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Coffret Scores (BEATLES THE)
153.10
Coffret Scores (BEATLES THE)
Conducteur
[Partition]
-
Intermédiaire
Novello & Co Ltd.
Par BEATLES THE. In over one thousand pages, the complete music and lyrics, in f...
(+)
Par BEATLES THE. In over one thousand pages, the complete music and lyrics, in full 'rock score' transcriptions, of all the 203 songs they wrote and recorded as The Beatles, plus nine by others which they covered on their early albums. All transcribed with separate staves for vocals, each guitar (in tab and standard notation) and all other instruments...the essential Beatles collection. / Niveau : Intermédiaire / Rép International / Recueil / Conducteur
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The Book Of Urizen (DE HAAN JACOB)
148.60
The Book Of Urizen (DE HAAN JACOB)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Par DE HAAN JACOB. The Book of Urizen is a work for concert band, solo soprano, ...
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Par DE HAAN JACOB. The Book of Urizen is a work for concert band, solo soprano, and a male narrator in which sound collages of religious expressions are used. The piece is inspired by the compelling visionary poem of the same name (which the poet illustratedhimself) by the Englishman William Blake (1757-1827), who occupies a unique position in western literature and the visual arts. He was not just a poet and a writer, but he was also a graphic artist, a painter, an illustrator, a spiritualist, areligious visionary, and a mystic philosopher. For the performance of this work, a professional sound system, including two microphones and a CD player, is needed. The three sound collages are three separate tracks on the enclosed CD and can beplayed easily at the right moment. The Book of Urizen bears resemblance to Genesis and Exodus, of which the contents form the basis of the Christian, Jewish, and Islamic faith. Blake adhered to the principle that all religions are in fact one, and that deities reside in human beings. In The Book of Urizen this is represented in “The Net of Religion, ” which is spanned over the earth by Urizen. The sound collages, compiled by Jacob de Haan in the studio, find their origin inJerusalem, the Holy City, where the afore-mentioned faiths “come together. ” In the first movement of this composition, The Vision, Urizen prepares his vision of the world, and he presents this to the “Eternals. ” His vision is rejected, and Urizen locks himself up in his own abstract world. When he does emerge again, he is confronted with rage by the gathered Eternals. Urizen flees the wrath of the Eternals, “the flames of eternal fury, ” and enwombs himself in his own world. Whenthe Eternals see Urizen in his “stony sleep, ” they wonder if this is death. The blacksmith Los is torn by grief because of the isolation of Urizen. It brings him to rouse his fires, prepare his forge, and to give Urizen’s world concrete form. In the second movement, The Creation, Urizen’s world, but also man, woman, and child are created. Los is horrified with the appearance of Urizen’s body. He mourns and pities Urizen, and from his blood a female form comes into being, with thename Enitharmon. The Eternals, fearful of the female form, decide to erect a tent to obstruct their view to eternity. Enitharmon and Los beget a son, called Orc. Los baptizes him as a child of the “fallen world. ” Orc is fed at Enitharmon’s breast, which makes a girdle of jealousy restrict Los’ chest. He takes the child to the top of the mountain and chains him down. The cries of Orc awaken Urizen, who explores his world creating instruments of scientific measurement to do so. Los encircles theface of Enitharmon from the sight of Urizen and Orc. She then populates the earth by giving birth to an enormous race. The Web, third movement of The Book of Urizen is now available: DHP 1125252 / Niveau : 5 / Pièce de concert / Répertoire / Concert Band ou Harmonie
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Z-4383 (BORBOUDAKIS MINAS)
103.30
Z-4383 (BORBOUDAKIS MINAS)
Orchestre
[Conducteur et Parties séparées]
Peters
for Large Ensemble. Par BORBOUDAKIS MINAS. Z-4383 by Minas Borboudakis is a 12-m...
