Symphonic Poem No.
13. Composed by Franz
Liszt. Edited by Humphrey
Searle. Arranged by
Humphrey Searle. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1881. 32 pages.
Duration 15'. Eulenburg
Edition #ETP600.
Published by Eulenburg
Edition (HL.49010062).
ISBN 9783795761196.
UPC: 841886017917.
5.25x7.5x0.108
inches.
Preface *
Zeichnung von Graf Mihaly
Zichy * Von der Wiege bis
zum Grabe: * I. The
Cradle. Andante * II. The
Struggle for Existence.
Adagio rapido * III. To
the Grave: the Cradle of
the Future Life. Moderato
quasi Andante.
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe
SKU:
CF.WF229
15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229).
Voice, guitar or piano SKU: LM.PB778 By Yves Duteil. Album. Pop, jazz. Sc...(+)
Voice, guitar or piano
SKU: LM.PB778
By
Yves Duteil. Album. Pop,
jazz. Score. Bookmakers
International #PB778.
Published by Bookmakers
International (LM.PB778).
ISBN
9790231307788.
Si
j'etais ton chemin - Deux
enfants du Tamil Nadu -
Si j'entrais dans ton
coeur - Madame Sevilla -
Ma terre humaine -
Fragile - Elle ne dort -
Sur le clavier du grand
piano - Tu m'envoles -
Les amours fanees - Ou
vis tu Pauline - La note
bleue - Si j'etais ton
chemin - Avoir et etre -
Lettre a mon Pere - L'ile
de Toussaint - Apprendre
- Nos yeux se sont
croises - Yen - Pour que
tu ne meures pas - Les
gestes delicats - Vivre
sans vivre (duo avec Bia)
- Tombee des nues - Le
simple fait que tu
existes - La langue de
chez nous - Le mur de la
prison d'en face -
Melancolie - Pour les
enfants du monde entier -
Prendre un enfant - Au
Parc Monceau - Ton
absence.
SATB choir, (basso continuo) SKU: CA.5427740 Aus: Responsoria in Paras...(+)
SATB choir, (basso
continuo)
SKU:
CA.5427740
Aus:
Responsoria in
Parasceve. Composed
by Michael Haydn. German
title: 13.Tamquam Ad
Latronem Existis 277,4.
Sacred vocal music. Full
score. MH 277,4. 4 pages.
Carus Verlag #CV
54.277/40. Published by
Carus Verlag
(CA.5427740).
ISBN
9790007110420. Key: G
dorian. Language:
Latin.
Orchestra SKU: CF.PO192S On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192S
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown.
Condensed score. Carl
Fischer Music #PO192S.
Published by Carl Fischer
Music (CF.PO192S).
ISBN 9781491157367.
UPC:
680160915927.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra SKU: CF.PO192F On We Wish You a Merry Christmas. Compose...(+)
Orchestra
SKU:
CF.PO192F
On We
Wish You a Merry
Christmas. Composed
by Robert B. Brown. Full
score. Carl Fischer Music
#PO192F. Published by
Carl Fischer Music
(CF.PO192F).
ISBN
9781491157374. UPC:
680160915934.
Progr
am note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Orchestra Orchestra SKU: CF.PO192 On We Wish You a Merry Christmas...(+)
Orchestra Orchestra
SKU: CF.PO192
On We Wish You a Merry
Christmas. Composed
by Robert B. Brown. Set
of Score and Parts.
13+5+39 pages. Duration
2:40. Carl Fischer Music
#PO192. Published by Carl
Fischer Music (CF.PO192).
ISBN 9781491157350.
UPC: 680160915910. Key:
Bb major.
Program
note: Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas. The Composer:
Dr. Robert Bennett Brown
has devoted much of his
professional teaching
career to musical
compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation. At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee. To the
Conductor: You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability.
 . Program
note:Christmas Fugue,
like the charming English
folk tune on which it is
based, is full of the
spirit and fun that is
Christmas. After a slow
shimmering introduction
which imparts an
impression of Christmas
morning, the fugue
subject is abruptly
introduced. The fugue
subject: We Wish You a
Merry Christmas. The work
develops through a series
of playful musical
episodes which afford
satisfying opportunities
for the various sections
of the orchestra. The
fugue culminates in a
combination of motifs
which find the brass
heralding the
unmistakable arrival of
Christmas.The
Composer:Dr. Robert
Bennett Brown has devoted
much of his professional
teaching career to
musical compositions and
arrangements for young
orchestral enthusiasts.
Christmas Fugue, like
other of Dr. Drown's
published works, was
written in and for the
actual teaching
situation.At the present
time, Robert Bennett
Brown is District
Supervisor of Music for
the Levittown, N.Y.
Public Schools.
Previously, for some
nineteen years, he taught
in Bronxville, N.Y.
where, as Chairman of
Music, he brought about
an extremely high level
of school orchestral
achievement. he was
educated at New York
University and Teachers
College, Columbia
University. He has served
as a field supervisor of
student teaching for New
York University and as a
general music consultant.
For the past two years he
has been a member of the
New York State Music
Regents Committee.To the
Conductor:You will find
this work to be the
conductor's dream. Parts
are easy but impressive
sounding. The total
effect will give your
orchestra that typical
classical sound so
satisfying to performer
and listener alike. Full
or exact instrumentation
is not a must; cross-cues
will carry critical areas
where a specified
instrument may be
lacking. Piano, tuba, and
saxophone parts are
written to accommodate
those players where they
exist. These parts are
not essential to the
instrumentation. Though
Christmas Fugue is well
suited to the interests
of high school orchestra
pursuits, its grade of
difficulty is easily
handled by any junior
high school group of
average ability. .
Choral SSA Choir and Piano SKU: CF.CM9704 Composed by Richard Hageman. Ar...(+)
Choral SSA Choir and
Piano
SKU:
CF.CM9704
Composed by
Richard Hageman. Arranged
by Stephen Rotz. Jbc. 12
pages. Duration 2
minutes, 49 seconds. Carl
Fischer Music #CM9704.
