(Cantolopera Collection). Composed by Giuseppe Verdi (1813-1901). For Vocal, Pia...(+)
(Cantolopera Collection).
Composed by Giuseppe
Verdi (1813-1901). For
Vocal, Piano
Accompaniment. Vocal
Collection. Softcover
with CD. 221 pages.
Ricordi #NR141007.
Published by Ricordi
Two is a Team Cor et Piano [Partition + CD] - Facile De Haske Publications
Horn and Piano - early intermediate SKU: BT.DHP-1125295-400 Composed by E...(+)
Horn and Piano - early
intermediate
SKU:
BT.DHP-1125295-400
Composed by Ed Wennink
and Nettie Vening. Two is
a team. Book with CD.
Composed 2013. 56 pages.
De Haske Publications
#DHP 1125295-400.
Published by De Haske
Publications
(BT.DHP-1125295-400).
ISBN 9789043141819.
9x12 inches.
English-German-French-Dut
ch.
Performance
pieces for piano and horn
in which the level of
difficulty for both
players is similar are
always in demand. The 20
pieces in this book
— arrangements of
well-known tunes as well
as original compositions
— are aimed at
pupils who have been
playing for approximately
three years. Both players
will learn a great deal
and will have double the
playing fun. Two is a
Team — after
all playing together is
almost always at the
heart of music!
Er
blijkt steeds weer
behoefte te zijn aan
samenspeelstukken voor
piano en hoorn waarin
beide partijen een
vergelijkbare
moeilijkheidsgraad
hebben. De 20 stukken in
dit boek — zowel
bewerkingen van bekende
liedjes als originele
composities — zijn
bedoeld voor leerlingen
die ongeveer drie jaar
spelen. Beiden zullen er
veel van leren en er
dubbel plezier aan
beleven. Two is a
Team — in de
muziek draait het immers
vrijwel altijd om
samenspel!
Es gibt
immer Bedarf an
Stücken für
Klavier und Horn, in
denen die Stimmen
für beide Spieler
ähnlich schwer sind.
Die 20 Stücke in
diesem Buch — die
sowohl bekannte Melodien
als auch originale
Kompositionen umfassen
— richten sich an
Instrumentalschüler
, die bereits etwa drei
Jahre Unterricht hatten.
So können beide etwas
lernen und haben doppelt
Spaß. Two is a
Team — denn
schließlich geht es
beim Musizieren doch fast
immer um das gemeinsame
Musikerlebnis!
Two is a
Team raccoglie
composizioni originali e
brani del repertorio
classico noto al
pubblico, indirizzati
agli strumentisti con
circa tre anni di studio
alle spalle. Il livello
di difficolt dei brani
contenuti nella
pubblicazione è molto
simile per entrambi gli
strumentisti, rendendo
così più facile
un’esecuzione con
l’accompagnamento
del piano.
Renaissance & Baroque Treasures. Edited by Peter Manning. Fentone Instru...(+)
Renaissance & Baroque
Treasures. Edited by
Peter
Manning. Fentone
Instrumental
Books. Baroque,
Classical,
Renaissance. Softcover
with
CD. Composed 2007. 20
pages.
Fentone Music #F944.
Published
by Fentone Music
Stonehenge Ensemble de cuivres De Haske Publications
Brass Band - Grade 6 SKU: BT.DHP-0920462-130 Composed by Jan Van der Roos...(+)
Brass Band - Grade 6
SKU:
BT.DHP-0920462-130
Composed by Jan Van der
Roost. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Score Only.
Composed 1992. De Haske
Publications #DHP
0920462-130. Published by
De Haske Publications
(BT.DHP-0920462-130).
Een enorme
cirkel van gigantische
rechtopstaande stenen
staat al zo’n 3500
jaar lang in het
zuidwesten van Engeland.
