| Muse - Drones Piano, Voix et Guitare Hal Leonard
By Muse. Piano/Vocal/Guitar Artist Songbook. Softcover. 100 pages. Published...(+)
By Muse.
Piano/Vocal/Guitar
Artist Songbook.
Softcover.
100 pages. Published by
Hal
Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Muse - Drones Guitare notes et tablatures Hal Leonard
By Muse. Guitar Recorded Version. Softcover. Guitar tablature. 108 pages. ...(+)
By Muse. Guitar Recorded
Version. Softcover.
Guitar
tablature. 108 pages.
Published by Hal Leonard
$19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Global Animals Ensemble d'Accordéons - Intermédiaire De Haske Publications
Accordion Orchestra - intermediate SKU: BT.DHP-1135489-060 Six beastly...(+)
Accordion Orchestra -
intermediate SKU:
BT.DHP-1135489-060
Six beastly
humoresques. Composed
by Helmut Quakernack.
Accordion. Set (Score and
Parts). Composed 2013. De
Haske Publications #DHP
1135489-060. Published by
De Haske Publications
(BT.DHP-1135489-060).
9x12 inches.
English-German-French-Dut
ch. GLOBAL ANIMAL
consists of six witty
humoresques, each
depicting an
extraordinary creature.
Thereâ??s the Australian
dancing buck that loves
to dance in pairs, a
down-in-the-dumps
Egyptian hippo in a
permanent grouse with the
world, or the
dastardlySouthern
European trill mosquito.
The extinct Mongolian
striped lion is deeply
mourned, while the arctic
numbskull is so shy that
heâ??s never been
spotted. Then thereâ??s
the continuous shriek of
the Columbian screeching
ape thatâ??s hard to
miss.(Accordion
I-II-III-Electronium-Acco
rdion
IV-Bass-Percussion) Global Animals
consists of six witty
humoresques, each
depicting an
extraordinary
creature.Thereâ??s the
Australian dancing buck
that loves to dance in
pairs, a
down-in-the-dumps
Egyptian hippo in a
permanent grouse with the
world, or the dastardly
Southern European trill
mosquito.The extinct
Mongolian striped lion is
deeply mourned, while the
arctic numbskull is so
shy that heâ??s never
been spotted. Then
thereâ??s the continuous
shriek of the Columbian
screeching ape thatâ??s
hard to
miss.
Global
Animals besteht aus sechs
tierisch-witzigen
Humoresken über
ungewöhnliche Tiere
unseres Planeten: Da
gibt es den australischen
Tanzbock, der gerne zu
zweit tanzt, ein
ägyptisches, sehr
weinerlichen Flusspferd,
das mit sich und der Welt
unzufrieden ist, oder die
heimtückische
südeuropäische
Trillermücke. Dem
verstorbenen mongolischen
Streifenlöwenwird in
tiefer Trauer die letzte
Ehre erwiesen, während
die einfältige
arktische Dumpfbacke so
scheu ist, dass kaum
jemand sie je gesehen
hat. Der permanent
kreischende,
kolumbianische Schreiaffe
ist dagegen kaum zu
überhören. $85.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Guitarra Metode Global / Metodo Global, Vol 2 Guitare Editorial de Musica Boileau
Guitar SKU: BO.B.3730 Composed by Lluis Murillas. With Book in Spanish an...(+)
Guitar SKU:
BO.B.3730 Composed by
Lluis Murillas. With Book
in Spanish and Catalan.
Published by Editorial de
Musica Boileau
(BO.B.3730).
This method for
guitar is practical and
functional that pretends
to be fun and motivating
without losing academic
rigor.
Throughout
the five books which
complete the collection,
are shown exercises,
studies, works and songs
belonging to various
genres, styles and
techniques (fingers or
plectrum, for example) to
play the guitar. As the
title suggests, the
method includes the study
from all perspectives and
is intended for use with
any type of guitar
(classical, acoustic or
electric).
