| Marujo do Rosario Carl Fischer
Choral Piano, Tambourine, Voice 1, Voice 2, Voice 3 SKU: CF.CM9602 Compos...(+)
Choral Piano, Tambourine,
Voice 1, Voice 2, Voice 3
SKU: CF.CM9602
Composed by Brazilian
Folk Song. Arranged by
Eduardo Lakschevitz Elisa
Dekaney. Fold.
Performance Score. 12
pages. Duration 2
minutes, 28 seconds. Carl
Fischer Music #CM9602.
Published by Carl Fischer
Music (CF.CM9602).
ISBN 9781491154243.
UPC: 680160912742. 6.875
x 10.5 inches. Key: Gb
major. Portuguese.
Brazilian Folk
Song. According to
Ermelinda Paz ,
Marujo do
Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
houses owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [? k?
li'sensa olele e] E com
licenca do dono da casa
[? k? li'sensa du d?nu da
kaza]. According to
Ermelinda Paz ,
Marujo do
RosA!rio (literally
translated from the
Portuguese as aSailor of
the Rosarya) comes from
the hydrographic region
of the SAPSo Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
acheganASSa-de-marujoa
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics aA com
licenASSa Aa, A'lelAa,
A(c) com licenASSa do
dono da casa, A' Aa com
licenASSa Aaa means
aplease excuse me, I have
permission from the
houseas owner to come
in.a This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final ama or an.a
Just nasalize them. IPA
Transcription A com
licenASSa olelAa Aa [E kE
li'sensa oleale e] A com
licenASSa do dono da casa
[E kE li'sensa du adEnu
da akaza]. According
to Ermelinda Paz ,
Marujo do
Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
house's owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [e k^
li'sensa ole'le e] E com
licenca do dono da casa
[e k^ li'sensa du 'd^nu
da 'kaza]. According
to Ermelinda Paz, Marujo
do Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
house's owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [e k^
li'sensa ole'le e] E com
licenca do dono da casa
[e k^ li'sensa du 'd^nu
da 'kaza]. According
to Ermelinda Paz, Marujo
do Rosário (literally
translated from the
Portuguese as
“Sailor of the
Rosaryâ€) comes from
the hydrographic region
of the São Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
“chegança-de-mar
ujo†(arrival of
sailor). In this
tragicomic street drama,
the community of actors
enact a story in which
they demonstrate their
experiences as if they
were in a vessel lost at
sea. In this dance,
several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics
“É com
licença ê,
ôlelê, é com
licença do dono da
casa, ô ê com
licença êâ€
means “please
excuse me, I have
permission from the
house’s owner to
come in.â€This
arrangement is scored for
three-part mixed with
optional baritone, piano,
and pandeiro. The
pandeiro is a Brazilian
frame drum with jingles
played with the hands,
similar to the orchestral
tambourine. It is used in
various music styles but
particularly in samba and
bossa nova. In fact, feel
free to substitute the
pandeiro with the
orchestral tambourine.
The text is very short
and simple. To make your
singers Portuguese
pronunciation more
accurate, do not close
final “m†or
“n.†Just
nasalize them.IPA
TranscriptionÉ com
licença olelê
ê[ɛ kʌ li'sensa
ole‘le e]É com
licença do dono da
casa[ɛ kʌ li'sensa
du ‘dʌnu da
‘kaza]. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963SP
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Portraits of Hector Berlioz Barenreiter
SKU: BA.BVK01677 Composed by Gunther Braam. Edited by John Warrack and Ri...(+)
SKU: BA.BVK01677
Composed by Gunther
Braam. Edited by John
Warrack and Richard
Maccnutt. This edition:
Complete edition. Linen.
New Berlioz Edition.
Volume 26. Complete
edition, Book.
Baerenreiter Verlag
#BVK01677_00. Published
by Baerenreiter Verlag
(BA.BVK01677). ISBN
9783761816776. 27.5 x
19.8 cm inches.
Translation: John
Warrack. The volume
contains 122 portraits of
Hector Berlioz, including
paintings, medals, busts,
woodcuts, drawings,
lithographs, photographs
and caricatures. It also
presents several doubtful
or spurious
portraits. Each
reproduction is
accompanied by
information on its date,
artist and present
location. This collection
of all known Berlioz
portraits sheds entirely
new light on the life and
surroundings of the great
French composer.