Published by Carl Fischer
Music (CF.CM9704).
ISBN 9781491160114.
UPC: 680160918713. Key:
F# minor. English. Sir
Rabindranath
Tagore.
Richard
Hageman (1881-1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of time that
he composed Do Not Go, My
Love for solo voice,
originally dedicating it
to the operatic tenor,
George Hamlin. Hageman's
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal classic to
younger singers who might
not yet possess the
dexterity to perform the
original solo.
Rabindranath Tagore
(1861-1941) was an Indian
polymath; someone who
possesses deep knowledge
and understanding of many
disparate subjects.
Tagore's expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name. Do Not Go, My Love
is taken from The
Gardener, a collection of
poems translated from
Bengali by Tagore and
published in 1915. Number
34 in the collection, and
taken by itself, the poem
might be interpreted as
someone watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The Gardener
suggests a romantic
relationship being clung
to by the speaker.
 . Richard Hageman
(1881–1966) was a
born into a family of
musicians. As a pianist,
he performed concerts
from the age of six, and
his mastery of this
instrument is evident in
the intricate
accompaniment of this
piece. After coming to
America, (originally as
accompanist to touring
French singer Yvette
Guilbert), he worked for
a period of years as a
conductor and pianist for
the Metropolitan Opera in
New York. It was during
this period of timeÂ
that he composed Do Not
Go, My Love for solo
voice, originally
dedicating it to the
operatic tenor, George
Hamlin. Hageman’s
later career included
work in Hollywood, first
as a conductor, but later
as a film-score composer
and actor. Do Not Go, My
Love is well-known among
classical soloists, and
many recordings exist.
The SSA version of this
American standard brings
a vocal
“classic†to
younger singers who might
not yet possess the
dexterity to perform the
original
solo.Rabindranath Tagore
(1861–1941) was an
Indian polymath; someone
who possesses deep
knowledge and
understanding of many
disparate subjects.
Tagore’s expertise
included the visual arts,
music, and poetry. Tagore
won the Nobel Prize in
Literature in 1913,
contributing to his
receiving knighthood from
King George V in 1915,
but Tagore renounced his
knighthood after the 1919
Jallianwala Bagh
massacre. There are five
Tagore museums in
Bangladesh and three in
India; at least three
universities bear his
name.Do Not Go, My
Love is taken
from The Gardener, a
collection of poems
translated from Bengali
by Tagore and published
in 1915. Number 34 in the
collection, and taken by
itself, the poem might be
interpreted as someone
watching over the
deathbed of a lover or
child; however, the
larger narrative woven
through The
Gardener suggests a
romantic relationship
being clung to by the
speaker. .
Legend
of the “Brown
Mountain
Lightsâ€.
Composed by Joseph
Benjamin Earp. Full
score. 15 pages. Carl
Fischer Music #CPS254F.
Published by Carl Fischer
Music (CF.CPS254F).
ISBN 9781491159828.
UPC:
680160918416.
PROGR
AM NOTES As We Search:
Legend of the Brown
Mountain Lights is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery. The origin of
the lights has inspired
numerous legends. As We
Search: Legend of the
Brown Mountain Lights
focuses on one legend
from the nineteenth
century. After a local
woman went missing,
though murder was
suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO CONDUCTOR
The duration of the
composition is five
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5-6,
9-10, 17-18, 21-22,
41-42, 45-46, 76-77 and
80-81. The climax of the
piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman. Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights. Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist As We
Search.. PROGRAM
NOTESAs We Search: Legend
of the “Brown
Mountain Lights†is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery.The origin of the
lights has inspired
numerous legends. As We
Search: Legend of the
“Brown Mountain
Lights†focuses on
one legend from the
nineteenth century. After
a local woman went
missing, though murder
was suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO
CONDUCTORThe duration of
the composition is five
minutes at the marked
tempo. Careful
attention should be given
to articulations, dynamic
changes and phrasing
throughout the work.The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm.
5–6, 9–10,
17–18,
21–22,
41–42,
45–46,
76–77 and
80–81.The climax
of the piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman.Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights.Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist “As We
Search.â€Â .
SKU: CA.411300 Composed by Robert Schumann. Edited by Gunter Graulich. Ch...(+)
SKU: CA.411300
Composed by Robert
Schumann. Edited by
Gunter Graulich. Choral
collections. Secular
choral music. Collection.
156 pages. Carus Verlag
#CV 04.113/00. Published
by Carus Verlag
(CA.411300).
ISBN
9790007241032.
Repe
rtoire of romantic choral
music worth discovering:
In his unaccompanied
choral songs the
expressive melodies of
the song composer
Schumann combine with a
harmonically rich,
sometimes even
experimental composition.
Though in current concert
repertoire they are far
less often performed
than, for example,
comparable works by
Mendelssohn or Brahms,
they are unjustly
underestimated. Schumann
himself wrote that he had
composed the choral songs
with true passion, in the
belief that things like
this did not yet exist.
Schumann composed most of
the choral songs, which
are mainly homophonic, in
1849 for the Verein fur
Chorgesang founded by him
and the Leipzig
Liederkranz. The volume
brings together choral
settings which where
previously only available
by Carus in separate
editions, plus the choral
song Glockenturmers
Tochterlein which only
exists in manuscript.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Fanfare Band - Grade 2.5 SKU: BT.DHP-1115006-020 March. Composed b...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1115006-020
March. Composed by
Jacob De Haan. On Parade!
Set (Score & Parts).
Composed 2010. De Haske
Publications #DHP
1115006-020. Published by
De Haske Publications
(BT.DHP-1115006-020).
9x12 inches.
A
mirage is an illusion,
something without
substance that does not
really exist. Although
not real, its
unattainable nature is
perfect for musical
inspiration. Composer
Jacob de Haan was
strolling through a
picturesque forest of the
Dutch Gelderland when he
thought he saw a body of
water. While there was no
water, its mere image
created waves that can be
relived in De
Haan’s original
composition, Mirage.