The
intention is to convey
(in the elementary level)
a comprehensive and
unbiased knowledge, which
students can study,
fluidly, all possible
ways of playing the
instrument and start to
find his own artistic
path. $25.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Let Us Build A House (All Are Welcome) Chorale SATB Hope Publishing Company
Choral SATB choir with optional Bassoon, Clarinet, Flute, Oboe, Piano SKU: HP...(+)
Choral SATB choir with
optional Bassoon,
Clarinet, Flute, Oboe,
Piano SKU:
HP.C6307 Composed by
Ken Medema and Marty
Haugen. Arranged by Lloyd
Larson. Piano with
optional Instrumental
Parts (available
separately). Hymn
Arrangements,
Commemoration,
Dedication, Festival,
General Worship,
Children, Church, Cities,
Discipleship, Faith &
Faithfulness, Global,
Kingdom, Love, Mission,
Trust & Unity, Worship.
Octavo. 16 pages. Hope
Publishing Company
#C6307. Published by Hope
Publishing Company
(HP.C6307). UPC:
763628163075. A
medley of 'All Are
Welcome' with 'Come Build
A Church' Pairing Marty
Haugen's hymn, All Are
Welcome with Ken Medema's
song, Come Build A
Church, this choral
setting is useful for
building community in the
house of the Lord. The
instrumental parts add
color and interest to
this powerful reminder to
build a house where love
can dwell and all can
safely live, a place
where saints and children
tell how hearts learn to
forgive.. $3.45 - Voir plus => AcheterDélais: 4 to 6 business days | | |
| Global Animals Ensemble d'Accordéons [Conducteur] - Intermédiaire De Haske Publications
Accordion Orchestra - intermediate SKU: BT.DHP-1135489-160 Six beastly...(+)
Accordion Orchestra -
intermediate SKU:
BT.DHP-1135489-160
Six beastly
humoresques. Composed
by Helmut Quakernack.
Accordion. Score Only.
Composed 2013. 36 pages.
De Haske Publications
#DHP 1135489-160.
Published by De Haske
Publications
(BT.DHP-1135489-160).
9x12 inches.
English-German-French-Dut
ch. Global
Animals consists of
six witty humoresques,
each depicting an
extraordinary
creature.There’s
the Australian dancing
buck that loves to dance
in pairs, a
down-in-the-dumps
Egyptian hippo in a
permanent grouse with the
world, or the dastardly
Southern European trill
mosquito.The extinct
Mongolian striped lion is
deeply mourned, while the
arctic numbskull is so
shy that he’s
never been spotted. Then
there’s the
continuous shriek of the
Columbian screeching ape
that’s hard to
miss.
Global
Animals besteht aus
sechs tierisch-witzigen
Humoresken über
ungewöhnliche Tiere
unseres Planeten:Da gibt
es den australischen
Tanzbock, der gerne zu
zweit tanzt, ein
ägyptisches, sehr
weinerlichen Flusspferd,
das mit sich und der Welt
unzufrieden ist, oder die
heimtückische
südeuropäische
Trillermücke. Dem
verstorbenen mongolischen
Streifenlöwen wird in
tiefer Trauer die letzte
Ehre erwiesen, während
die einfältige
arktische Dumpfbacke so
scheu ist, dass kaum
jemand sie je gesehen
hat. Der permanent
kreischende,
kolumbianische Schreiaffe
ist dagegen kaum zu
überhören. $22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Celebrations Around the World! - CD Kit CD Chorale [CD|Collection / Songbook|Teacher Editions|Teacher Editions] Alfred Publishing
A Global Holiday Songbook featuring 14 unison songs celebrating holidays in 13 c...(+)
A Global Holiday Songbook
featuring 14 unison songs
celebrating holidays in
13 counrties. By Marti
Lunn Lantz, Sally K.
Albrecht. For Choir. This
edition: CD Kit.
Children's Musicals and
Programs. Multicultural.
Teacher's Handbook and
Soundtrax CD. 64 pages.
Published by Alfred
Publishing.
(1)$49.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Blues Guitar - Level 2 Guitare notes et tablatures [Partition + CD] Hal Leonard
(House of Blues Learn to Play Series). For Guitar. Rock House. Blues. Book and C...(+)
(House of Blues Learn to
Play Series). For Guitar.
Rock House. Blues. Book
and CD and DVD Package.
64 pages. Hal Leonard
#FR00946. Published by
Hal Leonard
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Acclamation! Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
(A Global Greeting for Winds). By Alfred Reed. Score and full set of parts. Hal ...(+)
(A Global Greeting for
Winds). By Alfred Reed.