The Portraits of
Hector Berliozis the
first collection of all
the portraits made of
Berlioz during his
lifetime. It ranges from
photographs, formal
paintings and drawings by
way of woodcuts and
lithographs to the many
caricatures which his
striking appearance
attracted. Each picture
is accompanied by a full
description and thorough
documentation of its
location and history,
details of the artist's
career and relationship
with Berlioz, an
explanation of the
circumstances of the
picture's creation, and
much else in the way of
relevant comment. This
documentation also sheds
light on the development
of photography and its
position in the society
of the Second Empire , as
well as on the emphasis
on caricature in the
often satirical
journalism of the day.
Where they contribute to
the appreciation of the
picture, the articles
which the caricatures
illustrate, or extracts
from them, are also
included in an Appendix.
Some of the pictures are
published for the first
time and many for the
first time in colour.
As well as being
fascinating and often
entertaining, the
collection adds to our
understanding of
Berlioz's life, times and
the circumstances in
which his music was
composed and
performed.
$453.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mount Vernon Square Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250 Concert March. Composed...(+)
Band Concert Band - Grade
2 SKU: CF.YPS250
Concert March.
Composed by Joseph
Compello. Yps. Set of
Score and Parts.
2+16+4+8+8+8+4+4+10+4+4+8
+8+8+4+4+6+6+6+4+6+1+1+4+
1+24 pages. Duration 2
minutes, 43 seconds. Carl
Fischer Music #YPS250.
Published by Carl Fischer
Music (CF.YPS250).
ISBN 9781491161333.
UPC:
680160919925. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Mount Vernon Square Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250F Concert March. Compose...(+)
Band Concert Band - Grade
2 SKU: CF.YPS250F
Concert March.
Composed by Joseph
Compello. Yps. Full
score. 24 pages. Duration
2 minutes, 43 seconds.
Carl Fischer Music
#YPS250F. Published by
Carl Fischer Music
(CF.YPS250F). ISBN
9781491161890. UPC:
680160920570. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| WAVE-EIGHT 8″ Portable DJ Speaker with SonicLink Aucune valeur Hal Leonard
SKU: HL.1418387 AlphaTheta. DJ Gear. Duration 195 seconds. Hal Leonard #W...(+)
SKU: HL.1418387
AlphaTheta. DJ Gear.
Duration 195 seconds. Hal
Leonard #WAVE-EIGHT.
Published by Hal Leonard
(HL.1418387). UPC:
841300102410.
16.0x26.5x17.0
inches. Faster and
easier Cable-free DJing
without sound delays is
now possible with the
WAVE-EIGHT thanks to
SonicLink. This new
ultra-low-latency
technology wirelessly
transmits audio much
faster than a Bluetooth
connection so only a
fraction of a second
passes between pressing
play on the decks and
hearing the track through
the speakers, which lets
you mix without missing a
beat. Take the included
transmitter out of its
storage compartment on
the WAVE-EIGHT and
connect it to your DJ
gear, and you can
instantly create a
wireless connection,
enabling you to throw a
DJ party anywhere you
want. And if you combine
the WAVE-EIGHT with the
new OMNIS-DUO portable
all-in-one DJ system,
which features battery
power, you can play
cable-free for total
freedom. Professional
sound with effortless
setup With a highly
efficient Class D
amplifier, a newly
designed 8-inch driver,
and a Vortex Bass
Accelerator which
delivers clear and
powerful bass, the
WAVE-EIGHT will bring the
vibes and the punch to
your party's sound, even
in outdoor settings. To
cover larger events and
spaces, you can easily
add more units to your
setup with the SonicLink
connection: e.g., using 2
speakers in stereo for an
expansive experience, or
with a third added as a
dedicated subwoofer for a
club-like heavy bass
sound. There are even
several modes you can
change between with a
single switch to create
the type of sound you
need, including Mono,
Stereo, and Subwoofer
mode. Battery power and
waterproof design for
outdoor events A full
battery charge gives you
8 hours of music on the
WAVE-EIGHT so you can
keep the tunes going
throughout the evening
and night. The unit is
also waterproof, with an
IPX4 rating, so it's
ideal for using outdoors.