Mirage is
het Engelse synoniem voor
‘Fata
Morgana‘. De
creatieve aanleiding voor
deze compositie was dan
ook het verhaal van een
wandelaar die in een
boslandschap in
Gelderland water denkt te
zien. Het in het triodeel
deelsgezongen
‘wandelthemaâ€
brengt de vreugde die
de toeschouwer aan dit
natuurverschijnsel
beleeft bijzonder goed
tot
uitdrukking.
Mirag
e“ ist ein
englisches Synonym
für Fata
Morgana“. Als
kreativer Anstoß
für diese
Komposition diente Jacob
de Haan ein
Spaziergänger, der
durch eine Waldlandschaft
im holländischen
Gelderland geht und dabei
glaubt, ein Gewässer
zu sehen. Das im Trio
teilweise gesungene
Spaziergangs“-Thema
bringt die Freude an
diesem Naturerlebnis
besonders gut zum
Ausdruck.
Una sorta di
miraggio ha ispirato
Jacob de Haan a comporre
questo brano, prendendo
spunto appunto da un
“miraggio†di
uno specchio
d’acqua che gli si
è presentato durante
una passeggiata in una
foresta in Olanda. Il
tema della
“passeggiataâ€
parzialmente cantato nel
trio, enfatizza gli
spettacoli che la natura
ci offre.
Mirage Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1115006-010 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1115006-010
Composed by Jacob De
Haan. On Parade! March.
Set (Score & Parts).
Composed 2010. De Haske
Publications #DHP
1115006-010. Published by
De Haske Publications
(BT.DHP-1115006-010).
MARS (135X180)
inches.
A mirage is
an illusion, something
without substance that
does not really exist.
Although not real, its
unattainable nature is
perfect for musical
inspiration. Composer
Jacob de Haan was
strolling through a
picturesque forest of the
Dutch Gelderland when he
thought he saw a body of
water. While there was no
water, its mere image
created waves that can be
relived in De
Haan’s original
composition, Mirage.
Mirage is
het Engelse synoniem voor
‘Fata
Morgana‘. De
creatieve aanleiding voor
deze compositie was dan
ook het verhaal van een
wandelaar die in een
boslandschap in
Gelderland water denkt te
zien. Het in het triodeel
deelsgezongen
‘wandelthemaâ€
brengt de vreugde die
de toeschouwer aan dit
natuurverschijnsel
beleeft bijzonder goed
tot
uitdrukking.
Mirag
e“ ist ein
englisches Synonym
für Fata
Morgana“. Als
kreativer Anstoß
für diese
Komposition diente Jacob
de Haan ein
Spaziergänger, der
durch eine Waldlandschaft
im holländischen
Gelderland geht und dabei
glaubt, ein Gewässer
zu sehen. Das im Trio
teilweise gesungene
Spaziergangs“-Thema
bringt die Freude an
diesem Naturerlebnis
besonders gut zum
Ausdruck.
Una sorta di
miraggio ha ispirato
Jacob de Haan a comporre
questo brano, prendendo
spunto appunto da un
“miraggio†di
uno specchio
d’acqua che gli si
è presentato durante
una passeggiata in una
foresta in Olanda. Il
tema della
“passeggiataâ€
parzialmente cantato nel
trio, enfatizza gli
spettacoli che la natura
ci offre.
Concert Band (Score & Parts) - Level 2.5 SKU: HL.44011057 Composed by Jac...(+)
Concert Band (Score &
Parts) - Level 2.5
SKU: HL.44011057
Composed by Jacob De
Haan. De Haske Concert
Band. March. Set (Score &
Parts). Composed 2010. De
Haske Publications
#1115006010. Published by
De Haske Publications
(HL.44011057).
UPC:
884088640026. MARS
(135X180) inches.
A
mirage is an illusion,
something without
substance that does not
really exist. Although
not real, its
unattainable nature is
perfect for musical
inspiration. Composer
Jacob de Haan was
strolling through a
picturesque forest of the
Dutch Gelderland when he
thought he saw a body of
water. While there was no
water, its mere image
created waves that can be
relived in De Haan's
original composition,
Mirage.
Mirage is
het Engelse synoniem voor
'Fata Morgana'. De
creatieve aanleiding voor
deze compositie was dan
ook het verhaal van een
wandelaar die in een
boslandschap in
Gelderland water denkt te
zien. Het in het triodeel
deelsgezongen
'wandelthema' brengt de
vreugde die de
toeschouwer aan dit
natuurverschijnsel
beleeft bijzonder goed
tot
uitdrukking.
Mirag
e ist ein englisches
Synonym für Fata
Morgana. Als kreativer
Anstoss für diese
Komposition diente Jacob
de Haan ein
Spazierganger, der durch
eine Waldlandschaft im
hollandischen Gelderland
geht und dabei glaubt,
ein Gewasser zu sehen.
Das im Trio teilweise
gesungene
Spaziergangs-Thema bringt
die Freude an diesem
Naturerlebnis besonders
gut zum Ausdruck.
<< Fata Morgana
>> est le nom donne a un
phenomene de mirage, et
que l'on attribuait a la
fee Morgane. Du mirage,
nous passons aux notes
joyeuses d'une etrange
promenade en foret ou la
lumiere donne la
sensation de l'existence
d'une nappe d'eau au pied
d'un arbre. Mirage ou
realite ? A vous de le
decouvrir. Ce qui est
sur, c'est que le Theme
de la promenade (Trio)
est partiellement chante.
Una sorta di
miraggio ha ispirato
Jacob de Haan a comporre
questo brano, prendendo
spunto appunto da un
miraggio di uno specchio
d'acqua che gli si e
presentato durante una
passeggiata in una
foresta in Olanda. Il
tema della passeggiata
parzialmente cantato nel
trio, enfatizza gli
spettacoli che la natura
ci offre.