In dit werk zijn
sfeerbeelden omgezet in
muziek. Hoewel er geen
concreet verhaal aan ten
grondslag ligt en er
geenduidelijk scenario is
gebruikt, verklankt deze
compositie het mysterie
en de grootsheid van het
eeuwenoude geheimzinnige
monument Stonehenge op
voortreffelijke
wijze.
Chaconne. Composed by Gyorgy Ligeti (1923-2006). This edition: Saddle stitching....(+)
Chaconne. Composed by
Gyorgy Ligeti
(1923-2006). This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1978.
16 pages. Duration 5'.
Schott Music #ED6805.
Published by Schott Music
Fanfare Band - Grade 3 SKU: BT.DHP-0970960-120 Composed by Andrew Lloyd W...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-0970960-120
Composed by Andrew Lloyd
Webber. Arranged by Ron
Sebregts. De Haske Pop
Collection. Pop & Rock.
Score Only. Composed
1997. De Haske
Publications #DHP
0970960-120. Published by
De Haske Publications
(BT.DHP-0970960-120).
Don’t
Cry for me Argentina
is the best-known song
from the 1976 musical
Evita. It was sung
by Eva Peron when she was
addressing the crowds
amassed in the square
below her balcony. More
recently it was a hit for
Madonna, who sang it in
the 1996 film version of
Evita. This
arrangement retains the
broad emotive melody of
the original together
with its intense emotion.
Julie Covington
maakte dit lied uit de
musical Evita in
1976 onsterfelijk.
Twintig jaar later werd
de versie van Madonna,
die de hoofdrol speelde
in de fraaie verfilming,
een hit. De musical over
Eva Perón, echtgenote
van deArgentijnse
president Juan Perón,
blijft tot de verbeelding
spreken. In 2008 gaat er
een Nederlandse versie in
première. Velen
bekeken het voorafgaande
televisieprogramma Op
zoek naar Evita. Met
Don’t Cry for
Me Argentina>/I>brengt u
zowel een tijdloze,
ontroerende melodie als
een actuele
hit.
Die
Sängerin Julie
Covington machte dieses
Lied aus dem Musical
Evita von Andrew
Lloyd Webber und Tim Rice
unsterblich. Zuletzt
feierte Madonna sowohl
mit dem Lied als auch in
der Rolle der Evita Peron
einen Riesenerfolg.
Ebenso anrührend und
stimmungsvoll wie die
Geschichte des Musicals
ist die Bearbeitung
für Fanfareorchester
von Ron Sebregts!
Questa canzone,
interpretata da Madonna
nella versione
cinematografica diretta
da Alan Parker, è
estratta dalla commedia
musicale Evita,
scritta dal maestro e
inventore
dell’opera-rock
Sir Andrew Lloyd Webber.
Evita riprende il
destino di Eva Peron che
ha incarnato la speranza
di un intero popolo e che
fu la guida spirituale
dell’Argentina
degli anni
’40.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola 2.
Composed circa 1747. 12
pages. Duration 90
minutes. Carus Verlag #CV
35.502/14. Published by
Carus Verlag
(CA.3550214).
ISBN
9790007213459. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
Early
modern. Piano reduction.
44 pages. Duration 20'.
Breitkopf and Haertel #EB
8922. Published by
Breitkopf and Haertel
(BR.EB-8922).
ISBN
9790004185889. 9 x 12
inches.
Welcome
Repertoire Piece Josef
Schelb (b. 1894 in Bad
Krozingen) belongs to
that generation of
composers who had to cope
with two world wars,
severe recessions, and
the fatal effects of the
Third Reich. Schelb
turned to impressionism,
expressionism,
dodecaphony, and
atonality, without,
however, firmly settling
in any direction, but
developing his
distinctive personal
style out of all this. He
is a master of the
polyphonic treatment of
motives and themes. His
Concerto for Englisch
Horn and String Orchestra
was composed in 1970 in
Baden-Baden after he
became acquainted with
Helmut Koch, the solo
English hornist of the
former SWF Symphony
Orchestra Baden-Baden.
