(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
Complete Lyrics for Over 1000 Songs from Broadway to Rock. By Various. Lyric Lib...(+)
Complete Lyrics for Over
1000 Songs from Broadway
to Rock. By Various.
Lyric Library. Softcover.
Size 8.5x11 inches. 373
pages. Published by Hal
Leonard.
Suite No. 1 Guitare Guitare classique [Conducteur] - Avancé Productions OZ
Guitar solo - Advanced SKU: DZ.DZ-4308 Composed by Giorgio Mirto. Score. ...(+)
Guitar solo - Advanced
SKU: DZ.DZ-4308
Composed by Giorgio
Mirto. Score. Les
Productions d'OZ #DZ
4308. Published by Les
Productions d'OZ
(DZ.DZ-4308).
ISBN
9782898522253.
Foll
owing a recent experience
on the jury of a guitar
competition, I noted with
great pleasure that
Giorgio Mirto, with whom
I had shared the role of
juror, wanted to
celebrate the experience
of the competition -
during from which we
discovered that we had
had a great affinity of
thought - with something
which could endure over
time and not evaporate as
often happens in short
and occasional meetings
between musicians. He did
it as a true composer,
which he is, and
dedicated to me a very
beautifully crafted Suite
to which I allowed myself
to collaborate at least
formally, by suggesting
titles for the four
movements. This is how
Suite n.1 was born, a
piece that does not
strictly respect the
formal rules of the
Baroque era, but
reinterprets and reuses
them in a new key. The
work's obvious late
Baroque inspiration led
me to find titles that
invited the performer to
delve deeper into the
work's aesthetic
inspiration. So I
suggested to Giorgio that
he title the four
movements with something
that linked their content
to four greats of the
18th century. German
masters. The prelude has
thus become from Eisenach
because of its sometimes
improvised Bach-like
atmosphere, the second
movement, vaguely
toccata, speaks an organ
language in the manner of
Buxtehude (who lived in
Lübeck), the slow
movement has a Handelian
quality - and Handel was
born in Halle - and the
last movement, far from
being a true Chaconne,
undoubtedly has the
latter's taste for
variation and ostinato,
typical traits of
Telemann who lived in
Magdeburg. The cities
that appear in the titles
are therefore indelible
to the authors cited.
Furthermore, one should
not think that the style
of the work is in any way
German, given that
Giorgio Mirto expresses
himself in a very joyful
language that synthesizes
modality with minimalism,
all seasoned with a a nod
to Pink's progressive
rock Floyd. or a Mike
Oldfield... The result of
this mixture of ideas,
inspirations and styles
is a work that personally
I never tire of reading
and rereading, for the
freshness that emanates
from it and for the
climate expressive which
rises, nourishing itself
with full efficiency. We
ultimately cannot ignore
that the note B, the one
which marks in a minor
way some of the most
expressive works of the
guitar repertoire, from
the study of Sor which
made generations of
students fall in love
with the guitar, until to
that of Frank Martin's
Four Pieces via La
Catedral di Barrios, is
the modal fulcrum of the
entire Suite: it is true
that the Prelude begins
with a clear chord in E
minor and lingers on an
open ending in A minor ,
but it almost seems that
the initial E serves as a
launching pad for a
continuation of the work
in which the dominant,
that is to say the B, is
the true musical North,
the pole star which
guides us in the other
three movements until the
end of the Chaconne de
Magdebourg. I wish
Giorgio and our Suite
great longevity and a
favorable destiny in the
complex and complex world
of contemporary guitar
composition. And I thank
him again, flattered by
his very kind
dedication.
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
Ostinati Fanfare [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-020 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-020
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Set (Score & Parts). De
Haske Publications #DHP
1115084-020. Published by
De Haske Publications
(BT.DHP-1115084-020).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Ostinati Fanfare [Conducteur] - Intermédiaire/avancé De Haske Publications
Fanfare Band - Grade 6 SKU: BT.DHP-1115084-120 Composed by Jan Van der Ro...(+)
Fanfare Band - Grade 6
SKU:
BT.DHP-1115084-120
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Score Only. Composed
2012. 99 pages. De Haske
Publications #DHP
1115084-120. Published by
De Haske Publications
(BT.DHP-1115084-120).
9x12 inches.
English-German-French-Dut
ch.
It may be
surprising to see a
fanfare piece
commissioned by a
Japanese ensemble, since
fanfare orchestras are
typically found in
Belgium, Holland and
Luxembourg, and also
France and Switzerland.