Fanfare Band - Grade 2.5 SKU: BT.DHP-1115006-120 March. Composed b...(+)
Fanfare Band - Grade 2.5
SKU:
BT.DHP-1115006-120
March. Composed by
Jacob De Haan. On Parade!
Score Only. Composed
2010. 16 pages. De Haske
Publications #DHP
1115006-120. Published by
De Haske Publications
(BT.DHP-1115006-120).
9x12 inches.
A
mirage is an illusion,
something without
substance that does not
really exist. Although
not real, its
unattainable nature is
perfect for musical
inspiration. Composer
Jacob de Haan was
strolling through a
picturesque forest of the
Dutch Gelderland when he
thought he saw a body of
water. While there was no
water, its mere image
created waves that can be
relived in De
Haan’s original
composition, Mirage.
Mirage is
het Engelse synoniem voor
‘Fata
Morgana‘. De
creatieve aanleiding voor
deze compositie was dan
ook het verhaal van een
wandelaar die in een
boslandschap in
Gelderland water denkt te
zien. Het in het triodeel
deelsgezongen
‘wandelthemaâ€
brengt de vreugde die
de toeschouwer aan dit
natuurverschijnsel
beleeft bijzonder goed
tot
uitdrukking.
Mirag
e“ ist ein
englisches Synonym
für Fata
Morgana“. Als
kreativer Anstoß
für diese
Komposition diente Jacob
de Haan ein
Spaziergänger, der
durch eine Waldlandschaft
im holländischen
Gelderland geht und dabei
glaubt, ein Gewässer
zu sehen. Das im Trio
teilweise gesungene
Spaziergangs“-Thema
bringt die Freude an
diesem Naturerlebnis
besonders gut zum
Ausdruck.
Una sorta di
miraggio ha ispirato
Jacob de Haan a comporre
questo brano, prendendo
spunto appunto da un
“miraggio†di
uno specchio
d’acqua che gli si
è presentato durante
una passeggiata in una
foresta in Olanda. Il
tema della
“passeggiataâ€
parzialmente cantato nel
trio, enfatizza gli
spettacoli che la natura
ci offre.
Mirage Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 2.5 SKU: BT.DHP-1115006-140 Composed by Jac...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.DHP-1115006-140
Composed by Jacob De
Haan. On Parade! March.
Score Only. Composed
2010. 16 pages. De Haske
Publications #DHP
1115006-140. Published by
De Haske Publications
(BT.DHP-1115006-140).
9x12 inches.
A
mirage is an illusion,
something without
substance that does not
really exist. Although
not real, its
unattainable nature is
perfect for musical
inspiration. Composer
Jacob de Haan was
strolling through a
picturesque forest of the
Dutch Gelderland when he
thought he saw a body of
water. While there was no
water, its mere image
created waves that can be
relived in De
Haan’s original
composition, Mirage.
Mirage is
het Engelse synoniem voor
‘Fata
Morgana‘. De
creatieve aanleiding voor
deze compositie was dan
ook het verhaal van een
wandelaar die in een
boslandschap in
Gelderland water denkt te
zien. Het in het triodeel
deelsgezongen
‘wandelthemaâ€
brengt de vreugde die
de toeschouwer aan dit
natuurverschijnsel
beleeft bijzonder goed
tot
uitdrukking.
Mirag
e“ ist ein
englisches Synonym
für Fata
Morgana“. Als
kreativer Anstoß
für diese
Komposition diente Jacob
de Haan ein
Spaziergänger, der
durch eine Waldlandschaft
im holländischen
Gelderland geht und dabei
glaubt, ein Gewässer
zu sehen. Das im Trio
teilweise gesungene
Spaziergangs“-Thema
bringt die Freude an
diesem Naturerlebnis
besonders gut zum
Ausdruck.
Una sorta di
miraggio ha ispirato
Jacob de Haan a comporre
questo brano, prendendo
spunto appunto da un
“miraggio†di
uno specchio
d’acqua che gli si
è presentato durante
una passeggiata in una
foresta in Olanda. Il
tema della
“passeggiataâ€
parzialmente cantato nel
trio, enfatizza gli
spettacoli che la natura
ci offre.
Concert Band and Vocal Soloist (Score) - Grade 5 SKU: HL.44011763 Poem...(+)
Concert Band and Vocal
Soloist (Score) - Grade 5
SKU: HL.44011763
Poems by Graeme
King. Composed by
Marco Putz. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2010. De Haske
Publications #1094768.
Published by De Haske
Publications
(HL.44011763).
The hymn Nun
ruhen alle Walder (Now
All Forests Rest),
arranged by J.S. Bach
(No. 6, So sei nun,
Seele, deine, from
Cantata BWV 13), is a
guiding light throughout
this four-movement
composition. Pütz
wrote this work as a
musical outcry against
the wilful, profit-driven
destruction of our
environment. When Bach
used the word ruhen (to
rest) over 350 years ago,
it probably had a
different nuance from the
meaning it has today. At
the beginning of the 21st
century - the so-called
age of progress - nun
ruhen alle Walder should
mean now all forests die
. Massive
industrialization and
globalization, coupled
with pure greed,
corruption, political
scandals, an
ever-wideninggap between
the rich and poor, and
other such senseless
human actions, are
pushing our blue planet
closer and closer to the
point of no return. This
work is not intended to
be a ranting accusation.
It should remind us of
the beauty and harmony
that can exist all around
us in nature, if we take
care of it. Pütz
hopes that this will, one
day, help put a greater
emphasis on humanity's
survival, and coexistence
with nature rather than
the exploitation
described earlier. All
four texts were created
by Australian poet Graeme
King, whose works were
discovered by Pütz,
by chance on the
internet. Pütz was
especially captivated by
King's clarity, and
intrigued by the
possibilities of adapting
and melding the strong
rhythmical structure of
King's writing with his
own musical language. The
four movements are as
follows: 1. Tears of
Nature 2. Grrrevolution
3. Stand up! 4. Tomorrow
The world premiere of
Four Earth Songs took
place on 7 July 2009 at
the 14th WASBE-Conference
in Cincinnati (USA). This
work is dedicated in
friendship to Jouke
Hoekstra, conductor, and
the Frysk Fanfare Orkest
(the Frisian
Fanfare-Orchestra).