The three-movement
concerto interweaves
tonality, dodecaphony,
and polyphony in a
fascinating and yet
discreet manner. A late
work of impressive
cantabile and yearning
poetry, it will quickly
secure its place in the
up-to-now slim
English-horn
repertoire.
In
Memory of an Angel -
Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early modern. Part. 8
pages. Duration 25'.
Breitkopf and Haertel #OB
15113-27. Published by
Breitkopf and Haertel
(BR.OB-15113-27).
ISBN
9790004340226. 10 x 12.5
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue
musikzeitung)
Basso continuo + 2 bassoons SKU: CA.3550215 As a pasticcio by Johann S...(+)
Basso continuo + 2
bassoons
SKU:
CA.3550215
As a
pasticcio by Johann
Sebastian Bach, with
arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Individual part. Composed
circa 1747. 40 pages.
Duration 90 minutes.
Carus Verlag #CV
35.502/15. Published by
Carus Verlag
(CA.3550215).
ISBN
9790007213466. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
In
Memory of an Angel -
Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Folder.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early modern. Set of
parts. 176 pages.
Duration 25'. Breitkopf
and Haertel #OB 15113-30.
Published by Breitkopf
and Haertel
(BR.OB-15113-30).
ISBN
9790004340233. 10 x 12.5
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue
musikzeitung)
Brass Band - Grade 3 SKU: BT.AMP-371-130 Composed by Bruce Broughton. Arr...(+)
Brass Band - Grade 3
SKU:
BT.AMP-371-130
Composed by Bruce
Broughton. Arranged by
Philip Sparke. Anglo
Music Midway Series.
TV-Film-Musical-Show.
Score Only. Composed
2013. 28 pages. Anglo
Music Press #AMP 371-130.
Published by Anglo Music
Press (BT.AMP-371-130).
9x12 inches.
English-German-French-Dut
ch.
Released in
cinemas in 1993,
Tombstone is an
American western written
by Kevin Jarre and
directed by George
Cosmatos. Starring Kurt
Russell and Val Kilmer,
it was narrated by Robert
Mitchum and is based on
events relating to the
Gunfight at the OK
Corral, and the
subsequent Wyatt Earp
Vendetta, both of which
took place in Tombstone,
Arizona.The theme is
crime, political
corruption and law
enforcement in the
American west during the
1880s. The score was by
Bruce Broughton, and this
selection features music
from the opening and
closing
credits.
Tombst
one ist ein
amerikanischer Western
aus dem Jahre 1983, der
unter der Regie von Kevin
Jarre nach einem Drehbuch
von George Cosmatos
entstand. Der Film mit
Kurt Russell und Val
Kilmer in den Hauptrollen
sowie Robert Mitchum als
Erzähler basiert auf
den historischen
Ereignissen rund um die
Schießerei am OK
Corral und dem daraus
resultierenden
Rachefeldzug von Wyatt
Earp. Beides fand im Ort
Tombstone im
US-Bundesstaat Arizona
statt. Themen des Films
sind Verbrechen,
politische Korruption und
Strafverfolgung im
Amerika der
1880er-Jahre.Diese
Bearbeitung
präsentiert eine
Auswahl aus der
Eröffnungs- und
Abspannmusik der
originalen Filmmusik von
Bruce Broughton.
Chamber Music Clarinet, Flute, Piano SKU: PR.114417570 For Flute, Bb C...(+)
Chamber Music Clarinet,
Flute, Piano
SKU:
PR.114417570
For
Flute, Bb Clarinet, And
Piano. Composed by
Edvard Grieg. Arranged by
Michael Webster. Sws
each. See the program
notes on pages two and
three of the full score.
Set of Score and Parts.
With Standard notation.
Composed 2008. 40 8 8
pages. Duration 18
minutes. Theodore Presser
Company #114-41757.