Senzoku Gakuen is one of
the largest and
mostprestigious music
universities in Japan,
and home to a wide
variety of ensembles and
orchestras. Since 2006
they have had a fanfare
orchestra, which was
started by Sotaru
Fukaishi, a euphonium
teacher who felt further
performance opportunity
wasneeded for saxhorn
instruments. Fukaishi had
loved the sound of
fanfare orchestras ever
since visiting the World
Music Contest in Kerkrade
(Holland) several years
earlier. Jan Van der
Roost was involved with
this new initiative from
the beginning,and they
were also joined by Manu
Mellaerts for certain
projects. The Dean of the
music department,
Professor Kazuo Tomioka,
fully supports the
ensemble and commissioned
Ostinati. The
première took place on
June 11th at Maeda Hall
inMizonokuchi (Kawasaki)
where Senzoku Gakuen is
based. The piece opens
with an impressive
timpani solo, followed by
brass and saxophone. The
rhythmical pulse remains
constant and the music is
fiery and assertive in
character. A pentatonic
melodygradually emerges
and the music loses its
vehemency and softens.
The initial percussion
ostinati subsequently
recurs and the first
section of the piece
concludes in a similar
mood to the opening. The
second movement is sweet
and melodic, opening
witha long passage for
the saxophone family in a
minor key. The same theme
then appears in the major
and is developed upon;
the music builds to a
majestic orchestral
forte, reminiscent of a
pipe organ in its
sonority. The theme
returns in the
originalminor key with a
change in instrumentation
leading the movement to a
quiet and peaceful end on
a soft E minor chord. The
finale starts with
percussion: a four-bar
pattern is repeated
several times over which
the movement’s
melodic themes
areintroduced. These
melodic elements are
varied and used in
different versions and
the ostinato idea, which
characterizes the entire
piece, is highlighted.
The theme travels through
the orchestra, appearing
on various instruments
and in variousregisters.
It captures the
listener’s
attention and displays
the full range of sound
and colour within the
fanfare
orchestra.
Het is
misschien verrassend dat
dit fanfarewerk is
geschreven in opdracht
van een Japans ensemble,
aangezien fanfareorkesten
vooral te vinden zijn in
België, Nederland en
Luxemburg, en ook wel in
Frankrijk en Zwitserland.
SenzokuGakuen is een van
de grootste en meest
prestigieuze
muziekopleidingen van
Japan, en de thuisbasis
van een grote
verscheidenheid van
ensembles en orkesten. In
2006 is er een
fanfareorkest opgericht,
en wel door Sotaru
Fukaishi,
eeneuphoniumdocent die
vond dat er meer
mogelijkheden moesten
komen voor optredens met
saxhoorninstrumenten.
Fukaishi had enkele jaren
daarvoor genoten van de
fanfareklank toen hij het
Wereld Muziek Concours in
Kerkrade bezocht.
DeBelgische componist Jan
Van der Roost was van het
begin af aan betrokken
bij dit nieuwe
initiatief, en ook Manu
Mellaerts werd voor een
aantal projecten
aangetrokken. Het hoofd
van de muziekfaculteit,
professor Kazuo Tomioka,
staatgeheel achter het
ensemble en gaf de
opdracht tot het
schrijven van
Ostinati. De
première vond plaats
op 11 juni in de Maeda
Hall in Mizonokuchi
(Kawasaki), waar Senzoku
Gakuen is gevestigd. Het
werk begint met een
indrukwekkendepaukensolo,
gevolgd door koper en
saxofoon. De ritmische
puls blijft constant, en
de aard van de muziek is
vurig en krachtig.
Geleidelijk komt er een
pentatonische melodie
naar voren en wordt de
muziek minder heftig, ze
wordtzachter van
karakter. De
aanvankelijke ostinati in
het slagwerk verschijnen
dan opnieuw, waarna het
eerste deel van het werk
eindigt in dezelfde sfeer
als waarmee het begon.
Het tweede deel is
lieflijk en melodisch.
Het opentmet een lange
passage voor de saxofoons
in een mineurtoonsoort.