And, if you need to
charge your phone or
another device, you can
plug it into the USB
Type-C port. Find party
venues wherever you go
The extendable handle,
casters, and additional
grab handles make it easy
to carry the WAVE-EIGHT
to any location on your
own. There's a pole
socket built-in, too, so
you can mount the speaker
on a stand for extra
height, making it ideal
for use in a variety of
locations. $899.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Evening Gale Chorale SATB SATB, Piano - Intermédiaire GIA Publications
SATB choir, piano accompaniment, cello, percussion - Intermediate SKU: GI.G-1...(+)
SATB choir, piano
accompaniment, cello,
percussion - Intermediate
SKU: GI.G-10239
Night Song /
Acquainted with the Night
/ The Sundown Sea.
Composed by Anthony
Bernarducci. Evoking
Sound. Music Education.
Octavo. 56 pages. GIA
Publications #10239.
Published by GIA
Publications
(GI.G-10239). English.
Text Source: Prairie
Waters by Night,
Acquainted with the
Night, A Song of
Creation Text by Carl
Sandburg. Each
movement of this work
describes aspects of the
night in a different
location, utilizing the
poetry of Carl Sandburg,
Robert Frost, and Joaquin
Miller. The music strives
to portray the artistic
intention of each poem
while also illustrating
sounds of the locations
through the use of
instrument and
voice. The percussion
part is for orchestral
chimes, wind chimes, bass
drum, low brake drum,
ocean drum and
tom-toms. $9.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fanfare, Reminiscence and Celebration Orchestre d'harmonie Theodore Presser Co.
Orchestra Concert Band SKU: PR.44641256L For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.44641256L
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
28 pages. Duration 12
minutes. Theodore Presser
Company #446-41256L.
Published by Theodore
Presser Company
(PR.44641256L). UPC:
680160596010. 11 x 17
inches. Key: A
major. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. $46.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fanfare, Reminiscence and Celebration Orchestre d'harmonie [Conducteur] Theodore Presser Co.
Orchestra Concert Band SKU: PR.446412560 For Orchestra. Composed b...(+)
Orchestra Concert Band
SKU: PR.446412560
For Orchestra.
Composed by Ellen Taaffe
Zwilich. This edition:
Orchestra version. Sws.
Contemporary. Full score.
With Standard notation.
Composed 2010. 28 pages.
Duration 12 minutes.
Theodore Presser Company
#446-41256. Published by
Theodore Presser Company
(PR.446412560). ISBN
9781598063738. UPC:
680160596003. 9x12
inches. Key: A
major. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall a each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements. I. Fanfare The
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall -- each testing the
capacities of the other.
I decided to have the
ensemble greet and salute
the new Ruby Diamond Hall
with a Fanfare that
includes offstage brass
players in 3 different
locations in the
audience. II.
Reminiscence and
Celebration The 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. Fanfare;
Reminiscence and
Celebration is in 2
movements.I. FanfareThe
opening of a concert hall
is always an exciting
event, introducing the
hall to the performers
and the performers to the
hall — each
testing the capacities of
the other. I decided to
have the ensemble greet
and salute the new Ruby
Diamond Hall with a
Fanfare that includes
offstage brass players in
3 different locations in
the audience.II.
Reminiscence and
CelebrationThe 2nd
movement begins in a
reflective mood. As I
thought about Ruby
Diamond Hall, where I had
performed as a teenager,
I remembered people,
particularly many mentors
with whom I have
performed here, who are
gone, but whose gifts and
spirits are still with
us. The theater has a
beautiful tradition of
leaving one light bulb
burning all night long
for the spirits of the
actors who have graced
that stage. While I
wanted my 2nd movement to
acknowledge that sense of
continuity of past and
present, the piece ends
in celebration of the
new. Perhaps all artists
feel a strong connection
with the past, but we
work in and for the
present and we build for
the future. $30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Chants D'auvergne Vol.1 Piano, Voix Heugel
Vocal and Piano (Voice and Piano) SKU: HL.48187326 Composed by Joseph Can...(+)
Vocal and Piano (Voice
and Piano) SKU:
HL.48187326 Composed
by Joseph Canteloube.
Leduc. Folk. Softcover.
24 pages. Heugel & Cie
#HE28794. Published by
Heugel & Cie
(HL.48187326). UPC:
888680828882.