Score and full set of
parts. Hal Leonard
Concert Band Series.
Grade 4. Size 9x12
inches. Published by
Marks.
$80.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto - Piano And Orchestra - Solo Part Schott
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). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Delight of the Muses [Conducteur] Peters
Orchestra [2.2.2.2-4.2.3.1], timpani, harp, piano, vibraphone, strings SKU: P...(+)
Orchestra
[2.2.2.2-4.2.3.1],
timpani, harp, piano,
vibraphone, strings
SKU: PE.EP67394
For Orchestra.
Composed by Charles
Wuorinen. Score. Peters
Contemporary Library.
20th Century. Score.
Composed 1991. 182 pages.
Duration 00:30:00.
Edition Peters
#98-EP67394. Published by
Edition Peters
(PE.EP67394). ISBN
9790300739311. 297 x
420mm inches. This
product is Printed on
Demand and may take
several weeks to fulfill.
Please order from your
favorite retailer.
About Peters
Contemporary
Library Ma
rk Andre Milton
Babbitt Daniel
Bjarnason Earle
Brown John
Cage Henry
Cowell James
Dillon Jonathan
Dove Brian
Ferneyhough Roxanna
Panufnik Rebecca
Saunders Erkki-Sven
Tuur Charles
Wuorinen These
are just a few of the
composers whose most
adventurous scores are
now available to purchase
through the Peters
Contemporary Library. A
new global initiative of
the Edition Peters Group,
the Peters Contemporary
Library is a project
designed to put these
bold 20th- and
21st-century works, once
available only for
rental, into the
collections of libraries,
performers, scholars, and
conductors alike.
Kicked off in 2016,
the Peters Contemporary
Library already contains
many cutting-edge works
and is constantly
expanding. We are proud
to offer these bold new
scores for sale, for the
first time ever, to
modern musicians and
students of music all
around the world. $252.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Four Earth Songs Sc/pts Full Score Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
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). UPC:
884088896607. 9x12
inches.
English-German-French-Dut
ch. 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. $114.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Four Earth Songs Sc/pts Orchestre d'harmonie [Conducteur] - Intermédiaire Hal Leonard
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). UPC:
884088896591. 9x12
inches.
English(US)/Deutsch/Franc
ais/Nederlands. 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. $478.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Four Earth Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire 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.
Le
cantique Nun ruhen alle
Wälder, dont la ligne
mélodique fut reprise
par Jean-Sébastien
Bach pour son choral So
sein nun, Seele, deine
(Choral n°6 - Cantate
BWV 13), est le fil
conducteur de cette
oeuvre en quatre
mouvements conçue
comme un cri contre la
destruction volontaire de
la nature pour le profit.
Plus de trois siècles
nous séparent du temps
de Bach. Si les mots sont
restés les mêmes,
leur sens primitif
connaît cependant
quelques nuances. Ainsi,
au XXIe siècle -
considéré comme le
« siècle du
progrès », il
conviendrait de traduire
Nun ruhen alle Wälder
(“les forêts se
reposent “) par
“Les forêts se
meurentâ€. La
mondialisation et
l’industrialisatio
n massiveassociées
l’avidité
prédatrice, la
corruption politique, aux
actions humaines
irrationnelles et au
fossé grandissant
entre riches et pauvres
conduisent notre
planète bleue se
rapprocher chaque jour un
peu plus du point de non
retour. Cette composition
n’est pas une
accusation acerbe, mais
plutôt une exhortation
prendre soin de cette
beauté si harmonieuse
que nous offre la nature.
Et peut-être,
prendrons-nous enfin
conscience de
l’importance
d’une situation de
coexistence avec la
nature, nécessaire
pour la survie de
l’espèce
humaine, et non
d’exploitation qui
conduit la destruction.
Un jour, alors
qu’il naviguait
sur Internet, Marco
Pütz découvrit
l’oeuvre du
poète australien
Graeme King. Fasciné
par la clarté de
l’écriture et
le rythme des vers, Marco
Pütz imagina les
multiples possibilités
d’adaptation et de
mise en musique
qu’offrent les
poèmes de King. Il
choisit quatre poèmes
sur la nature pour
créer 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
dédié amicalement
l’Orchestre de
Fanfare de Frise (Frysk
Fanfare Orkest) et son
chef, Jouke Hoekstra.