Dan klinkt hetzelfde
thema in majeur en daar
wordt op voortgeborduurd:
de muziek ontwikkelt zich
tot een majestueus
orkestraal forte, dat qua
sonoriteit doet
denken
Es mag
überraschen, dass
dieses
Fanfareorchesterwerk
ausgerechnet von einem
japanischen Ensemble in
Auftrag gegeben wurde, da
Fanfareorchester doch
eher in Belgien, den
Niederlanden oder
Luxemburg oder auch in
Frankreich oder Schweiz
zu finden sind. Senzoku
Gakuen ist eine der
größten und
renommiertesten
Musikschulen Japans und
Heimstätte einer
Vielfalt an Ensembles und
Orchestern. Im Jahr 2006
wurde ein
Fanfareorchester
gegründet. Den
Anstoß gab Sotaru
Fukaishi, ein
Euphoniumlehrer, der den
Instrumenten der
Saxhorn-Familie mehr
Spielmöglichkeiten
bieten wollte. Fukaishi
hatte sich einige Jahre
zuvor bei der
Weltmeisterschaft in
Kerkrade (Holland) in den
Klang
vonFanfareorchestern
verliebt. Jan Van der
Roost war von Beginn an
in die Entwicklung dieser
Idee involviert und,
einige Projekte
betreffend, ebenso Manu
Mellaerts. Der Dekan des
Musik-Colleges, Professor
Kazuo Tomioka, steht voll
und ganz hinter dem
Ensemble und gab
Ostinati in
Auftrag. Die Premiere
fand am 11. Juni 2011 in
der Maeda Hall in
Mizonokuchi statt, dem
Heimatort der Schule
Senzoku Gakuen. Das
Stück beginnt mit
einem eindrucksvollen
Paukensolo, bevor
Blechbläser und
Saxophon einsetzen. Der
rhythmische Puls bleibt
konstant unter einer
feurigen,
nachdrücklichen Musik.
Eine pentatonische
Melodie bildet sich nach
und nach heraus,
während die Musik an
Heftigkeit verliert und
sanfter wird. Die
anfänglichen Ostinati
im Schlagwerk kehren
zurück und so endet
der erste Satz des Werkes
in einer der Eröffnung
ähnlichen Stimmung.
Der zweite Satz ist
lieblich und melodiös.
Er beginnt mit einem
langen Abschnitt für
die Saxophone in Moll.
Dann erscheint das
gleiche Thema in Dur und
durchläuft eine
Entwicklung; die Musik
baut sich zu einem
majestätischen
orchestralen Forte auf,
das in seiner
Klangfülle an eine
Orgel erinnert. Dann
kehrt das Thema in seiner
ursprünglichen
Moll-Tonart und in
veränderter
Instrumentierung
zurück, um den Satz
ruhig und friedvoll in
einem e-Moll-Akkord enden
zu lassen.
Roll of Honour Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1125214-120 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1125214-120
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Score Only.
Composed 2012. 40 pages.
De Haske Publications
#DHP 1125214-120.
Published by De Haske
Publications
(BT.DHP-1125214-120).
9x12 inches.
English-German-French-Dut
ch.
On a war
memorial in the Dutch
village of Wons is
engraved a list of names
to honour the fallen in
World War II. This is the
basis for the name of
this piece. However, this
composition was written
for everyone who has made
Wons what it is today: a
pretty place near to Lake
IJssel with a
comfortable way of life.
The piece begins with a
celebratory introduction
in which the village is
presented to the
listener. There follows a
delightful rhythmic and
high-tempo theme that
reflects the happiness,
innocence and carefree
atmosphere before the
war. Now we hear a moody,
fragmented theme
depicting soldiers
shooting. This is brought
to a close with dissonant
clusters of
sound,intoning the
dreadful tragedy of the
war. The ensuing quiet
gives way to a calm
middle section in a minor
key that portrays both
frustration and
consolation. The fast
tempo of the beginning
returns, this time in the
form of a victory march.
We hear freedom being
celebrated. We hear the
previous happy, innocent
and carefree themes, too.
There follows a festive,
martial theme, a tribute
to the village, before
the piece closes with
sounds of celebration.
Op de gedenksteen
in het Friese dorp Wons
staat een erelijst (roll
of honour) gegraveerd ter
nagedachtenis aan de
gevallenen van de Tweede
Wereldoorlog. De titel
van dit werk verwijst
naar deze lijst. Deze
compositie is echter
tevens geschreven voor
alle mensen die Wons
hebben gemaakt tot wat
het nu is: een prachtig
dorpje vlak bij het
IJsselmeer waar het
prettig toeven is. De
compositie begint met een
statige inleiding, waarin
het dorp zich presenteert
aan de luisteraar. Dan
klinkt een aansprekend
ritmisch thema in een
snel tempo dat de
vrolijkheid,
onbevangenheid en
onbezorgdheid van voor de
oorlog uitstraalt. Dit
gaat over in een melodie
in mineur, die het
naderendeoorlogsgevaar
aankondigt. Dan is er een
grillig thema met stops
waarin het schieten van
de soldaten te horen is.
Dit eindigt in enkele
dissonante clusters die
het tragische dieptepunt
van de oorlog
accentueren. De
daaropvolgende stilte
lost op in een gedragen
middendeel in mineur
waaruit enerzijds
verdriet en anderzijds
troost spreekt. Dan komt
het snelle tempo van het
begin weer terug, ditmaal
in de vorm van een
vreugdemars. De vrijheid
wordt gevierd. Ook het
thema van de vrolijkheid,
onbevangenheid en
onbezorgdheid is weer te
horen. Er volgt nu een
statig martiaal thema,
een eerbetoon aan het
dorp, waarna het werk
wordt afgesloten met
feestelijke klanken.