(+)
for Large Ensemble. Par BORBOUDAKIS MINAS. Z-4383 by Minas Borboudakis is a 12-minute work for large ensemble (1(=Picc).1.1(=BCl).1 – 1.1.1(=BTbn).0 – 2Perc – Acdn – Pf – Str(1.1.1.1.1 or String Orchestra) – Electronics). It describes the journey of the wagon of the same name in which the body of the politician and pacifist Grigoris Lambrakis, also called 'Z', who was murdered in 1963, was transported from Thessaloniki to Athens. In the scene from the cult novel Z by Vassilis Vassilikos, the author lets the soul of Grigoris Lammbrakis fly over the train. Train noises, distorted fragments of speech, as well as lines rising ever higher unfold in the music. Sequences expressing pain, longing, hope and despair return as wordless instrumental quotations, attempting to portray the unspeakable before the soul leaves the body at the work's conclusion. The world premiere took place on 20 July 2018 with the Academy of the Bavarian Radio Symphony Orchestra conducted by Daniel Carter. The score (EP 14315) is available for sale as part of the Peters Contemporary Library. The performance material can be hired. / Date parution : 2022-09-07/ Répertoire / Orchestre
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Kleine Geistliche Konzerte II 1639 (SCHUTZ HEINRICH)
476.30
Kleine Geistliche Konzerte II 1639 (SCHUTZ HEINRICH)
Chant et Basse Continue
[Partition]
Barenreiter
Small Sacred Concertos II. Par SCHUTZ HEINRICH. The 'Kleine geistliche Konzerte'...
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Small Sacred Concertos II. Par SCHUTZ HEINRICH. The 'Kleine geistliche Konzerte' (Small Sacred Concertos), published in two parts in 1636 and1639, are among the best-known and well-loved compositions of Heinrich Schütz. Both parts constitute a collection of vocal pieces in a broad range of styles written for only a few voices with basso continuo. Most of the texts are in German, but some are also in Latin. The first volume presents a broad spectrum of vocal scoring, musical forms and texts: there are solo concertos in the Italian style, traditional four-part motets, well-known Psalm texts set to music, hymns as well as mystically contemplative meditative literature. The concertos' monodic qualities and high level of virtuosity - especially in the compositions with German text - made Schütz a household name shortly after the 'Kleine geistliche Konzerte' were published in print. As the works required no large ensembles, they could be performed for different occasions and in various locations: particularly during the Thirty Years' War they could be heard at court, in cities or in villages but also in schools or at home. Unlike the 1963 edition of the 'Kleine geistliche Konzerte' (BA 3664, BA 3665, BA 3666) as part of the New Schütz Edition, this new volume presents the works for the first time in their original form and order. A historic-critical evaluation of all relevant sources yields new information regarding the composer's intentions, the printing process and the works' reception. Furthermore, the edition includes a reconstruction of an earlier version that has not been published until now. This edition is geared towards musicologists, as well as professional musicians and amateurs with a keen interest in early music./ Répertoire / Chant et Basse Continue
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Music from Encanto
147.30
Music from Encanto
Ensemble Flexible à 7 Parties
[Conducteur et Parties séparées]
Norsk Noteservice
Par MIRANDA LIN-MANUEL. It was really fun to make an arrangement on these three ...
