Choir Secular (SATB choir) SKU: AP.47181 Composed by Robert DeCormier. Pe...(+)
Choir Secular (SATB
choir)
SKU:
AP.47181
Composed by
Robert DeCormier.
Performance Music
Ensemble; Single Titles.
Lawson-Gould.
Peace/Brotherhood;
Secular. Choral Octavo. 8
pages. Alfred Music
#00-47181. Published by
Alfred Music (AP.47181).
UPC: 038081539973.
English.
Premiered
by Robert DeCormier and
Friends on the occasion
of their tenth annual
Sing for Peace concert in
Burlington, Vermont, this
powerful anthem is the
last piece written by the
prolific American
arranger, composer, and
conductor---just one
month prior to his
passing. Strong a
cappella scoring reveals
Mr. DeCormier's love of
folk music, and striking
original words impart a
prayer for peace.
Score. Composed by
Simon Holt. Music Sales
America. Classical,
Contemporary. Softcover.
44 pages. Chester Music
#CH82775. Published by
Chester Music
(HL.14043783).
8.25x11.75
inches.
Simon Holt
's 3rd Quartet is the
third of six pieces which
make up a cycle with the
overall title 'Terrain'.
Lasting around 23
minutes, this wonderful
work is arranged for
String Quartet and was
co-commissioned by The
Radcliffe Trust, NMC
Recordings,
Internationales
Musikfestival
Heidelberger Fruhling and
Wigmore Hall. The
premiere was performed on
19th January 2015. The
six different
compositions, of which
3rd Quartet is
the third, are for
different combinations of
stringed instruments,
featuring Piano in the
second piece. The music
that comprises 3rd
Quartet is drawn
from the other parts of
the cycle as a whole, yet
in a reverse order. In
this way the
piecedevelops what has
come before, foreshadows
what's to come, all the
while encompassing the
entire cycle in a single
piece.
Parts. Composed by
Simon Holt. Music Sales
America. Classical,
Contemporary. Softcover.
Chester Music #CH8277501.
Published by Chester
Music (HL.14043782).
8.5x11.75x0.3
inches.
Simon Holt
's 3rd Quartet is the
third of six pieces which
make up a cycle with the
overall title 'Terrain'.
Lasting around 23
minutes, this wonderful
work is arranged for
String Quartet and was
co-commissioned by The
Radcliffe Trust, NMC
Recordings,
Internationales
Musikfestival
Heidelberger Fruhling and
Wigmore Hall. The
premiere was performed on
19th January
2015. This is the
set of parts for 2
Violins, Viola and Cello.
The six different
compositions, of which
3rd Quartet is
the third, are for
different combinations of
stringed instruments,
featuring Piano in the
second piece. The music
that comprises 3rd
Quartet is drawn
from the other parts
ofthe cycle as a whole,
yet in a reverse order.
In this way the piece
develops what has come
before, foreshadows
what's to come, all the
while encompassing the
entire cycle in a single
piece.
Percussion solo SKU: BR.EB-9427 Solo for 18 Tubular Bells. Compose...(+)
Percussion solo
SKU:
BR.EB-9427
Solo
for 18 Tubular Bells.
Composed by Nicolaus A.
Huber. Solo instruments;
stapled. Edition
Breitkopf. Music
post-1945; New music
(post-2000). Full score.
Composed 2021. 8 pages.
Duration 9'. Breitkopf
and Haertel #EB 9427.
Published by Breitkopf
and Haertel (BR.EB-9427).
ISBN 9790004189047. 10
x 12.5
inches.
Kirchengloc
ken, indische Glockchen,
Almglocken, Glockenspiel
- eine reiche Familie,
voller Bedeutungen und
Traditionen. Als Kind war
ich beeindruckt von einer
Dankeskapelle in der Nahe
meines Heimatortes
Waldkirchen. Der Dankende
hatte sich im Wald
verirrt und fand den
rettenden Ort, weil er
dem Glockenklang der
Kirche folgen konnte.
Meine Eltern wohnten
selbst einige Jahre
direkt neben der Kirche,
und damals wurde sehr
ausgiebig gelautet. Ich
selbst half beim Lauten
mit: ziehen am Seil - wie
schnell kommt der erste
Anschlag - sich zum
Bremsen ans Seil hangen -
wie schnell stoppt man
die Glocke - und die
wunderbaren Weiten des
Klanges, die
Abstrahlungshohe, der
gefahrliche Glockenstuhl,
und das Lauten als
Belastigung! Zu Hause
hiess es immer: ,,Goethe
hat schon die
Kirchenglocken gehasst!
Unsere Glocken waren in
Stimmung und Qualitat
Ergebnis eines
Glockensachverstandigen.
Es war der spatere
Passauer
Dom-Chordirigent, in
dessen Chor ich etliche
Jahre sang!Und jetzt die
,,Rohrenglocken!Sie sind
schwierig, diese Rohren,
die nur in ihrer Lange
variieren und dadurch fur
ihre Tonhohe nicht immer
bestens ausgerustet sind.
Aber sie behalten das
Glockenflair, trotz ihrer
Sperrigkeit. Gerade ihre
mystifizierende
Verschlossenheit zieht
an: das Verhaltnis von
Anschlagsmittel,
Anschlagstelle und
Klangergebnis ist nicht
immer genau vorhersehbar,
und selbst bei hochsten
Lautstarken hat man den
Eindruck, dass die Rohren
nicht alles von sich
geben. Dafur modulieren
sie sich gegenseitig
hervorragend. Der Spieler
mit seinen
Anschlagswerkzeugen steht
immer einem
eigenwilligen,
vielfaltigen Ich
gegenuber.Oft kann man
bei grosseren Besetzungen
Rohrenglocken erleben.