Auf einem
Gedenkstein im
niederländischen Dorf
Wons ist eine Namensliste
zu Ehren der Gefallenen
im Zweiten Weltkrieg
eingraviert. Auf diese
bezieht sich der Titel
des Werkes, der
wörtlich übersetzt
‘Ehrenliste’
bedeutet. Diese
Komposition wurde jedoch
für alle Menschen
geschrieben, die Wons zu
dem gemacht haben, was es
heute ist: ein schöner
Ort nahe des
IJsselmeeres, in dem es
sich gut leben lässt.
Das Werk beginnt mit
einer feierlichen
Einleitung, in welcher
sich das Dorf dem
Zuhörer
präsentiert. Dann
erklingt ein reizvolles
rhythmisches und
temporeiches Thema, das
die Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit vor dem
Krieg ausstrahlt. Dieses
geht in eine
Moll-Melodieüber,
welche von der nahenden
Kriegsgefahr kündet.
Dann erklingt ein
launenhaftes Thema mit
Unterbrechungen, in dem
das Schießen der
Soldaten zu hören ist.
Dieses endet in einigen
dissonanten Clustern, die
den tragischen Tiefpunkt
des Krieges betonen. Die
darauffolgende Stille
löst sich in einen
ruhigen Mittelteil in
Moll auf, aus dem
einerseits Verdruss und
andererseits Trost
spricht. Dann kehrt das
schnelle Tempo des
Anfangs zurück, dieses
Mal in der Form eines
Freudenmarsches. Die
Freiheit wird gefeiert.
Auch das Thema der
Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit ist wieder
zu hören. Nun folgt
ein feierliches,
martialisches Thema, eine
Ehrerbietung an das Dorf,
bevor das Werk mit
festlichen Klängen
endet.
Roll of Honour Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1125214-020 Composed by Jacob De Haan....(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1125214-020
Composed by Jacob De
Haan. Concert and Contest
Collection Brass Band en
Fanfare. Set (Score &
Parts). Composed 2012. De
Haske Publications #DHP
1125214-020. Published by
De Haske Publications
(BT.DHP-1125214-020).
9x12 inches.
English-German-French-Dut
ch.
On a war
memorial in the Dutch
village of Wons is
engraved a list of names
to honour the fallen in
World War II. This is the
basis for the name of
this piece. However, this
composition was written
for everyone who has made
Wons what it is today: a
pretty place near to Lake
IJssel with a
comfortable way of life.
The piece begins with a
celebratory introduction
in which the village is
presented to the
listener. There follows a
delightful rhythmic and
high-tempo theme that
reflects the happiness,
innocence and carefree
atmosphere before the
war. Now we hear a moody,
fragmented theme
depicting soldiers
shooting. This is brought
to a close with dissonant
clusters of
sound,intoning the
dreadful tragedy of the
war. The ensuing quiet
gives way to a calm
middle section in a minor
key that portrays both
frustration and
consolation. The fast
tempo of the beginning
returns, this time in the
form of a victory march.
We hear freedom being
celebrated. We hear the
previous happy, innocent
and carefree themes, too.
There follows a festive,
martial theme, a tribute
to the village, before
the piece closes with
sounds of celebration.
Op de gedenksteen
in het Friese dorp Wons
staat een erelijst (roll
of honour) gegraveerd ter
nagedachtenis aan de
gevallenen van de Tweede
Wereldoorlog. De titel
van dit werk verwijst
naar deze lijst. Deze
compositie is echter
tevens geschreven voor
alle mensen die Wons
hebben gemaakt tot wat
het nu is: een prachtig
dorpje vlak bij het
IJsselmeer waar het
prettig toeven is. De
compositie begint met een
statige inleiding, waarin
het dorp zich presenteert
aan de luisteraar. Dan
klinkt een aansprekend
ritmisch thema in een
snel tempo dat de
vrolijkheid,
onbevangenheid en
onbezorgdheid van voor de
oorlog uitstraalt. Dit
gaat over in een melodie
in mineur, die het
naderendeoorlogsgevaar
aankondigt. Dan is er een
grillig thema met stops
waarin het schieten van
de soldaten te horen is.
Dit eindigt in enkele
dissonante clusters die
het tragische dieptepunt
van de oorlog
accentueren. De
daaropvolgende stilte
lost op in een gedragen
middendeel in mineur
waaruit enerzijds
verdriet en anderzijds
troost spreekt. Dan komt
het snelle tempo van het
begin weer terug, ditmaal
in de vorm van een
vreugdemars. De vrijheid
wordt gevierd. Ook het
thema van de vrolijkheid,
onbevangenheid en
onbezorgdheid is weer te
horen. Er volgt nu een
statig martiaal thema,
een eerbetoon aan het
dorp, waarna het werk
wordt afgesloten met
feestelijke klanken.