Published by Theodore
Presser Company
(PR.114417570).
ISBN
9781491107867. UPC:
680160636013. 9x12
inches.
The famous
set of dances by Norway's
greatest composer were
written for piano duet.
Grieg later created a
piano solo version, but
refused to orchestrate
the set. After some study
of Grieg and his music,
Michael Webster has
arranged the four dances
for Flute, Clarinet, and
Piano in a faithful
setting, using the piano
duet version as a guide.
This lively Grieg classic
will be a welcome new
addition to performance
programs. For advanced
performers.______________
_________________________
Text from the scanned
back cover:Born in 1944,
MICHAEL WEBSTER made his
New York recital debut at
Town Hall in 1968 with
his eminent father,
Beveridge Webster, as
pianist. In the same
year, he won the Young
Concert Artists
International Competition
and succeeded his
teacher, Stanley Hasty,
as Principal Clarinet in
the Rochester
Philharmonic, a position
he held for twenty years.
Webster has performed
with the Chamber Music
Society of Lincoln
Center, the 92nd Street
Y, with the Tokyo,
Cleveland, Muir, Ying,
Enso, and Dover String
Quartets, and with the
festivals of Marlboro,
Santa Fe, Norfolk,
Chamber Music Northwest,
Angel Fire, Steamboat
Springs, Park City,
Sitka, Kapalua, Bowdoin,
Orcas Island,
Skaneateles, La Musica di
Asolo, Stratford,
Victoria, and Domaine
Forget.As soloist he has
appeared with many
orchestras, including the
Philadelphia Orchestra
under Aaron Copland and
the Boston Pops under
John Williams. His
travels have taken him as
performer and teacher to
most of the 50 states, as
well as Canada,
Mexico,Puerto Rico,
Central and South
America, Europe, Japan,
China, Australia, and New
Zealand. Webster was
Acting Principal Clarinet
of the San Francisco
Symphony, and has served
on the clarinet and/or
conducting faculties of
New England Conservatory,
Boston University,
University of Michigan,
and the Eastman School,
from which he earned his
three degrees. Currently
he is Professor of Music
at Rice Universityâ??s
Shepherd School of Music
and Artistic Director of
the Houston Youth
Symphony, which has won
multiple first prizes in
national performance
competitions.With his
wife, flutist Leone
Buyse, and pianist Robert
Moeling, he plays in the
Webster Trio, which has
recorded his arrangements
on Tour de France and
World Wide Webster for
Crystal Records.
Otherarrangements were
recorded for Nami and
Camerata Tokyo in Japan
with pianist Chizuko
Sawa. Webster has also
recorded for Albany,
Arabesque, Beaumont,
Bridge, Centaur, CRI, and
New World. He has played
at many ClarinetFests for
the International
Clarinet Association and
written a column entitled
â??TeachingClarinetâ?
in The Clarinet Magazine
since 1998. Michael
Webster is a Buffet
artist-clinician,
performing on Buffet
clarinets
exclusively. NORWEGIAN
DANCES (Grieg)Michael
Websterâ??s
transcriptions for Flute,
Clarinet, and Piano have
created the core
literature for this
instrumental genre.
Working directly from
Griegâ??s original piano
four-hands version of the
charmingly familiar
Norwegian Dances, Webster
has given flutists and
clarinetists another
addition to the
ensembleâ??s
repertoire.
Violin and orchestra
(solo: vl - 2.2.cor
ang.2.B-clar.A-sax.2.dbl
bsn - 4.2.2.1 -
timp.perc(2) - hp - str)
SKU: BR.PB-15122
In Memory of an Angel
- Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library). Solo
concerto; Early modern.
Study Score. Duration
25'. Breitkopf and
Haertel #PB 15122.
Published by Breitkopf
and Haertel
(BR.PB-15122).
ISBN
9790004212721. 6.5 x 9
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue musikzeitung).