9.0x12.0x0.119
inches. “Comp
iled by Joseph
Canteloube, this book is
the first set from the
series Songs from the
Auvergne. It features
three songs, including
the most famous one
?Báïlèro?. This
edition, written for
Voice and Piano, contains
lyrics in the local
dialect ?Occitan?, with
the French translation
below. Some directives
are given to obtain the
correct pronunciation of
the language. I. La
Pastoura als camps (La
Bergère aux champs) /
Shepherdess in the fields
II. Báïlèro
(Chant de Bergers) /
Shepherd?s song III.
Trois Bourrées a.
L?aïo de rotso (L?eau
de source) / Spring Water
b. Ound? onoren gorda ?
(Où irons-nous garder
?) / Where will we take
the sheep c. Obal din lou
Limouzi (LÃ -bas dans
le Limousin) / There, in
the Limousin Each piece
is also commented with
the exact location the
song is from Joseph
Canteloube (1879-1957)
was a French composer,
musician and author,
mainly known for his folk
songs and for the series
'Songs from the Auvergne'
inspired by the area his
family was
from.â€. $32.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Cripple Creek Chorale 3 parties SSA, Piano [Octavo] Alliance Music Publications
Arranged by Tom Porter. For SSA choir, piano/violin. Octavo. Published by Allian...(+)
Arranged by Tom Porter.
For SSA choir,
piano/violin. Octavo.
Published by Alliance
Music Publications
$2.30 $2.185 (- 5%) Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fincastle Overture Fanfare [Conducteur et Parties séparées] - Facile Gobelin Music Publications
Fanfare Band - Grade 2.5 SKU: BT.GOB-001034-020 Composed by Jan Bosveld. ...(+)
Fanfare Band - Grade 2.5
SKU:
BT.GOB-001034-020
Composed by Jan Bosveld.
Set (Score & Parts). 72
pages. Gobelin Music
Publications #GOB
001034-020. Published by
Gobelin Music
Publications
(BT.GOB-001034-020).
Fort Fincastle
was built in 1793 by
royal governor 'Lord
Dunmore at an unusual
location: Nassau, the
capital of the Bahamas.
The name of the
fort: Fort Fincastle'
comes from Dunmore's
second title of Viscount
Fincastle '( Earl of
Fincastle). He gave
the fort a particular
shape, a circular
building with a sharp
expansion in the form of
a bow or bow of ship. In
order to deceive enemy
ships. The sounds of
the first bars show the
contours of a looming
majestic stronghold,
after a heroic theme
follows. Soon we hear the
threat of hostile
elements. Work on
the fort means much
waiting and lonely, but
you should always alert
and vigilant for the ever
lurking attack. After
the turn of yet another
attack there is a feeling
of satisfaction and
pride, we see the fort
are on the hill towering
above Nassau.
In
1793 werd Fort Fincastle
gebouwd door ‘royal
governor’ Lord Dunmore
op een bijzondere plek:
Nassau, de hoofdstad van
de Bahamas. De naam
van het fort: ‘Fort
Fincastle’ is afkomstig
van Dunmore’s tweede
titel ‘Viscount
Fincastle’(Graafvan
Fincastle). Hij gaf
het fort een bijzonder
vorm, een cirkelvormig
gebouw met een puntige
uitbouw, in de vorm van
een boeg of voorsteven
van schip. Dit om
vijandige schepen te
misleiden. De klanken
van de eerstematen laten
de contouren van een
majestueus
verdedigingsbolwerk
opdoemen, waarna een
heldhaftig thema volgt.
Al snel horen we de
dreiging van vijandige
elementen . Werken op
het fort betekent veel
wachten en is best
eenzaam,toch moet je
altijd alert en waakzaam
zijn voor de immer op de
loer liggende aanval.
Na het afslaan van de
zoveelste aanval heerst
er een gevoel van
tevredenheid en zien we
het fort trots liggen op
de heuvel die bovenNassau
uit torent. $191.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Legends of Gold in Green Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Composed by Thomas Doss. De Haske Concert Band. Festival, Austrian. Softcove...(+)
Composed by Thomas Doss.
De
Haske Concert Band.
Festival,
Austrian. Softcover.
Published by De Haske
Publications
$125.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Man from U.N.C.L.E. (from the Original Motion Picture Soundtrack) Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2.5 SKU: AP.44921S Featuring: The Vinciguerra Aff...(+)
Concert Band - Grade 2.5
SKU: AP.44921S
Featuring: The
Vinciguerra Affair /
Bugs, Beats, and Bowties
/ We Have Location.