Auf einem
Gedenkstein im
niederländischen Dorf
Wons ist eine Namensliste
zu Ehren der Gefallenen
im Zweiten Weltkrieg
eingraviert. Auf diese
bezieht sich der Titel
des Werkes, der
wörtlich übersetzt
‘Ehrenliste’
bedeutet. Diese
Komposition wurde jedoch
für alle Menschen
geschrieben, die Wons zu
dem gemacht haben, was es
heute ist: ein schöner
Ort nahe des
IJsselmeeres, in dem es
sich gut leben lässt.
Das Werk beginnt mit
einer feierlichen
Einleitung, in welcher
sich das Dorf dem
Zuhörer
präsentiert. Dann
erklingt ein reizvolles
rhythmisches und
temporeiches Thema, das
die Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit vor dem
Krieg ausstrahlt. Dieses
geht in eine
Moll-Melodieüber,
welche von der nahenden
Kriegsgefahr kündet.
Dann erklingt ein
launenhaftes Thema mit
Unterbrechungen, in dem
das Schießen der
Soldaten zu hören ist.
Dieses endet in einigen
dissonanten Clustern, die
den tragischen Tiefpunkt
des Krieges betonen. Die
darauffolgende Stille
löst sich in einen
ruhigen Mittelteil in
Moll auf, aus dem
einerseits Verdruss und
andererseits Trost
spricht. Dann kehrt das
schnelle Tempo des
Anfangs zurück, dieses
Mal in der Form eines
Freudenmarsches. Die
Freiheit wird gefeiert.
Auch das Thema der
Fröhlichkeit,
Unbefangenheit und
Sorglosigkeit ist wieder
zu hören. Nun folgt
ein feierliches,
martialisches Thema, eine
Ehrerbietung an das Dorf,
bevor das Werk mit
festlichen Klängen
endet.
Sona
ta No. 6 Kharkiv for
guitar solo was composed
in 2021, in the end of
the COVID-19 lockdown. At
that time my family and I
were staying in our home
city of Kharkiv (also
known as Kharkov),
Ukraine for almost two
years. We considered that
pandemic period as a
disaster, but later have
realized that it actually
was a rather happy time,
because a war came to our
homeland just a few
months later. Since 2022
a considerable fraction
of the 1.5 millions of
Kharkiv citizens have
left their homes, those
who stayed have been
living under ceaseless
missile attacks, and many
have been killed. I would
like to dedicate this
Sonata to the frontier
city of Kharkiv and, most
of all, to its citizens
suffering from the
war. Yet, the music of
the Sonata does not have
any specific program.
Here I will give a brief
overview of its main
composition elements to
facilitate future
interpretations. The
first and fourth
movements of this Sonata
are based on the
interplay between the
twelve-tone principle and
the G-major tonal center,
natural for the guitar.
Namely, the first
movement is based on the
interaction of the
G-major triad Gâ??Bâ??D
of the open guitar
strings 2â??3â??4,
ascending motif 1
involving the notes
Eâ??F#â??Aâ??C#
(originally on the first
string), and descending
motif 2 using the notes
E-â??Câ??Bbâ??A-
(originally, on the bass
string 6). These elements
supplement each other to
almost make up twelve
tones (apart from the
missing F), and the
motifs alternate with
ostinato fragments where
each note in the G major
triad is step-by-step
moved by a semitone up or
down. The second
movement is a Scherzo
involving numerous
semitones in accented
chords and fast passages,
as well as chromatic
melodic motion in the
bass voice. It is almost
atonal in some fragments,
but has an overall tonal
center of A-minor. The
third movement is a
meditative Adagio based
on a theme composed
within hexatonic scale
Dâ??Eâ??Fâ??G#â??Aâ?
?B and ostinato chords
involving open bass
strings Eâ??Aâ??D and
semitone
Bâ??C. Finally, the
fourth movement is based
on the complete
twelve-tone theme
consisting of two phrases
including motifs 1 and 2
from the first movement:
Gâ??Fâ??Bbâ??Abâ??Câ
??Ebâ??D and
Eâ??Bâ??C#â??Aâ??F#.
This theme is presented
in its prime and
retrograde forms. There
are dialogues between the
first string, basses and
open middle strings,
similar to the first
movement. In the
culmination, the
twelve-tone theme is
performed using the
parallel motion of the
standard guitar G-major
chord with open middle
strings across twelve
positions. The Sonata
was premiered and
recorded (CD Naxos No.
8.574630) by the
prominent Ukrainian
guitarist Marko Topchii
who has also lived and
studied in Kharkiv. I am
extremely grateful to him
for the brilliant
performance of this
piece. I am greatly
indebted to Productions
dâ??Oz for keeping my
original notations in
places where these do not
conform to the
publisherâ??s style.
Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano
SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Tre Volti Ensemble de Trombones De Haske Publications
Trombone Ensemble - very difficult SKU: BT.DHP-1125253-070 For Trombon...(+)
Trombone Ensemble - very
difficult
SKU:
BT.DHP-1125253-070
For Trombone
Ensemble. Composed by
Jan Van der Roost. De
Haske Brass Series.
Concert Piece. Set (Score
and Parts). Composed
2012. 44 pages. De Haske
Publications #DHP
1125253-070. Published by
De Haske Publications
(BT.DHP-1125253-070).
9x12 inches.
International.
T
re Volti (Three
Faces) has been
commissioned by the
renowned
ââ¬ÅNew
Trombone
Collectiveââ¬Â,
exclusively existing of
top-trombonists from the
Dutch symphony
orchestras. The world
première was given
by the commissioners and
took place in
ââ¬ÅDe
Doelenââ¬Â in
Rotterdam on april 16th
2011 - during the
ââ¬ÅSlide
Factoryââ¬Â -
European Trombone
Festival.The composer
aimed to illustrate 3
different aspects of the
instrument in as many
movements. Effetti e
Tecniche (Effects and
Techniques) displays a
large amount of specific
spectacular and acrobatic
possibilities and also
various colors and sounds
by using different mutes.
It contains many
ââ¬ÅglissandiÃ
¢â¬Â as well as
clusters with semi tones
andquarter tones, all
being
ââ¬Åtypicalâ
â¬Â for the
trombone indeed. The
Lamento Lirico
(Lyrical Lamento)
combines the rather
serious and noble voice
of the trombone with an
aspect which not
automatically is
connected to that
instrument: the melodical
character. The overall
atmosphere of this
movement is somewhat sad
and strained and refers
to the many beautiful but
rather dark passages in
the orchestral and opera
literature where the
trombone section as such
is used ...The final
movement is called
Sonata Antica
(Antique Sonata) and is
directly inspired by two
ââ¬Åsonatasâ
â¬Â for 3 and 4
trombones by Daniel Speer
(1636 - 1707). It
illustrates the
ââ¬Åhistorical
¢â¬Â dimension
of the trombone: indeed
it was the only brass
instrument being able to
play chromatically - many
centuries before all
other brass instruments -
thanks to the unique
slide system which even
during the Middle Ages
was applicable already.
The antiphonal position,
the dialoguing motives
and the
ââ¬Åneo-early-b
aroqueââ¬Â
idiom really pay homage
to Daniel Speer: he
composed a certain number
of pieces for brass
instruments indeed and
the composer used
thematic material from
his Sonatas in d and a in
various ways, thus
concluding this varied
composition in a festive
way.
Een
driedelige - uitdagende -
suite voor trombone
ensemble.
Tre
Volti (zu deutsch:
Drei Gesichter) - In drei
deutlich kontrastierenden
Bewegungen versucht der
Komponist, ebenso viele
Facetten der Posaune zu
beleuchten. Der erste
Teil EFFETTI E TECNICHE
präsentiert eine
Reihe akrobatischer und
spektakulärer
Effekte, die auf diesem
vielseitigen Instrument
möglich sind,
sowie einige Klangfarben
(letztere mit einem
Dämpfer gespielt).
Das LAMENTO LIRICO
enthält die eher
ernsten Töne,
welche die Posaune in der
Regel spielt und
kombiniert diese mit
einem Aspekt, der doch
eher ungewöhnlich
für dieses
Instrument ist: einem
melodischen Charakter.
Der dritte Satz - SONATA
ANTICA - wurde
unmittelbar von zwei der
bekanntesten Sonaten
vonDaniel Speer
(1636-1701) inspiriert.
Hier geht es um die
historische Dimension der
Posaune:
Tatsächlich war
sie das erste
Blechblasinstrument, auf
dem man - Jahrhunderte
vor allen anderen - schon
chromatisch spielen
konnte.
Please note,
customers using Macintosh
computers running macOS
Catalina (version 10.5)
have reported hardware
compatibility issues with
this product. If you
encounter these issues,
we recommend copying the
entire contents of the
disk to a contained
folder on a thumb drive
or other storage device
for use on your
Mac.
Trans
figured Life - Still
Life, Op. 165 (violin and
piano) - David
Braid
I am keen on
concise musical forms
such as Prelude and
Fugue, where there is one
clear straightforward
idea, followed by another
that is more involved and
developed.
In
keeping with that idea,
this work consists of two
distinct pieces, the
first - Transfigured Life
- aims to draw in the
listener with its quick,
dancing rhythm and
simple, melodic violin
part. It 'transfigures'
via a few short solo
piano interludes into
just two alternating
notes to end - which are
the core of the original
idea, now made clear by
clearing everything else
out of the
way.