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. This
edition: Paperbound.
Edition Bach-Archiv
Leipzig - Musical
Monuments. German title:
Markuspassion. Sacred
vocal music, Passions,
Lent and Passiontide,
Holy Week. Single Part,
Organ. Composed circa
1747. 64 pages. Duration
90 minutes. Carus Verlag
#CV 35.502/49. Published
by Carus Verlag
(CA.3550249).
ISBN
9790007141202. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
Lorraine Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115059-140 Tone Poem for ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115059-140
Tone Poem for
Band. Composed by
Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2011. 36 pages. De Haske
Publications #DHP
1115059-140. Published by
De Haske Publications
(BT.DHP-1115059-140).
9x12 inches.
English-German-French-Dut
ch.
This moving
symphonic poem is about
the French region of
Lorraine. Since the time
of the Roman Empire,
Lorraine has been ruled
by either Germany or
France with wars
redrawing national
boundaries many times
over the years. While its
history has been bloody,
folk music from the
region breaks up the
tension in the piece and
offers many uplifting
moments. An optimistic
conclusion features a
mixture of music from the
three countries Lorraine
sits between: Luxembourg,
Germany and
France.
Dit
ontroerende symfonische
gedicht gaat over
Lotharingen, een gebied
aan de oostkant van
Frankrijk. De muzikale
verklanking begint in de
tijd van het Heilige
Roomse Rijk. Een tijd
waarin het land wordt
geteisterd door vele
oorlogen.Een tijd ook
waarin het land nu eens
bij Duitsland, dan weer
bij Frankrijk hoort.
Vrolijke elementen zijn
er echter ook:
volksmuziek uit
Lotharingen en ook een
verzoenend slot dat met
toespelingen op het
volkslied het
drielandenpuntvan
Frankrijk, Duitsland en
Luxemburg
belicht.
Dieses
bewegende symphonische
Gedicht handelt von der
Region Lothringen in
Frankreich. Beginnend mit
der Zeit des heiligen
Römischen Reiches,
über diverse
Kriege, die im Land
wüteten und Wechsel
zwischen deutscher und
französischer
Staatszugehörigkeit
wird die Geschichte
musikalisch
nacherzählt. Für
fröhliche Elemente
sorgen Anklänge der
lothringischen Volksmusik
und der versöhnliche
Schluss, der mittels
Anspielungen auf die
Nationalhymne auf das
Dreiländereck“
Frankreich, Deutschland
und Luxemburg
anspielt.
La Lorena
è l’unica
regione francese che
condivide i confini con
altre tre nazioni:
Belgio, Lussemburgo e
Germania. Questo brano
sottolinea il carattere
cosmopolita della regione
che nel corso della
guerra franco-prussiana
costrinse i francesi a
cederla al neo-nato
impero tedesco, ma che fu
restituita alla Francia
dopo la prima guerra
mondiale a seguito del
trattato di Versailles.
Il brano propone un tema
basato sulla melodia
dell’inno
nazionale tedesco come
anche, con un ritmo
rapido, sule note della
Marsigliese. Segue un
motivo fondato sulle
prime note
dell’inno
nazionale
lussemburghese.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola 1.
Composed circa 1747. 12
pages. Duration 90
minutes. Carus Verlag #CV
35.502/13. Published by
Carus Verlag
(CA.3550213).
ISBN
9790007213442. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Choral Score. Composed
circa 1747. 16 pages.
Duration 90 minutes.
Carus Verlag #CV
35.502/05. Published by
Carus Verlag
(CA.3550205).
ISBN
9790007213411. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score available
separately - see item
CA.3550200.
Brass Band - Grade 3 SKU: BT.AMP-371-030 Composed by Bruce Broughton. Arr...(+)
Brass Band - Grade 3
SKU:
BT.AMP-371-030
Composed by Bruce
Broughton. Arranged by
Philip Sparke. Anglo
Music Midway Series.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2013. Anglo Music Press
#AMP 371-030. Published
by Anglo Music Press
(BT.AMP-371-030).