L’oeuvre a
été donnée en
création mondiale par
l’orchestre
dédicataire
l’occasion de la
14ème Convention de la
WASBE Cincinnati aux. $553.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Four Earth Songs Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band and Vocal Solo - Grade 5 SKU: BT.DHP-1094768-140 Poems by...(+)
Concert Band and Vocal
Solo - Grade 5 SKU:
BT.DHP-1094768-140
Poems by Graeme
King. Composed by
Marco Putz. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2010. 84
pages. De Haske
Publications #DHP
1094768-140. Published by
De Haske Publications
(BT.DHP-1094768-140).
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.
Le
cantique Nun ruhen alle
Wälder, dont la ligne
mélodique fut reprise
par Jean-Sébastien
Bach pour son choral So
sein nun, Seele, deine
(Choral n°6 - Cantate
BWV 13), est le fil
conducteur de cette
oeuvre en quatre
mouvements conçue
comme un cri contre la
destruction volontaire de
la nature pour le profit.
Plus de trois siècles
nous séparent du temps
de Bach. Si les mots sont
restés les mêmes,
leur sens primitif
connaît cependant
quelques nuances. Ainsi,
au XXIe siècle -
considéré comme le
« siècle du
progrès », il
conviendrait de traduire
Nun ruhen alle Wälder
(“les forêts se
reposent “) par
“Les forêts se
meurentâ€. La
mondialisation et
l’industrialisatio
n massiveassociées
l’avidité
prédatrice, la
corruption politique, aux
actions humaines
irrationnelles et au
fossé grandissant
entre riches et pauvres
conduisent notre
planète bleue se
rapprocher chaque jour un
peu plus du point de non
retour. Cette composition
n’est pas une
accusation acerbe, mais
plutôt une exhortation
prendre soin de cette
beauté si harmonieuse
que nous offre la nature.
Et peut-être,
prendrons-nous enfin
conscience de
l’importance
d’une situation de
coexistence avec la
nature, nécessaire
pour la survie de
l’espèce
humaine, et non
d’exploitation qui
conduit la destruction.
Un jour, alors
qu’il naviguait
sur Internet, Marco
Pütz découvrit
l’oeuvre du
poète australien
Graeme King. Fasciné
par la clarté de
l’écriture et
le rythme des vers, Marco
Pütz imagina les
multiples possibilités
d’adaptation et de
mise en musique
qu’offrent les
poèmes de King. Il
choisit quatre poèmes
sur la nature pour
créer 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
dédié amicalement
l’Orchestre de
Fanfare de Frise (Frysk
Fanfare Orkest) et son
chef, Jouke Hoekstra.
L’oeuvre a
été donnée en
création mondiale par
l’orchestre
dédicataire
l’occasion de la
14ème Convention de la
WASBE Cincinnati aux. $115.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rituals Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon, Clarinet, Contrabass, Contrabas...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon,
Clarinet, Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Horn 1, Horn 2, Horn 3,
Horn 4, Oboe, Percussion,
Trombone 1, Trombone 2,
Trumpet 1, Trumpet 2,
Tuba, Viola, Violin 1,
Violin 2, Violoncello
SKU: PR.44641192L
For 5 Percussionists
and Orchestra.
Composed by Ellen Taaffe
Zwilich. Contemporary.
Large Score. With
Standard notation.
Composed 2003. 72 pages.
Duration 30 minutes.
Theodore Presser Company
#446-41192L. Published by
Theodore Presser Company
(PR.44641192L). UPC:
680160610860. 11 x 14
inches. One of my
greatest pleasures in
writing a concerto is
exploring the new world
that opens for me each
time I enter the
sometimes alien, but
always fascinating, world
of a solo instrument or
instruments. For me, the
challenge is to discover
the deepest nature of the
solo instrument (its
karma, if you will) and
to allow that essential
character to guide the
shape and form of the
work and the nature of
the interaction between
soloists and orchestra.
In recent years, many of
us have become more aware
of the musical world
outside the Western
tradition of musics that
follow different
procedures and spring
from other aesthetics.
