In 1989, the
demonstration named the
Baltic Way also
known as the Baltic
Chain— was held in
the Baltic states of
Estonia, Latvia and
Lithuania by its citizens
in a call for
independence from the
Soviet Union. On 23rd
August 1989, some two
million participants
formed a human chain,
hand-in-hand all the way
from the Estonian capital
of Tallinn its Latvian
counterpart, Riga,
through to the Lithuanian
capital of Vilnius - six
hundred kilometres long.
It became the longest
human chain ever created
and turned out to be the
final push needed for
much sought-after
independence. This
historic event became the
source of inspiration for
this composition. The
introduction of thefirst
movement, ‘Struggle
for Independence’,
is based on a nocturne
for piano by the renowned
Lithuanian composer and
painter Mikalojus
Konstantinas iurlionis
(1875-1911), thematic
material from which has
been incorporated
throughout the whole
composition. The
melancholic beginning is
followed by a powerful
theme which reflects the
resolve of the Baltic
people. The sudden
aggressive, dissonant
chords and a dominant
and—in rhythmic
terms—contrary
bass drum announce that
the resistance is not
going smoothly. Just for
a moment, we hear the
anthem of the Soviet
Union in the lower brass,
but this is relentlessly
pushed to the background
by the rest of the band
playing the Lithuanian
national anthem,
‘Tautiška giesm
’ (Lithuania, our
homeland). The second
movement, ‘Decades
of Suffering’,
echoes life under the
Soviet Union's thumb. In
the pursuit of
independence, a peaceful
protest is planned in
which a human chain is
formed across the Baltic
states of Estonia, Latvia
and Lithuania. This
‘Chain of
Freedom’ is
depicted in the final
movement of the work.
De Baltische Weg
(The Baltic Way)
was een demonstratie van
de bevolking van de
Baltische staten die in
1989 plaatsvond als een
roep om onafhankelijkheid
van de Sovjet-Unie. Deze
historische gebeurtenis
vormde de inspiratiebron
voor deze compositie. Van
Vilnius via Riga naar
Tallinn werd een
zeshonderd kilometer
lange keten van naar
schatting twee miljoen
mensen gevormd. Op 23
augustus 1989 gaven al
die mensen elkaar de hand
en werd De Baltische Weg
de langste menselijke
keten ooit. Het bleek de
uiteindelijke opmaat tot
de zo gewenste
onafhankelijkheid. De
inleiding van het eerste
deel, ‘Struggle for
Independence’, is
gebaseerd op een nocturne
voor piano van
devooraanstaande Litouwse
componist en
kunstschilder Mikalojus
Konstantinas iurlionis
(1875-1911). Het
thematische materiaal van
deze nocturne is door de
hele compositie heen
verwerkt. Na het
melancholische begin
volgt een krachtig thema,
waarmee de strijdbaarheid
van de Baltische
bevolking wordt
uitgebeeld. De
plotselinge agressieve
dissonante akkoorden en
een dominante en ritmisch
gezien tegendraadse grote
trom laten horen dat het
verzet niet eenvoudig
verloopt. Even klinkt het
begin van het volkslied
van de Sovjet-Unie in het
lage koper, maar dat
wordt door de rest van de
band onverbiddelijk naar
de achtergrond verwezen
door het Litouwse
nationale volkslied
‘Tautiška giesm
’ (Litouwen, ons
vaderland). In deel twee,
‘Decades of
Suffering’, wordt
het leven onder het juk
van de Sovjet-Unie
verklankt. In het streven
naar onafhankelijkheid
worden plannen gemaakt om
als vreedzaam protest
tegen de onderdrukking
een menselijke keten te
vormen over de wegen van
de Baltische staten
Litouwen, Letland en
Estland. Deze
‘Chain of
Freedom’ wordt in
het laatste deel van het
werk muzikaal
weergegeven.
Der
sogenannte Baltischer Weg
(The Baltic Way)
auch unter dem Namen
Baltische Kette bekannt
war 1989 eine
Demonstration von
Bürgern in den
baltischen Staaten
Estland, Lettland und
Litauen mit dem Aufruf
zur Unabhängigkeit von
der Sowjetunion. Am 23.
August 1989 bildeten rund
zwei Millionen Teilnehmer
eine sechshundert
Kilometer lange
Menschenkette, die von
der estnischen Hauptstadt
Tallinn über das
lettische Riga bis zur
litauischen Hauptstadt
Vilnius reichte. Die
längste Menschenkette,
die jemals geschaffen
wurde, erwies sich als
der letzte Schritt, der
zur lang ersehnten
Unabhängigkeit
führte. Dieses
historische Ereignis
diente der Komposition
alsInspirationsquelle.
Die Einleitung des ersten
Satzes, Struggle for
Independence“,
basiert auf einem
Nocturne für Klavier
des bekannten litauischen
Komponisten und Malers
Mikalojus Konstantinas
iurlionis (1875 1911),
dessen thematisches
Material in der gesamten
Komposition verwendet
wird. Dem melancholischen
Anfang folgt ein
mitreißendes Thema,
das die Entschlossenheit
der baltischen
Bevölkerung
widerspiegelt. Die
plötzlichen
aggressiven, dissonanten
Akkorde und eine
dominante und rhythmisch
gegenläufige Bewegung
in der Basstrommel
kündigen an, dass der
Widerstand nicht
reibungslos verläuft.
Für einen kurzen
Moment erklingt die Hymne
der Sowjetunion in den
tiefen Blechbläsern,
aber diese wird
unerbittlich vom
restlichen Orchester in
den Hintergrund
gedrängt, welches die
litauische Nationalhymne
Tautiška giesm “
(Litauen, unser
Heimatland“)
spielt. Der zweite Satz,
Decades of
Suffering“,
spiegelt das Leben unter
dem Joch der Sowjetunion
wider. Für das Streben
nach Unabhängigkeit
war ein friedlicher
Protest geplant, bei dem
eine Menschenkette durch
die baltischen Staaten
Estland, Lettland und
Litauen gebildet wurde.
Diese Chain of
Freedom“ wird im
letzten Satz des Werkes
beschrieben.