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Par MIRANDA LIN-MANUEL. It was really fun to make an arrangement on these three great melodies from Encanto! Here, the band will be able to work with latin rhythms, syncopation (which doesn't rush) and with possible solo elements on the melody. Use your imagination and feel free to re-arrange to let your musicians shine. (Example: bar 27 and onwards can be performed as a duet) All three songs can be played separately. They have different degrees of difficulty and if the band lack the ability to perform the last melody, you can easily stop before that. 1. 'We don't talk about Bruno' (1-55) benefits greatly from having a Guiro saying 'go-ap tsh tsh'. This piece can be stopped by playing to the end of bar 54. If you want to play this piece only, you can easily extend it, by repeating from 27, perhaps with other soloists? 2. 'Surface Pressure' (55-116) If the cowbell-part is not played, percussionists have to play these two weak beats in 56. The groove for drum set is also very important from 68. Also, that you get a proper swing feeling on 84- 98 and that the drummer in 99 really goes back to even eighths. If you want to extend this piece, you may repeat from 84. If you want to end after this song, you can insert a ritardando 2 bars before 116 and preferably add a quarter note high G, then a quarter rest, and then a darker G. Another possibility is to repeat from 84 and then stop at the first note in 100. 3. 'The Family Madrigal' can of course also be played alone. This is truly a song that gets people clapping! I have chosen to make the opening rhythm a little easier by adding an eighth note to the one (120) If the ensemble has a very good understanding of rhythm, it can be skipped, but then the only tone in the phrase that is on the pulse beats will be the quarter note in the second measure. You can start the piece straight on bar 120 without the drum intro. If you want to extend this piece, you can repeat 152 – 199. (Or you can go all the way back to 136) If you do so, you can perhaps skip the first house at the end, if the audience is not standing on the chairs dancing Have fun performing this arrangement! The Movie Encanto is a 2021 American computer-animated musical fantasy comedy film produced by Walt Disney Animation Studios. It follows a multigenerational Colombian family, the Madrigals, led by a matriarch (Botero) whose children and grandchildren—except for Mirabel Madrigal (Beatriz)—receive magical gifts from a miracle that helps them serve the people in their rural community called the Encanto. When Mirabel learns that the family is losing their magic, she sets out to find out what is happening, and save her family and their magical house. Encanto premiered at the El Capitan Theatre in Los Angeles on November 3, 2021 The film received critical acclaim for its characterization, music, animation, voice acting, emotional depth, and cultural fidelity; reviews named magic realism and transgenerational trauma as the film's core concepts. Publications have described Encanto as a cultural phenomenon. The film was nominated for three awards at the 94th Academy Awards, winning Best Animated Feature, and received numerous other accolades. The film's soundtrack also became a success, reaching number one on the US Billboard 200 and UK Compilation Albums charts; 'We Don't Talk About Bruno' and 'Surface Pressure' were its two most successful songs, with the former topping both the US Billboard Hot 100 and UK Singles Chart for multiple weeks. Bjørn Morten Kjærnes / Date parution : 2023-07-31/ Répertoire / Ensemble Flexible à 7 Parties
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1. Symphonie (HARTMANN KARL AMADEUS)
42.40
1. Symphonie (HARTMANN KARL AMADEUS)
Voix d'Alto et Orchestre
[Conducteur d'étude / Miniature]
Schott
Versuch eines Requiems. Par HARTMANN KARL AMADEUS. Karl Amadeus Hartmann wrote h...
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Versuch eines Requiems. Par HARTMANN KARL AMADEUS. Karl Amadeus Hartmann wrote his first symphony in 1935/36. At that time he was still an unknown musician whose works stood no chance of being performed and who could not hope to find encouragement in his native Germany. He had to wait more than ten years for its first performance, which finally took place in Frankfurt in the spring of 1948 under the direction of Winfried Zillig. I was 21 at the time, and the work left an extraordinarily deep impression on me, an impression that marked the beginning of my admiration for Hartmann's music and its very special kind of intellectuality, which struck me as both important and significant: by this I mean its spontaneous and unrefracted immediacy, its honesty and straightforwardness – qualities that extend beyond this composer's works and affect his whole surroundings, including his fellow human beings. All Hartmann's works, moreover, contain an essential element of the art of compostion, namely, an exact correspondence between the artist's insistent need to express himself and the instrumental resources that he chooses. A superficial listener might perhaps fail to notice at first that the huge orchestral apparatus that Hartmann conjures up exactly matches his powerful expressivity and the colourful nature of his rhetoric. There is also the expansiveness and physically charged vitality of the native of southern Germany, a man capable of combining his own sense of inwardness with the beauty of the moment and a feeling of hymnic grandeur. It is a combination that reflects his own south German countryside and that answers a need to communicate sustained by his own unwavering faith in humanity. / Date parution : 1965-11-20/ Répertoire / Voix d'Alto et Orchestre
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Compositeurs
Mentions légales
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Version intégrale