And contemporary
percussionists have
opened many of these
worlds to us, as they
have ventured around the
globe, participating in
Brazilian Samba schools,
studying Gamelan and
African drumming with
local experts, collecting
instruments from Asia and
Africa and South America
and the South Pacific,
widening our horizons in
the process. I will never
forget our first meeting
in Toronto when Nexus
invited me into their
world of hundreds of
exciting percussion
instruments. The vast
array of instruments in
the collection of the
Nexus ensemble is truly
global in scope as well
as offering a thrilling
sound-universe. I was
inspired by the
incredible range of sound
and moved by the fact
that so many of these
instruments were musical
reflections of a
spiritual dimension.
After long consideration,
I decided that it would
not only be impossible,
but even undesirable for
this
Western-tradition-steeped
composer to attempt to
use these instruments in
a culturally authentic
way. My goal was an
existential kind of
authenticity: searching
instead for universal
ideas that would be true
to both myself and the
performers while
acknowledging the
traditional uses of the
instruments. Since many
percussion instruments
are associated with
various kinds of ritual,
I decided that I would
allow that concept to
shape my piece. Rituals
is in four movements,
each issuing from a
ritual associated with
percussion, but with the
orchestral interaction
providing an essential
element in the musical
form. I. Invocation
alludes to the traditions
of invoking the spirit of
the instruments, or the
gods, or the ancestors
before performing. II.
Ambulation moves from a
processional, through
march and dance to
fantasy based on all
three. III. Remembrances
alludes to traditions of
memorializing. IV.
Contests progresses from
friendly competition
games, contests to a
suggestion of a battle of
big band drummers, to
warlike exchanges. In the
2nd and 4th movements,
another percussion
tradition, improvisation,
is employed. Written into
these movements are a
number of seeds for
improvisation.
Indications in the score
call for the soloists to
improvise in three
different ways, marked A
for percussion alone;
marked B for percussion
with and in response to
the orchestra; and C
where the percussionists
are free to add and
embellish the written
parts. These
improvisations should
grow out of and embellish
previous motives and
gestures in the
movement. $95.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Lux Aeterna for 16-part Mixed Choir
Chorale SATB [Vocal Score] Peters
Choir Sacred SATB choir (a cappella 16-voice mixed chorus) - Difficulty: medium ...(+)
Choir Sacred SATB choir
(a cappella 16-voice
mixed chorus) -
Difficulty: medium to
medium-difficult SKU:
PE.EP5934 Composed by
Gyorgy Ligeti. Choral
Works (inc. Oratorios).
Edition Peters. 20th
Century. Vocal score.
With choral notation. 19
pages. Duration 00:09:00.
Edition Peters
#98-EP5934. Published by
Edition Peters
(PE.EP5934). ISBN
9790014042295. UPC:
9790014042295. 9x12
inches.
English. One of the
great classics of 20th
century choral modernism.
Ligeti's thrilling 'Lux
Aeterna' achieved global
fame following its use on
the soundtrack to Stanley
Kubrick's 1968 film
'2001: A Space Odyssey'.
For 16-part Choir SATB,
the work deploys Ligeti's
technique of
micropolyphony and uses
cluster chords to create
a densely buzzing haze of
sound. Vocal Score. (4)$13.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Encounter Chorale 3 parties SAB - Intermédiaire GIA Publications
SAB choir, voice solo, assembly, keyboard accompaniment, C instrument, B-flat in...(+)
SAB choir, voice solo,
assembly, keyboard
accompaniment, C
instrument, B-flat
instrument, violin 1,
violin 2, cello, guitar -
Late intermediate SKU:
GI.G-9616 From the
Heart of Pope
Francis. Composed by
Jeanne Cotter and Tony
Alonso S.J. Arranged by
Chris De Silva. Sacred.
Octavo. With guitar chord
names. 216 pages. GIA
Publications #9616.
Published by GIA
Publications (GI.G-9616).
UPC: 785147961628.
English. Text Source: 'A
Weary Couple' by Adam M.
L. Tice. Text by Adam M.
L. Tice. By his
words and actions, Pope
Francis compels the
global Church to a
radically renewed
personal encounter with
Jesus Christ. Encounter:
From the Heart of Pope
Francis is a performance
piece that animates this
call in song, story, and
prayer, inviting all
Christians to risk
stepping toward Jesus in
both the blessing and the
bruising of daily life.