De hymne Nun
ruhen alle Walder,
gearrangeerd door J.S.
Bach (nr. 6, So sei nun,
Seele, deine, uit cantate
BWV 13), is de leidraad
in deze vierdelige
compositie. Putz schreef
het werk als een muzikaal
protest tegen de
moedwillige,op winstbejag
gebaseerde vernietiging
van ons milieu. Toen Bach
het woord 'ruhen'
(rusten) meer dan 350
jaar geleden gebruikte,
lag er waarschijnlijk een
andere nuance in dan
tegenwoordig. Aan het
begin van de 21e eeuw -
dezogenaamde eeuw van de
vooruitgang - zou 'nun
ruhen alle Walder' zelfs
kunnen betekenen: 'nu
sterven alle bossen'. De
grootschalige
industrialisatie en
globalisering, in
combinatie met pure
hebzucht, corruptie,
politieke schandalen,een
groeiende kloof tussen
arm en rijk, en andere
dwaze menselijke
verrichtingen, brengen
onze blauwe planeet
steeds verder in de
problemen, tot er
misschien geen weg terug
meer is. Dit werk is niet
bedoeld als een
beschuldigendetirade. Het
moet ons wijzen op de
schoonheid en harmonie
die in de natuur om ons
heen kan bestaan, als we
er goed voor zorgen. Putz
hoopt dat er op een dag
meer nadruk gelegd zal
worden op het overleven
van de mensheid
invreedzame co-existentie
met de natuur, zonder de
eerdergenoemde
uitbuiting. Alle vier de
teksten zijn geschreven
door de Australische
dichter Graeme King,
wiens werk Putz bij
toeval tegenkwam op het
internet. Hij werd
getroffendoor Kings
helderheid en raakte
geintrigeerd door de
mogelijkheid de sterke
ritmische structuur van
Kings teksten om te
zetten in zijn eigen
muzikale taal. De vier
delen zijn de volgende:
1. Tears of Nature 2.
Grrrevolution 3.Stand up!
4. Tomorrow De
wereldpremiere van Four
Earth Songs vond plaats
op 7 juli 2009 tijdens de
14e WASBE Conference in
Cincinnati (VS). Dit werk
is in vriendschap
opgedragen aan dirigent
Jouke Hoekstra en zijn
Fryskt Fanfare
Der
Choral Nun ruhen alle
Walder, hier in einer
Bearbeitung von J.S. Bach
(Nr. 6 So sei nun, Seele,
deine aus der Kantate BWV
13), zieht sich wie ein
roter Faden durch diese
viersatzige Komposition,
die als musikalischer
Aufschrei (Anfang!) gegen
die mutwillige,
profitgesteuerte
Zerstorung unserer Umwelt
gedacht ist. Sicher hatte
das Wort ruhen vor
über 350 Jahren,
als der Liedtext
entstand, eine andere
Bedeutung als heute. Zu
Beginn des 21.
Jahrhunderts, im
sogenannten Zeitalter des
Fortschritts,
müsste es leider
wohl eher heissen: Nun
sterben alle Walder...
Massive
Industrialisierung,
Globalisierung, aber auch
Profitgier, Korruption,
politische
Unfahigkeit,krasse
Unterschiede zwischen arm
und reich, und
schlussendlich die
Uneinsichtigkeit des
einzelnen Menschen haben
dazu geführt, dass
der Blaue Planet heute
kurz vor dem Kollaps
steht. Dieses Werk soll
jedoch nicht nur
anklagen, es soll auch
die verbliebenen
Schonheiten unserer Natur
aufzeigen, in der
Hoffnung, dass es einmal
gelingen wird, die
Rettung der Natur und den
Schutz der Umwelt
über die oben
genannten Interessen zu
stellen. Alle vier Texte
stammen aus der Feder des
australischen Dichters
Graeme King, dessen Werk
der Komponist durch einen
glücklichen Zufall
im Internet entdeckte.
Besonders inspirierend
war die Direktheit von
Graemes Aussagen, aber
auch die kraftvolle
Rhythmik seiner Verse mit
den daraus resultierenden
Moglichkeiten der
musikalischen Umsetzung.
Die vier Satze sind wie
folgt
überschrieben: 1.
Tears of Nature 2.
Grrrevolution 3. Stand
up! 4. Tomorrow Die
offizielle
Uraufführung von
Four Earth Songs fand am
7. Juli 2009 statt,
anlasslich der 14.
WASBE-Konferenz in
Cincinnati (USA). Das
Werk ist dem Dirigenten
Jouke Hoekstra und dem
Frysk Fanfare Orkest
(Friesischen
Fanfareorchester) in
aller Freundschaft
gewidmet.
Le
cantique Nun ruhen alle
Walder, dont la ligne
melodique fut reprise par
Jean-Sebastien Bach pour
son choral So sein nun,
Seele, deine (Choral
ndeg6 - Cantate BWV 13),
est le fil conducteur de
cette oeuvre en quatre
mouvements concue comme
un cri contre la
destruction volontaire de
la nature pour le profit.
Plus de trois siecles
nous separent du temps de
Bach. Si les mots sont
restes les memes, leur
sens primitif connait
cependant quelques
nuances. Ainsi, au XXIe
siecle - considere comme
le << siecle du progres
>>, il conviendrait de
traduire Nun ruhen alle
Walder (les forets se
reposent ) par Les forets
se meurent. La
mondialisation et
l'industrialisation
massiveassociees a
l'avidite predatrice, a
la corruption politique,
aux actions humaines
irrationnelles et au
fosse grandissant entre
riches et pauvres
conduisent notre planete
bleue a se rapprocher
chaque jour un peu plus
du point de non retour.