Composed by Daniel
Pemberton. Arranged by
Victor Lopez. Concert
Band; Performance Music
Ensemble; Single Titles.
Pop Young Band. Form:
Medley. Movie. Score. 28
pages. Duration 4:00.
Alfred Music #00-44921S.
Published by Alfred Music
(AP.44921S). UPC:
038081515861.
English. This
exciting medley is
guaranteed to make
students and audiences
feel as if they are in
the middle of the chase
to save the world. So get
going and join the United
Network Command of Law
and Enforcement mission!
Suitable for junior high
and high school, three
exciting tunes are joined
to create this epic film
score recreation that
will provide an espionage
adventure from beginning
to end. (4:00). $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| De Ruigewaard Fanfare [Conducteur] - Intermédiaire De Haske Publications
Fanfare Band - Grade 4 SKU: BT.DHP-1135452-120 Introductie en variatie...(+)
Fanfare Band - Grade 4
SKU:
BT.DHP-1135452-120
Introductie en
variaties over het Dies
Irae. Composed by Jan
de Haan. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Score Only.
Composed 2013. 56 pages.
De Haske Publications
#DHP 1135452-120.
Published by De Haske
Publications
(BT.DHP-1135452-120).
9x12 inches.
English-Dutch. De
Ruigewaard is a large
polder (reclaimed land
protected by dykes) in
the Dutch province of
Groningen. Shortly after
the land was reclaimed
around 1500, a settlement
was established at the
location of the current
village of Grijpskerk.
This was the source of
inspiration for this
concert work, together
with a 13th-century
Gregorian theme - the
Dies Irae - which
is used as a
leitmotiv.After the
introduction follow five
variations, in randon
order - however, each one
of them carries us back
to a striking moment in
the history of
Grijpskerk, home of the
Excelsior Christian Music
Association (CMV), who
commissioned this work on
the occasion of its
participation in theWMC
in Kerkrade (the
Netherlands) in 2013.
De Ruigewaard is
een grote polder in de
provincie Groningen. Kort
na de inpoldering rond
1500 ontstond er een
nederzetting op de plaats
waar nu het dorp
Grijpskerk is gelegen.
Dit gegeven vormde de
inspiratiebron voor dit
concertwerk - samen met
een als leidmotief
gebruikt 13e-eeuws
gregoriaans thema: het
Dies Irae.Na de
introductie volgen vijf
variaties, in
willekeurige volgorde,
maar wel allemaal terug
te voeren op een markant
moment uit de
geschiedenis van de
vestigingsplaats van de
opdrachtgever van deze
compositie: Grijpskerk.
CMV Excelsior Grijpskerk
heeft deze compositie
laten schrijven vanwege
haar deelname aan het WMC
te Kerkrade in 2013. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Festival At Camelot Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Kjos Music Company
Band Wind Band - Grade 2 SKU: KJ.JB106 Composed by David Bobrowitz. Conce...(+)
Band Wind Band - Grade 2
SKU: KJ.JB106
Composed by David
Bobrowitz. Concert and
Contest. Tradition of
Excellence, Excellence In
Performance. Score and
parts. Neil A. Kjos Music
Company #JB106. Published
by Neil A. Kjos Music
Company (KJ.JB106).
UPC:
8402704846. The
music captures the energy
and activity of a
festival in the fictional
land of King Arthur's
Camelot, from the legends
in Great Britain.
Staccato eighths and
quick sixteenth note
gures provide the feeling
of movement, and
traditional yet
interesting harmonies
provide the feeling of
the time period and
location. e piece is in
ABA form, and although
there are two distinct
sections, the feeling of
energy never ceases. ere
is plenty of interest in
all of the band parts,
and it's a wonderful
change of pace for your
audience to enjoy!