Encounter takes us to the
front lines of
God’s field
hospital, calling us to a
revolution of tenderness
in a world desperate for
healing, wholeness and
hope. This full score
contains all of the music
for the Encounter
performance piece for use
in connection with the
script (G-9616S), which
includes all spoken text
and staging directions.
However, the music in
this edition is also
useful for liturgical
celebrations and other
occasions throughout the
year. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Ubuntu Chorale 2 parties Alfred Publishing
Choir Secular (2-Part choir) SKU: AP.48931 Composed by Kyle Pederson. Per...(+)
Choir Secular (2-Part
choir) SKU:
AP.48931 Composed by
Kyle Pederson.
Performance Music
Ensemble; Single Titles.
Alfred Choral Designs.
Multicultural;
Peace/Brotherhood;
Secular. Choral Octavo.
16 pages. Alfred Music
#00-48931. Published by
Alfred Music (AP.48931).
UPC: 038081562551.
English. There is a
word in South Africa,
Ubuntu, which recognizes
that we are better as
individuals and entire
communities when we root
ourselves in
relationships. When we
care for each other and
embrace our essential
unity, humanity thrives.
This very special
original song invites
singers and audience
members to live Ubuntu,
connected as one global
family. Two-part singers
will quickly learn the
naturally syncopated
hook, echo phrases, and
no fuss harmony. A small
drum circle, an opening
narrator, a few rap
soloists, and some
resonant descant voices
guarantee an impressive
performance. This is the
type of piece you'd hear
at convention, hope your
kids can handle, and then
rejoice when you realize
they can!
About Alfred
Choral
Designs Th
e Alfred Choral Designs
Series provides student
and adult choirs with a
variety of secular choral
music that is useful,
practical, educationally
appropriate, and a
pleasure to sing. To that
end, the Choral Designs
series features original
works, folk song
settings, spiritual
arrangements, choral
masterworks, and holiday
selections suitable for
use in concerts,
festivals, and
contests. $2.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Love Knows Not 'Mine' or 'Thine' Chorale SATB SATB, Piano - Intermédiaire GIA Publications
SATB choir, piano accompaniment - Intermediate SKU: GI.G-9958 Composed by...(+)
SATB choir, piano
accompaniment -
Intermediate SKU:
GI.G-9958 Composed by
Wayland Rogers. Children.
Global Encounters for
Young Choirs. Music
Education. Octavo. 12
pages. GIA Publications
#9958. Published by GIA
Publications (GI.G-9958).
UPC: 785147995807.
English. Text Source:
From I Loved You
First, Christina
Rossetti, 1830-1894, alt.
Text by Christina
Rossetti. Â The
English Romantic poet,
Christina Rossetti
(1830–1894), is
chiefly known for her
mystic religious lyrics.
Her limited number of
love poems are mostly of
an unhappy nature, rather
like objective
expressions of happiness
denied. A certain steely
stoicism within her
caused her to turn away
from love twice in her
lifetime with two
separate men. There is no
evidence of resolute
refusal of love in this
poem, however. Here she
profusely proclaims her
deep love for another.
Wayland Rogers has set
the last five lines of I
Loved You First to music.
The setting is an excerpt
from his song cycle,
I-Thou , which was
commissioned and
premiered by Fourth Coast
Ensemble in Chicago in
2018. About the
Series: Doreen
Rao, 2019 Robert Shaw
Award recipient, launches
her culturally inclusive
choral series, Global
Encounters for Young
Voices, featuring
accessible treble- and
mixed-voice works for
developing choirs. $2.80 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Plus Ultra Violoncelle, Piano Editorial de Musica Boileau
Cello and piano SKU: BO.B.3724 Composed by J. Cassado/M. Mestre. Publishe...(+)
Cello and piano SKU:
BO.B.3724 Composed by
J. Cassado/M. Mestre.
Published by Editorial de
Musica Boileau
(BO.B.3724).
Cassado could
be considered are the
first great Catalan
symphonist of the 19th
Century and one of the
first pre-coursers of
Nationalism in our
country. His is a
Nationalism that is
solidly based on central
European traditions,
mainly Germanic in
its.