Cette composition n'est
pas une accusation
acerbe, mais plutot une
exhortation a prendre
soin de cette beaute si
harmonieuse que nous
offre la nature. Et
peut-etre, prendrons-nous
enfin conscience de
l'importance d'une
situation de coexistence
avec la nature,
necessaire pour la survie
de l'espece humaine, et
non d'exploitation qui
conduit a la destruction.
Un jour, alors qu'il
naviguait sur Internet,
Marco Pütz
decouvrit l'oeuvre du
poete australien Graeme
King. Fascine par la
clarte de l'ecriture et
le rythme des vers, Marco
Pütz imagina les
multiples possibilites
d'adaptation et de mise
en musique qu'offrent les
poemes de King. Il
choisit quatre poemes sur
la nature pour creer son
oeuvre Four Earth Songs
(Quatre chants de la
terre). 1. Tears of
Nature (Les larmes de la
Nature) 2. Grrrevolution
3. Stand up! (Levez-vous
!) 4. Tomorrow (Demain)
Four Earth Songs est
dedie amicalement a
l'Orchestre de Fanfare de
Frise (Frysk Fanfare
Orkest) et a son chef,
Jouke Hoekstra. L'oeuvre
a ete donnee en creation
mondiale par l'orchestre
dedicataire a l'occasion
de la 14eme Convention de
la WASBE a Cincinnati
aux.
Concert Band and Vocal Soloist (Score & Parts) - Grade 5 SKU: HL.44011762 ...(+)
Concert Band and Vocal
Soloist (Score & Parts) -
Grade 5
SKU:
HL.44011762
Poems
by Graeme King.
Composed by Marco Putz.
De Haske Concert Band.
Concert Piece. Score
Only. Composed 2010. Hal
Leonard #1094768.
Published by Hal Leonard
(HL.44011762).
The
hymn Nun ruhen alle
Walder (Now All Forests
Rest), arranged by J.S.
Bach (No. 6, So sei nun,
Seele, deine, from
Cantata BWV 13), is a
guiding light throughout
this four-movement
composition. Pütz
wrote this work as a
musical outcry against
the wilful, profit-driven
destruction of our
environment. When Bach
used the word ruhen (to
rest) over 350 years ago,
it probably had a
different nuance from the
meaning it has today. At
the beginning of the 21st
century - the so-called
age of progress - nun
ruhen alle Walder should
mean now all forests die
. Massive
industrialization and
globalization, coupled
with pure greed,
corruption, political
scandals, an
ever-wideninggap between
the rich and poor, and
other such senseless
human actions, are
pushing our blue planet
closer and closer to the
point of no return. This
work is not intended to
be a ranting accusation.
It should remind us of
the beauty and harmony
that can exist all around
us in nature, if we take
care of it. Pütz
hopes that this will, one
day, help put a greater
emphasis on humanity's
survival, and coexistence
with nature rather than
the exploitation
described earlier. All
four texts were created
by Australian poet Graeme
King, whose works were
discovered by Pütz,
by chance on the
internet. Pütz was
especially captivated by
King's clarity, and
intrigued by the
possibilities of adapting
and melding the strong
rhythmical structure of
King's writing with his
own musical language. The
four movements are as
follows: 1. Tears of
Nature 2. Grrrevolution
3. Stand up! 4. Tomorrow
The world premiere of
Four Earth Songs took
place on 7 July 2009 at
the 14th WASBE-Conference
in Cincinnati (USA). This
work is dedicated in
friendship to Jouke
Hoekstra, conductor, and
the Frysk Fanfare Orkest
(the Frisian
Fanfare-Orchestra).
De hymne Nun
ruhen alle Walder,
gearrangeerd door J.S.
Bach (nr. 6, So sei nun,
Seele, deine, uit cantate
BWV 13), is de leidraad
in deze vierdelige
compositie. Putz schreef
het werk als een muzikaal
protest tegen de
moedwillige,op winstbejag
gebaseerde vernietiging
van ons milieu. Toen Bach
het woord 'ruhen'
(rusten) meer dan 350
jaar geleden gebruikte,
lag er waarschijnlijk een
andere nuance in dan
tegenwoordig. Aan het
begin van de 21e eeuw -
dezogenaamde eeuw van de
vooruitgang - zou 'nun
ruhen alle Walder' zelfs
kunnen betekenen: 'nu
sterven alle bossen'. De
grootschalige
industrialisatie en
globalisering, in
combinatie met pure
hebzucht, corruptie,
politieke schandalen,een
groeiende kloof tussen
arm en rijk, en andere
dwaze menselijke
verrichtingen, brengen
onze blauwe planeet
steeds verder in de
problemen, tot er
misschien geen weg terug
meer is. Dit werk is niet
bedoeld als een
beschuldigendetirade. Het
moet ons wijzen op de
schoonheid en harmonie
die in de natuur om ons
heen kan bestaan, als we
er goed voor zorgen. Putz
hoopt dat er op een dag
meer nadruk gelegd zal
worden op het overleven
van de mensheid
invreedzame co-existentie
met de natuur, zonder de
eerdergenoemde
uitbuiting. Alle vier de
teksten zijn geschreven
door de Australische
dichter Graeme King,
wiens werk Putz bij
toeval tegenkwam op het
internet. Hij werd
getroffendoor Kings
helderheid en raakte
geintrigeerd door de
mogelijkheid de sterke
ritmische structuur van
Kings teksten om te
zetten in zijn eigen
muzikale taal. De vier
delen zijn de volgende:
1. Tears of Nature 2.
Grrrevolution 3.Stand up!