The second
piece - Still Life -
retains its sense of
stillness through an
uncomplicated piano line
that gives lots of space
for the violin's
contrasting (but again
simple) part. As an
absolute, not
programmatic, piece the
title refers to the
atmospheric colour and
pacing only; it's up to
the listener to see
'Still life' of their
choosing in their own
mind.
A note on
performance: Despite
my reference to 'simple'
lines, and the work's
determined avoidance of
mainstream modernist
squeak - the work has
certain performance
challenges of phrasing
and ensemble that
requires considerable
skill and musicianship.
The work has had the
privilege of being
recently recorded by
violinist Ezgi
Sarıkcıoğlu and
pianist Rossitza
Stoycheva, and is
available on all major
platforms:
Odysseia Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-140 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-140
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2008. 52
pages. De Haske
Publications #DHP
1084443-140. Published by
De Haske Publications
(BT.DHP-1084443-140).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.
Odysseia Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1084443-010 Based on Homer...(+)
Concert Band/Harmonie -
Grade 5
SKU:
BT.DHP-1084443-010
Based on Homer-s
Odyssey. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2008.
De Haske Publications
#DHP 1084443-010.
Published by De Haske
Publications
(BT.DHP-1084443-010).
9x12 inches.
English-German-French-Dut
ch.
Washed up on
the Phaeacian shore after
a shipwreck, Odysseus is
introduced to King
Alcinous. As he sits in
the palace, he tells the
Phaeacians of his
wanderings since leaving
Troy. Odysseus and his
men fi rst landed on the
island of the Cicones
wherethey sacked the city
of Ismarus. From there,
great storms swept them
to the land of the
hospitable Lotus Eaters.
Then they sailed to the
land of the Cyclopes.
Odysseus and twelve of
his men entered the cave
of Polyphemus. After the
single-eyed giantmade
handfuls of his men into
meals, Odysseus fi nally
defeated him. He got him
drunk and once he had
fallen asleep, he and his
men stabbed a glowing
spike into the
Cyclop’s single
eye, completely blinding
him. They escaped by
clinging to the belliesof
some sheep. Once aboard,
Odysseus taunted the
Cyclop by revealing him
his true identity.
Enraged, Polyphemus
hurled rocks at the ship,
trying to sink it. After
leaving the
Cyclopes’ island,
they arrived at the home
of Aeolus, ruler of the
winds.Aeolus off ered
Odysseus a bag trapping
all the strong winds
within except one - the
one which would take him
straight back to Ithaca.
As the ship came within
sight of Ithaca, the
crewmen, curious about
the bag, decided to open
it. The winds escapedand
stirred up a storm.
Odysseus and his crew
came to the land of the
cannibalistic
Laestrygonians, who sank
all but one of the ships.
The survivors went next
to Aeaea, the island of
the witch-goddess Circe.
Odysseus sent out a
scouting party butCirce
turned them into pigs.
With the help of an
antidote the god Hermes
had given him, Odysseus
managed to overpower the
goddess and forced her to
change his men back to
human form. When it was
time for Odysseus to
leave, Circe told him to
sail tothe realm of the
dead to speak with the
spirit of the seer
Tiresias. One
day’s sailing took
them to the land of the
Cimmerians. There, he
performed sacrifi ces to
attract the souls of the
dead. Tiresias told him
what would happen to him
next. He thengot to talk
with his mother,
Anticleia, and met the
spirits of Agamemnon,
Achilles, Patroclus,
Antilochus, Ajax and
others. He then saw the
souls of the damned
Tityos, Tantalus, and
Sisyphus. Odysseus soon
found himself mobbed by
souls. He
becamefrightened, ran
back to his ship, and
sailed away. While back
at Aeaea, Circe told him
about the dangers he
would have to face on his
way back home. She
advised him to avoid
hearing the song of the
Sirens; but if he really
felt he had to hear,
thenhe should be tied to
the mast of the ship,
which he did. Odysseus
then successfully steered
his crew past Charybdis
(a violent whirlpool) and
Scylla (a multiple-headed
monster), but Scylla
managed to devour six of
his men. Finally,
Odysseus and hissurviving
crew approached the
island where the Sun god
kept sacred cattle.
Odysseus wanted to sail
past, but the crewmen
persuaded him to let them
rest there. Odysseus
passed Circe’s
counsel on to his men.
Once he had fallen
asleep, his men
impiouslykilled and ate
some of the cattle. When
the Sun god found out, he
asked Zeus to punish
them. Shortly after they
set sail from the island,
Zeus destroyed the ship
and all the men died
except for Odysseus.