Plus Ultra
is a special case in
which the desire to
exhibit his deepest
Nationalist sentiments
took a second place to a
more global style into
which he incorporated
harmonies and melodic
turns that recall
Rachmaninoff more than
Albeniz. Plus Ultra can
be considered as a
musical thought which, in
spite of references or
paraphrases of some
typical aspects of
Spanish music of the era,
is an authentic lied in
which the cello sings
out, using maximum of its
expressive possibilities,
with a piano
accompaniment of the
first order.
In
this work Cassado makes
more extensive use of
pianissimo, which is more
typical of the French
school, than in any other
of his works. Through the
use of gestures which are
almost Impressionist, as
well as refined and
tasteful harmonies, the
composer divides the
musical discourse between
the two instruments
creating a fantastic work
which his son Gaspar
performed in
concerts. $20.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Silver Linings Theodore Presser Co.
Chamber Music Marimba, alto Saxophone SKU: PR.114423770 Composed by Stacy...(+)
Chamber Music Marimba,
alto Saxophone SKU:
PR.114423770 Composed
by Stacy Garrop. Set of
Score and Parts. 16+12+16
pages. Duration 11
minutes. Theodore Presser
Company #114-42377.
Published by Theodore
Presser Company
(PR.114423770). UPC:
680160688579. When
RoseWind Duo’s
Clifford Leaman and Scott
Herring commissioned me
for Silver Linings, we
could not have
anticipated that we would
be in the middle of the
COVID-19 pandemic when I
composed the piece. In
the early summer of 2020,
when the three of us met
virtually to discuss
possible topics, we had
all been in lockdown for
several months; the
causes and effects of the
lockdown were at the
forefront of our
discussion. In themidst
of daily tragedies, I had
been seeing news stories
using the words
“silver
lining†to describe
unexpectedly positive
situations arising from
our global situation,
ranging from small
effects (i.e. people
having time to work on
projects they never could
get around to doing) to
global ramifications
(resurging animal
populations in areas
where they’re no
longer challenged for
space with
humanity).Silver Linings
consists of two
movements. Groundhog Day,
the first movement, is
slow and brooding. It
embodies the strong
feeling of déjà vu
that so many of us
experienced early on into
lockdown, as we seemed to
live the same day
repeatedly with minor
variances to our
schedules. There are two
main musical gestures:
the first opens the piece
as a slow, ascending
minor chord which is a
representation of
uncertainty, and the
secondis a falling minor
scale. These gestures
depict how our lives were
reduced to the basic
building blocks of life
– wake up, eat,
work, eat, sleep –
as our daily activities
and livelihoods were
suddenly knocked down.
These same two gestures
are utilized in the
energetic second
movement, Making
Lemonade, except that
they are spun around to
reveal their silver
linings: the minor chord
falls to sound centered
and decisive, and the
minor scale rises as it
bubbles with activity.
Among the seeds of
despair are also
foundseeds of hope, and
the saxophone and marimba
explore this hopefulness
with great vigor and
excitement. $33.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Encounter - Guitar edition Guitare GIA Publications
Guitar SKU: GI.G-9616G From the Heart of Pope Francis. Composed by...(+)
Guitar SKU:
GI.G-9616G From
the Heart of Pope
Francis. Composed by
Jeanne Cotter and Tony
Alonso S.J. This edition:
Guitar edition. Sacred.
Guitar part. With guitar
chord names. 56 pages.
GIA Publications #9616G.
Published by GIA
Publications
(GI.G-9616G). UPC:
785147961673. By
his words and actions,
Pope Francis compels the
global Church to a
radically renewed
personal encounter with
Jesus Christ. Encounter:
From the Heart of Pope
Francis is a performance
piece that animates this
call in song, story, and
prayer, inviting all
Christians to risk
stepping toward Jesus in
both the blessing and the
bruising of daily life.
Encounter takes us to the
front lines of
God’s field
hospital, calling us to a
revolution of tenderness
in a world desperate for
healing, wholeness and
hope. This guitar edition
for Encounter includes
melody lines, lyrics, and
chord symbols. When used
in connection with the
other available editions
listed below, any parish
or community will be able
to bring this performance
piece to life. However,
the songs of Encounter
are also useful for
liturgical celebrations
and other occasions
throughout the year. $20.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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