4. Tomorrow De
wereldpremiere van Four
Earth Songs vond plaats
op 7 juli 2009 tijdens de
14e WASBE Conference in
Cincinnati (VS). Dit werk
is in vriendschap
opgedragen aan dirigent
Jouke Hoekstra en zijn
Fryskt Fanfare
Der
Choral Nun ruhen alle
Walder, hier in einer
Bearbeitung von J.S. Bach
(Nr. 6 So sei nun, Seele,
deine aus der Kantate BWV
13), zieht sich wie ein
roter Faden durch diese
viersatzige Komposition,
die als musikalischer
Aufschrei (Anfang!) gegen
die mutwillige,
profitgesteuerte
Zerstorung unserer Umwelt
gedacht ist. Sicher hatte
das Wort ruhen vor
über 350 Jahren,
als der Liedtext
entstand, eine andere
Bedeutung als heute. Zu
Beginn des 21.
Jahrhunderts, im
sogenannten Zeitalter des
Fortschritts,
müsste es leider
wohl eher heissen: Nun
sterben alle Walder...
Massive
Industrialisierung,
Globalisierung, aber auch
Profitgier, Korruption,
politische
Unfahigkeit,krasse
Unterschiede zwischen arm
und reich, und
schlussendlich die
Uneinsichtigkeit des
einzelnen Menschen haben
dazu geführt, dass
der Blaue Planet heute
kurz vor dem Kollaps
steht. Dieses Werk soll
jedoch nicht nur
anklagen, es soll auch
die verbliebenen
Schonheiten unserer Natur
aufzeigen, in der
Hoffnung, dass es einmal
gelingen wird, die
Rettung der Natur und den
Schutz der Umwelt
über die oben
genannten Interessen zu
stellen. Alle vier Texte
stammen aus der Feder des
australischen Dichters
Graeme King, dessen Werk
der Komponist durch einen
glücklichen Zufall
im Internet entdeckte.
Besonders inspirierend
war die Direktheit von
Graemes Aussagen, aber
auch die kraftvolle
Rhythmik seiner Verse mit
den daraus resultierenden
Moglichkeiten der
musikalischen Umsetzung.
Die vier Satze sind wie
folgt
überschrieben: 1.
Tears of Nature 2.
Grrrevolution 3. Stand
up! 4. Tomorrow Die
offizielle
Uraufführung von
Four Earth Songs fand am
7. Juli 2009 statt,
anlasslich der 14.
WASBE-Konferenz in
Cincinnati (USA). Das
Werk ist dem Dirigenten
Jouke Hoekstra und dem
Frysk Fanfare Orkest
(Friesischen
Fanfareorchester) in
aller Freundschaft
gewidmet.
Le
cantique Nun ruhen alle
Walder, dont la ligne
melodique fut reprise par
Jean-Sebastien Bach pour
son choral So sein nun,
Seele, deine (Choral
ndeg6 - Cantate BWV 13),
est le fil conducteur de
cette oeuvre en quatre
mouvements concue comme
un cri contre la
destruction volontaire de
la nature pour le profit.
Plus de trois siecles
nous separent du temps de
Bach. Si les mots sont
restes les memes, leur
sens primitif connait
cependant quelques
nuances. Ainsi, au XXIe
siecle - considere comme
le << siecle du progres
>>, il conviendrait de
traduire Nun ruhen alle
Walder (les forets se
reposent ) par Les forets
se meurent. La
mondialisation et
l'industrialisation
massiveassociees a
l'avidite predatrice, a
la corruption politique,
aux actions humaines
irrationnelles et au
fosse grandissant entre
riches et pauvres
conduisent notre planete
bleue a se rapprocher
chaque jour un peu plus
du point de non retour.
Cette composition n'est
pas une accusation
acerbe, mais plutot une
exhortation a prendre
soin de cette beaute si
harmonieuse que nous
offre la nature. Et
peut-etre, prendrons-nous
enfin conscience de
l'importance d'une
situation de coexistence
avec la nature,
necessaire pour la survie
de l'espece humaine, et
non d'exploitation qui
conduit a la destruction.
Un jour, alors qu'il
naviguait sur Internet,
Marco Pütz
decouvrit l'oeuvre du
poete australien Graeme
King. Fascine par la
clarte de l'ecriture et
le rythme des vers, Marco
Pütz imagina les
multiples possibilites
d'adaptation et de mise
en musique qu'offrent les
poemes de King. Il
choisit quatre poemes sur
la nature pour creer son
oeuvre Four Earth Songs
(Quatre chants de la
terre). 1. Tears of
Nature (Les larmes de la
Nature) 2. Grrrevolution
3. Stand up! (Levez-vous
!) 4. Tomorrow (Demain)
Four Earth Songs est
dedie amicalement a
l'Orchestre de Fanfare de
Frise (Frysk Fanfare
Orkest) et a son chef,
Jouke Hoekstra. L'oeuvre
a ete donnee en creation
mondiale par l'orchestre
dedicataire a l'occasion
de la 14eme Convention de
la WASBE a Cincinnati
aux.
Four Earth Songs Orchestre d'harmonie - Avancé De Haske Publications
Concert Band and Vocal Solo - Grade 5 SKU: BT.DHP-1094768-010 Poems by...(+)
Concert Band and Vocal
Solo - Grade 5
SKU:
BT.DHP-1094768-010
Poems by Graeme
King. Composed by
Marco Putz. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2010.
De Haske Publications
#DHP 1094768-010.
Published by De Haske
Publications
(BT.DHP-1094768-010).
9x12 inches.
English-German-French-Dut
ch.
The hymn Nun
ruhen alle Wälder (Now
All Forests Rest),
arranged by J.S. Bach
(No. 6, So sei nun,
Seele, deine, from
Cantata BWV 13), is a
guiding light throughout
this four-movement
composition. Pütz
wrote this work as a
musical outcry against
the wilful, profit-driven
destruction of our
environment. When Bach
used the word
“ruhen†(to
rest) over 350 years ago,
it probably had a
different nuance from the
meaning it has today. At
the beginning of the 21st
century - the so-called
age of progress -
“nun ruhen alle
Wälder†should
mean “now all
forests die†.