9x12
inches.
English-German-French-Dut
ch.
Released in
cinemas in 1993,
Tombstone is an
American western written
by Kevin Jarre and
directed by George
Cosmatos. Starring Kurt
Russell and Val Kilmer,
it was narrated by Robert
Mitchum and is based on
events relating to the
Gunfight at the OK
Corral, and the
subsequent Wyatt Earp
Vendetta, both of which
took place in Tombstone,
Arizona.The theme is
crime, political
corruption and law
enforcement in the
American west during the
1880s. The score was by
Bruce Broughton, and this
selection features music
from the opening and
closing
credits.
Tombst
one ist ein
amerikanischer Western
aus dem Jahre 1983, der
unter der Regie von Kevin
Jarre nach einem Drehbuch
von George Cosmatos
entstand. Der Film mit
Kurt Russell und Val
Kilmer in den Hauptrollen
sowie Robert Mitchum als
Erzähler basiert auf
den historischen
Ereignissen rund um die
Schießerei am OK
Corral und dem daraus
resultierenden
Rachefeldzug von Wyatt
Earp. Beides fand im Ort
Tombstone im
US-Bundesstaat Arizona
statt. Themen des Films
sind Verbrechen,
politische Korruption und
Strafverfolgung im
Amerika der
1880er-Jahre.Diese
Bearbeitung
präsentiert eine
Auswahl aus der
Eröffnungs- und
Abspannmusik der
originalen Filmmusik von
Bruce Broughton.
In
Memory of an Angel -
Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early modern. Part. 8
pages. Duration 25'.
Breitkopf and Haertel #OB
15113-19. Published by
Breitkopf and Haertel
(BR.OB-15113-19).
ISBN
9790004340202. 10 x 12.5
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue
musikzeitung)
Piano SKU: HL.49045098 34 Miniatures for Piano. Composed by Wilfri...(+)
Piano
SKU:
HL.49045098
34
Miniatures for Piano.
Composed by Wilfried
Hiller. This edition:
Saddle stitching. Sheet
music. Piano. Eine
Hommage an die Kunst: 34
kurze Klavierstucke
unterschiedlichen
Charakters bestehend aus
alten und neuen
Kompositionen wurden hier
zusammengefuhrt -
beschwingte Tanze,
ergreifende
Seufzermotive,
jubilierende Akkorde. Fur
Wiedereinsteiger und
eingerost. Classical.
Softcover. Composed
2003-2015. 68 pages.
Duration 41'. Schott
Music #ED22483. Published
by Schott Music
(HL.49045098).
ISBN
9790001159951.
9.0x12.0x0.215
inches.
In a film
portrait of dancer,
painter and sculptor
Antje Tesche-Mentzen, I
learned that in former
times she was a
proficient pianist. When
she told me that she
intended to begin playing
again, I promised to
compose her a cycle for
her new beginning: 34
miniatures, some of them
with a direct connection
to her paintings and
sculptures.The main part
of Kosmos was composed in
2014, 400 years after
Albrecht Durer created
his copperplate engraving
'Melencolia I', in which
a magic square appears.
In a magicsquare, numbers
are arranged in a grid so
that their sum in each
column, row, and the two
diagonals is the same
number. In the square I
have chosen, the magic
number is 34. Wilfried
Hiller.
Lorraine Orchestre d'harmonie - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115059-010 Tone Poem for ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115059-010
Tone Poem for
Band. Composed by
Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece. Set
(Score & Parts). Composed
2011. De Haske
Publications #DHP
1115059-010. Published by
De Haske Publications
(BT.DHP-1115059-010).
9x12 inches.
English-German-French-Dut
ch.