About
Tradition of Excellence:
Excellence in
Performance <
p>Excellence in
performance is a concert
band repertoire series
correlated with the
Tradition of Excellence
Comprehensive Band Method
by Bruce Pearson and Ryan
Nowlin. The compositions
in the series correlate
to a specific page in
Tradition of Excellence
Books 1, 2, or 3 and
reinforce and expand on
skills and concepts
introduced in the
method. /Selecti
ons include exciting
parts for every player,
grade-appropriate
cross-cueing, accessible
ranges and rhythms,
creative percussion
writing, electric bass
and rehearsal piano
parts, and full conductor
scores with rehearsal
suggestions, program
notes and composer
biographies. In addition,
the Grade 1 works provide
an Advanced Snare Drum
part for percussionists
who have achieved a
higher level of ability,
playable simultaneously
with the more basic Snare
Drum part to facilitate
differentiated
learning. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Steps to Successful Literature - Maiden's Rescue Orchestre à Cordes [Conducteur et Parties séparées] - Débutant Kjos Music Company
Orchestra string orchestra - Grade 1 SKU: KJ.SO343C Composed by Jeremy Wo...(+)
Orchestra string
orchestra - Grade 1
SKU: KJ.SO343C
Composed by Jeremy
Woolstenhulme. Arranged
by Jeremy Woolstenhulme.
Score and parts. Neil A.
Kjos Music Company
#SO343C. Published by
Neil A. Kjos Music
Company (KJ.SO343C).
UPC:
8402704183. Maiden'
s Rescue, in D Major,
includes note and rest
values limited to quarter
notes/rests, half notes,
and whole rests. It can
be successfully performed
at a range of tempos,
depending on the
experience level of the
orchestra. Rather than
writing for 1st and 2nd
violins, this piece
features a single violin
part.
Jeremy
Woolstenhulme composed
this work for his
beginning string
orchestra. He decided
that it should be a
programmatic work
accompanied by a short
story and artwork. Once
students became
comfortable with the
music and story, Mr.
Woolstenhulme assigned an
art project to them! Some
samples of their work are
printed in this
publication. Connecting
music, creative writing,
and visual arts
strengthened the entire
experience and students
definitely enjoyed the
process. Approx. time -
2:00
Steps to
Successful Literature
presents exceptional
performance pieces -
concert and festival
works for beginning to
intermediate string
orchestras. Each piece is
correlated with a
specific location in
String BasicsTM Books 1
or 2. Literature
reinforces musical
skills, concepts, and
terms introduced in the
method. Sometimes, a few
new concepts are included
and are officially
introduced and defined in
the score and parts. Each
string orchestra work
offers extended learning
opportunities and briefly
taps into one or more
elements related to
common core state
standards. $55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Joseph Canteloube: Chants d'Auvergne Vol.1 Piano, Voix Heugel
Voice and Piano SKU: BT.ALHE28794 Composed by Joseph Canteloube. Folk Mus...(+)
Voice and Piano SKU:
BT.ALHE28794 Composed
by Joseph Canteloube.
Folk Music. Book Only. 24
pages. Heugel & Cie
#ALHE28794. Published by
Heugel & Cie
(BT.ALHE28794).
French. Compiled
by Joseph Canteloube,
this book is the first
set from the series Songs
from the Auvergne. It
features three songs,
including the most famous
one _x001A_Bá
lèro_x001A_. This
edition, written for
Voice and Piano, contains
lyrics in thelocal
dialect
_x001A_Occitan_x001A_,
with the French
translation below. Some
directives are given to
obtain the correct
pronunciation of the
language. I. La Pastoura
als camps (La Bergère
aux champs) / Shepherdess
in the fields II. Bá
lèro(Chant de Bergers)
/ Shepherd's song III.
Trois Bourrées a. L'a
o de rotso (L'eau de
source) / Spring Water b.
Ound' onoren gorda ?
(Où irons-nous garder
?) / Where will we take
the sheep c. Obal din lou
Limouzi (L -bas dans
leLimousin) / There, in
the Limousin Each piece
is also commented with
the exact location the
song is from Joseph
Canteloube (1879-1957)
was a French composer,
musician and author,
mainly known for his folk
songs and for theseries
'Songs from the Auvergne'
inspired by the area his
family was from. $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sojourn Orchestre d'harmonie [Conducteur et Parties séparées] - Facile FJH
By Ryan Fraley. Young Band. FJH Young Band. Score for this title: B1313S. Concer...(+)
By Ryan Fraley. Young
Band. FJH Young Band.
Score for this title:
B1313S. Concert Band.
Level: 2.5. Score and Set
of Parts. Composed 2006.
Published by The FJH
Music Company Inc.
$55.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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