Massive industrialization
and globalization,
coupled with pure greed,
corruption, political
scandals, an
ever-wideninggap between
the rich and poor, and
other such senseless
human actions, are
pushing our blue planet
closer and closer to the
point of no return. This
work is not intended to
be a ranting accusation.
It should remind us of
the beauty and harmony
that can exist all around
us in nature, if we take
care of it. Pütz
hopes that this will, one
day, help put a greater
emphasis on
humanity’s
survival, and coexistence
with nature rather than
the exploitation
described earlier. All
four texts were created
by Australian poet Graeme
King, whose works were
discovered by Pütz,
by chance on the
internet. Pütz was
especially captivated by
King’s clarity,
and intrigued by the
possibilities of adapting
and melding the strong
rhythmical structure of
King’s writing
with his own musical
language. The four
movements are as follows:
1. Tears of Nature 2.
Grrrevolution 3. Stand
up! 4. Tomorrow The world
première of Four Earth
Songs took place on 7
July 2009 at the 14th
WASBE-Conference in
Cincinnati (USA). This
work is dedicated in
friendship to Jouke
Hoekstra, conductor, and
the Frysk Fanfare Orkest
(the Frisian
Fanfare-Orchestra).
De hymne Nun
ruhen alle Wälder,
gearrangeerd door J.S.
Bach (nr. 6, So sei nun,
Seele, deine, uit cantate
BWV 13), is de leidraad
in deze vierdelige
compositie. Pütz
schreef het werk als een
muzikaal protest tegen de
moedwillige,op winstbejag
gebaseerde vernietiging
van ons milieu. Toen Bach
het woord
‘ruhen’
(rusten) meer dan 350
jaar geleden gebruikte,
lag er waarschijnlijk een
andere nuance in dan
tegenwoordig. Aan het
begin van de 21e eeuw -
dezogenaamde eeuw van de
vooruitgang - zou
‘nun ruhen alle
Wälder’ zelfs
kunnen betekenen:
‘nu sterven alle
bossen’. De
grootschalige
industrialisatie en
globalisering, in
combinatie met pure
hebzucht, corruptie,
politieke schandalen,een
groeiende kloof tussen
arm en rijk, en andere
dwaze menselijke
verrichtingen, brengen
onze blauwe planeet
steeds verder in de
problemen, tot er
misschien geen weg terug
meer is. Dit werk is niet
bedoeld als een
beschuldigendetirade. Het
moet ons wijzen op de
schoonheid en harmonie
die in de natuur om ons
heen kan bestaan, als we
er goed voor zorgen.
Pütz hoopt dat er op
een dag meer nadruk
gelegd zal worden op het
overleven van de mensheid
invreedzame co-existentie
met de natuur, zonder de
eerdergenoemde
uitbuiting. Alle vier de
teksten zijn geschreven
door de Australische
dichter Graeme King,
wiens werk Pütz bij
toeval tegenkwam op het
internet. Hij werd
getroffendoor Kings
helderheid en raakte ge
ntrigeerd door de
mogelijkheid de sterke
ritmische structuur van
Kings teksten om te
zetten in zijn eigen
muzikale taal. De vier
delen zijn de volgende:
1. Tears of Nature 2.
Grrrevolution 3.Stand up!
4. Tomorrow De
wereldpremière van
Four Earth Songs vond
plaats op 7 juli 2009
tijdens de 14e WASBE
Conference in Cincinnati
(VS). Dit werk is in
vriendschap opgedragen
aan dirigent Jouke
Hoekstra en zijn Fryskt
Fanfare
Der Choral
Nun ruhen alle Wälder,
hier in einer Bearbeitung
von J.S. Bach (Nr. 6 So
sei nun, Seele, deine aus
der Kantate BWV 13),
zieht sich wie ein roter
Faden durch diese
viersätzige
Komposition, die als
musikalischer Aufschrei
(Anfang!) gegen die
mutwillige,
profitgesteuerte
Zerstörung unserer
Umwelt gedacht ist.
Sicher hatte das Wort
ruhen“ vor
über 350 Jahren,
als der Liedtext
entstand, eine andere
Bedeutung als heute. Zu
Beginn des 21.
Jahrhunderts, im
sogenannten Zeitalter des
Fortschritts,
müsste es leider
wohl eher heißen: Nun
sterben alle
Wälder“...
Massive
Industrialisierung,
Globalisierung, aber auch
Profitgier, Korruption,
politische
Unfähigkeit,krasse
Unterschiede zwischen arm
und reich, und
schlussendlich die
Uneinsichtigkeit des
einzelnen Menschen haben
dazu geführt, dass
der Blaue Planet“
heute kurz vor dem
Kollaps steht. Dieses
Werk soll jedoch nicht
nur anklagen, es soll
auch die verbliebenen
Schönheiten unserer
Natur aufzeigen, in der
Hoffnung, dass es einmal
gelingen wird, die
Rettung der Natur und den
Schutz der Umwelt
über die oben
genannten Interessen zu
stellen. Alle vier Texte
stammen aus der Feder des
australischen Dichters
Graeme King, dessen Werk
der Komponist durch einen
glücklichen Zufall
im Internet entdeckte.
Besonders inspirierend
war die Direktheit von
Graemes Aussagen, aber
auch die kraftvolle
Rhythmik seiner Verse mit
den daraus resultierenden
Möglichkeiten der
musikalischen Umsetzung.
Die vier Sätze sind
wie folgt
überschrieben: 1.
Tears of Nature 2.
Grrrevolution 3. Stand
up! 4. Tomorrow Die
offizielle
Uraufführung von
Four Earth Songs fand am
7. Juli 2009 statt,
anlässlich der 14.
WASBE-Konferenz in
Cincinnati (USA). Das
Werk ist dem Dirigenten
Jouke Hoekstra und dem
Frysk Fanfare Orkest
(Friesischen
Fanfareorchester) in
aller Freundschaft
gewidmet.