This moving
symphonic poem is about
the French region of
Lorraine. Since the time
of the Roman Empire,
Lorraine has been ruled
by either Germany or
France with wars
redrawing national
boundaries many times
over the years. While its
history has been bloody,
folk music from the
region breaks up the
tension in the piece and
offers many uplifting
moments. An optimistic
conclusion features a
mixture of music from the
three countries Lorraine
sits between: Luxembourg,
Germany and
France.
Dit
ontroerende symfonische
gedicht gaat over
Lotharingen, een gebied
aan de oostkant van
Frankrijk. De muzikale
verklanking begint in de
tijd van het Heilige
Roomse Rijk. Een tijd
waarin het land wordt
geteisterd door vele
oorlogen.Een tijd ook
waarin het land nu eens
bij Duitsland, dan weer
bij Frankrijk hoort.
Vrolijke elementen zijn
er echter ook:
volksmuziek uit
Lotharingen en ook een
verzoenend slot dat met
toespelingen op het
volkslied het
drielandenpuntvan
Frankrijk, Duitsland en
Luxemburg
belicht.
Dieses
bewegende symphonische
Gedicht handelt von der
Region Lothringen in
Frankreich. Beginnend mit
der Zeit des heiligen
Römischen Reiches,
über diverse
Kriege, die im Land
wüteten und Wechsel
zwischen deutscher und
französischer
Staatszugehörigkeit
wird die Geschichte
musikalisch
nacherzählt. Für
fröhliche Elemente
sorgen Anklänge der
lothringischen Volksmusik
und der versöhnliche
Schluss, der mittels
Anspielungen auf die
Nationalhymne auf das
Dreiländereck“
Frankreich, Deutschland
und Luxemburg
anspielt.
La Lorena
è l’unica
regione francese che
condivide i confini con
altre tre nazioni:
Belgio, Lussemburgo e
Germania. Questo brano
sottolinea il carattere
cosmopolita della regione
che nel corso della
guerra franco-prussiana
costrinse i francesi a
cederla al neo-nato
impero tedesco, ma che fu
restituita alla Francia
dopo la prima guerra
mondiale a seguito del
trattato di Versailles.
Il brano propone un tema
basato sulla melodia
dell’inno
nazionale tedesco come
anche, con un ritmo
rapido, sule note della
Marsigliese. Segue un
motivo fondato sulle
prime note
dell’inno
nazionale
lussemburghese.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Set of Orchestra Parts.
Composed circa 1747.
Duration 90 minutes.
Carus Verlag #CV
35.502/19. Published by
Carus Verlag
(CA.3550219).
ISBN
9790007139629. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and parts
available separately -
see item CA.3550200.
Orchestra SKU: PR.11641867S Composed by William Kraft. Full score. Durati...(+)
Orchestra
SKU:
PR.11641867S
Composed
by William Kraft. Full
score. Duration 16
minutes, 25 seconds.
Theodore Presser Company
#116-41867S. Published by
Theodore Presser Company
(PR.11641867S).
UPC:
680160683208.
Conte
xtures: Riots -Decade '60
was commissioned by Zubin
Mehta and the Southern
California Symphony
Association after the
successful premiere of
the Concerto for Four
Percussion Soloists and
Orchestra. It was written
during the spring and
summer months of 1967.
Riots stemming from
resentment against the
racial situation in the
United States and the war
in Vietnam were occurring
throughout the country
and inevitably invaded
the composer's creative
subconscious.
Contextures, as the title
implies, was intended to
exploit various and
varying textures. As the
work progressed the
correspondence between
the fabric of music and
the fabric of society
became apparent and the
allegory grew in
significance. So I found
myself translating social
aspects into musical
techniques. Social
stratification became a
polymetric situation
where disparate groups
function together. The
conflict between the
forces of expansion and
the forces of containment
is expressed through and
opposition of tonal
fluidity vs. rigidity.