After ten days, Odysseus
was washed up on
theisland of the nymph
Calypso.
Nachdem
er an die Küste der
Phäaker gespült
wurde, wird Odysseus dem
König Akinoos
vorgestellt. In dessen
Palast erzählt er den
Phäakern von den
Fahrten nach seiner
Abreise aus Troja.
Odysseus und seine
Männer landen
zunächst auf
denKikonen, einer
Inselgruppe, wo sie die
Stadt Ismaros einnehmen.
Von dort aus treiben sie
mächtige Stürme
zum Land der
gastfreundlichen
Lotophagen
(Lotos-Essern). Dann
segeln sie zum Land der
Kyklopen (Zyklopen).
Odysseus und seine
zwölf Mannenbetreten
die Höhle von
Poloyphem, dem Sohn
Poseidons. Nachdem dieser
einige der Männer
verspeist hat,
überwaÃ…Nltigt
ihn Odysseus, indem er
ihn betrunken macht und
dann mit einem
glühenden Spieß
in dessen einziges Auge
sticht und ihn
somitblendet. Odysseus
und die übrigen
Männer fl iehen an den
Bäuchen von Schafen
hängend. Wieder an
Bord, provoziert Odysseus
den Zyklopen, indem er
ihm seine wahre
Identität verrät.
Wütend bewirft
Polyphem das Schiff mit
Steinen undversucht, es
zu versenken. Nachdem sie
die Insel der Kyklopen
verlassen haben, kommen
Odysseus und seine Mannen
ins Reich von Aiolos, dem
Herr der Winde. Aiolos
schenkt ihm einen Beutel,
in dem alle Winde
eingesperrt sind,
außer dem, der ihn
direktzurück nach
Ithaka treiben soll. Als
das Schiff in Sichtweite
von Ithaka ist, öff
nen die neugierigen
Seemänner den
Windsack. Die Winde entfl
iehen und erzeugen einen
Sturm. Odysseus und seine
Mannschaft verschlägt
es ins Land
derkannibalischen
Laistrygonen, die alle
ihre Schiff e, bis auf
eines, versenken. Die
Ãœberlebenden reisen
weiter nach Aiaia, der
Insel der Zauberin Kirke.
Odysseus sendet einen
Spähtrupp aus, der von
Kirke aber in Schweine
verwandelt wird. Mit
Hilfeeines Gegenmittels
vom Götterboten Hermes
kann Odysseus Kirke
überwaÃ…Nltigen
und er zwingt sie, seinen
Gefährten wieder ihre
menschliche Gestalt
zurückzugeben. Als
er wieder aufbrechen
will, rät Kirke ihm,
den Seher Teiresias in
derUnterwelt aufzusuchen
und zu befragen. Eine
Tagesreise führt
sie dann ins Land der
Kimmerer, nahe dem
Eingang des Hades. Dort
bringt Odysseus Opfer, um
die Seelen der Toten
anzurufen. Teireisas sagt
ihm sein Schicksal
voraus. Dann darf
Odysseusmit seiner Mutter
Antikleia und den Seelen
von Agamemnon, Achilles,
Patroklos, Antilochus,
Ajax und anderen Toten
sprechen. Dann sieht er
die Seelen der Verdammten
Tityos, Tantalos und
Sisyphos. Bald wird
Odysseus selbst von den
Seelen gequält,
kehrtvoll Angst zu seinem
Schiff zurück und
segelt davon. In Aiaia
hatte Kirke ihn vor den
drohenden Gefahren der
Heimreise gewarnt. Sie
riet ihm, den Gesang der
Sirenen zu vermeiden,
wenn er aber unbedingt
zuhören müsse,
solle er sich an denMast
seines Schiff es bindet
lassen, was er dann auch
tut. Dann führt
Odysseus seine Mannschaft
erfolgreich durch die
Meerenge zwischen Skylla
und Charybdis, wobei
Skylla jedoch sechs
seiner Männer
verschlingt.
Schließlich erreichen
Odysseusund die
überlebende
Besatzung die Insel, auf
der der Sonnengott Helios
heiliges Vieh hält.
Odysseus will
weitersegeln, aber seine
Mannschaft
überredet ihn zu
einer Rast. Odysseus
erzählt ihnen von
Kirkes Warnung, aber
kaum, dass
ereingeschlafen ist,
töten die Männer in
gotteslästerlicher
Weise einige Rinder und
verspeisen sie. Als
Helios dies entdeckt,
bittet er Zeus, sie zu
bestrafen. Kurz nachdem
sie die Segel für
die Abreise von der Insel
gesetzt haben,
zerstört Zeusdas
Schiff und alle außer
Odysseus sterben. Nach
zehn Tagen wird Odysseus
an den Strand der Insel
der Nymphe Kalypso
angespült.