This is epitomized in the
fourth movement, where
the brass is divided into
two groups - a muted
group, encircled by the
unmuted one, which does
its utmost to keep the
first group within a
restricted pitch area.
The playful jazzy bits
(one between the first
and second movements and
one at the end of the
piece) are simply saying
that somehow in this age
of turmoil and anxiety
ways of having fun are
found even though that
fun may seem
inappropriate. The piece
is in five movements,
with an interlude between
the first and second
movements. It is scored
for a large orchestra,
supplemented by six
groups of percussion,
including newly created
roto-toms (small tunable
drums) and some original
devices, such as muted
gongs and muted
vibraphone. There is also
an offstage jazz quartet:
bass, drums, soprano
saxophone and trumpet.
The first movement begins
with a solo by the first
clarinetist which is
interrupted by
intermittent heckling
from his colleagues
leading to a
configuration of large
disparate elements. The
interlude of solo violin
and snare-drum follows
without pause. The second
movement, Prestissimo, is
a display piece of
virtuosity for the entire
orchestra. The third
movement marks a period
of repose and reflection
and calls for some
expressive solos,
particularly by the horn
and alto saxophone. The
fourth movement opens
with a rather lengthy
oboe solo, which is
threatened by large
blocks of sound from the
orchestra, against an
underlying current of
agitated energy in the
piano and percussion.
This leads to a section
in which large orchestral
forces oppose one
another, ultimately
bringing the work to a
climax, if not to a
denouement. Various
thematic elements are
strewn all over the
orchestra, resulting in
the formation of a
general haze of sound. A
transition leads to the
fifth movement without
pause. The musical haze
is pierced gently by the
offstage jazz group as if
they were attempting to
ignore and even dispel
the gloom, but a legato
bell sound enters and
hovers over both the jazz
group and the orchestra,
the latter making
statements of disquieting
finality. Two films were
conceived to accompany
portions of Contextures.
The first done by Herbert
Kosowar, was a
chemography film
(painting directly into
the film using dyes and
various implements) with
fast clips of riot
photographs. The second
was a film collage made
by photographically
abstracting details from
paintings of Reginald
Pollack. The purpose was
to invoke a non-specific
response - as in music -
but at the same time to
define the subject matter
of the piece. The films
were constructed to
correspond with certain
developments in the piece
and in no way affect the
independence and musical
flow of the piece, having
been made after the piece
was completed.
Contextures: Riots -
Decade '60 is dedicated
to Mehta, the Southern
California Symphony
Association and the Los
Angeles Philharmonic
Orchestra. The news of
the assassination of Dr.
Martin Luther King came
the afternoon of the
premiere, April 4, 1968.
That evening's
performances, and also
the succeeding ones, were
dedicated to him and a
special dedication to Dr.
King has been inserted
into he score. All the
music that follows the
jazz group - beginning
with the legato bell
sound playing the first 2
notes to We shall
overcome constitutes a
new ending to commemorate
Dr. King's death.
Violin, piano (solo: vl -
2.2.cor
ang.2.B-clar.A-sax.2.dbl
bsn - 4.2.2.1 -
timp.perc(2) - hp - str)
SKU: BR.EB-10821
In Memory of an Angel
- Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Arranged by
Jan Philip Schulze. Solo
instruments; Softbound.
Edition Breitkopf.
In
Cooperation with G. Henle
Verlag
Solo concerto;
Early modern. Piano
reduction. 120 pages.
Duration 25'. Breitkopf
and Haertel #EB 10821.
Published by Breitkopf
and Haertel
(BR.EB-10821).
ISBN
9790201808215. 9.5 x 12
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue musikzeitung).
Interieur III. Composed by Helmut Lachenmann. World premiere: Nuremberg (Ars ...(+)
Interieur III. Composed
by
Helmut Lachenmann. World
premiere: Nuremberg (Ars
nova), June 4, 1970.
Breitkopf and Haertel #EB
9395. Published by
Breitkopf
and Haertel