Ich habe mir sagen
lassen, dass es bisher
aber kein SOLO fur
Rohrenglocken gabe.Nun
laissez vibrer ist eines!
ich hoffe,
gelungen!!!(Nicolaus A.
Huber, 2021)
World
premiere:
Lockenhaus/Austria
(Lockenhaus Festival),
July 11, 2021.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Part. 8 pages. Duration
18'. Breitkopf and
Haertel #EOS 20829-23.
Published by Breitkopf
and Haertel
(BR.EOS-20829-23).
ISBN 9790004785539. 10
x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Part. 8 pages. Duration
18'. Breitkopf and
Haertel #EOS 20829-16.
Published by Breitkopf
and Haertel
(BR.EOS-20829-16).
ISBN 9790004785515. 10
x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Part. 8 pages. Duration
18'. Breitkopf and
Haertel #EOS 20829-19.
Published by Breitkopf
and Haertel
(BR.EOS-20829-19).
ISBN 9790004785522. 10
x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Part. 8 pages. Duration
18'. Breitkopf and
Haertel #EOS 20829-27.
Published by Breitkopf
and Haertel
(BR.EOS-20829-27).
ISBN 9790004785546. 10
x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Part. 8 pages. Duration
18'. Breitkopf and
Haertel #EOS 20829-15.
Published by Breitkopf
and Haertel
(BR.EOS-20829-15).
ISBN 9790004785508. 10
x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
Urtext. Composed
by Georges Bizet. Edited
by Lesley A. Wright.
Orchestra; stapled.
Eulenburg Orchestral
Series. Suite; Romantic.
Full score. 68 pages.
Duration 18'. Breitkopf
and Haertel #EOS 20829.
Published by Breitkopf
and Haertel
(BR.EOS-20829).
ISBN
9790004780275. 10 x 12.5
inches.
From Stage Flop to
Concert
Favorite
The story of Alphonse
Daudet's drama
L'Arlesienne to
which Georges Bizet
composed several pieces
in 1872 focuses on the
story of love and suicide
and was inspired by true
events. The musical drama
had flopped at its
premiere, but the suite
that Bizet arranged
shortly afterwards from
its stage music enjoys
great popularity to this
very day. After Bizet's
death, his friend Ernest
Guiraud put together four
more movements of themes
and motives by Bizet for
a second suite
establishing a musical
connection to Provence
und Arles especially in
the outer movements, the
Pastorale and the
effective Fandarole. With
this edition, Breitkopf &
Hartel continues its
successful collaboration
with Eulenburg.
SKU: HL.438867 EAST SOUND RESEARCH. Guitar Pedal. Hal Leonard #CM0229. Pu...(+)
SKU: HL.438867
EAST SOUND RESEARCH.
Guitar Pedal. Hal Leonard
#CM0229. Published by Hal
Leonard (HL.438867).
UPC: 852940000943.
5.0x25.0x2.75
inches.
The Carl
Martin Octaswitch,
already a legend in the
guitar effect switching
world, is on it's third
evolution since the
original. These all
analog units have
received rave reviews
throughout the guitar
world and awards from
companies like Premier
Guitar. The fourth
version, named 'The
Strip' is the smallest
and most advanced, taking
all the technology used
in the first three and
adding some amazing
features that make the
'Octaswitch The Strip'
the most versatile and
simplest all-analog
switching pedal on the
market! At first glance,
the 'Octaswitch The
Strip' (designed once
again and refined by
Thomas Guldman), has all
the same features as
before. There are 8 fx
Loops that can be
programmed into 8 Banks.
The Loops are all
True-Bypass, impedance
free gold relays so you
can run all your pedals
(old and new) without
issue. The Main Input can
be True Bypass, or it can
be switched to Buffered
for large stages or long
cable runs. There are 8
blue LED's that indicate
which of the 8 Loops is
being used, and 8 green
LED's that indicate which
Bank is being used. This
is where the technology
changes...
The Heaven Tree Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1104887-010 La pierre de v...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1104887-010
La pierre de vie.
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2010.
De Haske Publications
#DHP 1104887-010.
Published by De Haske
Publications
(BT.DHP-1104887-010).
9x12 inches.
English-German-French-Dut
ch.
The Heaven Tree
is based on the fi rst
book in an intensely
imagined trilogy by
author Edith Pargeter.
Set during the golden age
of cathedral building,
this adventure novel
explores the splendour
and cruelty of the Middle
Ages. Thierry
Deleruyelle’s work
is an ideal accompaniment
to the novel. With an
obvious sense of
suspense, his music helps
us get in touch with a
distant reality that
brings the past to life.
Für The
Heaven Tree nahm sich der
Komponist den ersten Band
einer fantasievollen
Romantrilogie von Edith
Pargeter als Vorlage.
Dieser spielt im goldenen
Zeitalter des
Kathedralenbaus und
spiegelt die ganze Pracht
und die Grausamkeit des
Mittelalters wider.
Thierry Deleruyelles Werk
ist das perfekte
Äquivalent des
Romans. Mit einem guten
Gespür für
Spannung gelingt es dem
Komponisten, mit seiner
Musik längst
vergangene Zeiten
begreifbar zu machen und
zu neuem Leben zu
erwecken.
Primo
volume di una trilogia
storica di Edith Pargeter
(alias Ellis Peters
1913-1995) e considerato
come il suo miglior
lavoro, The Heaven Tree
incanta per la sua
fluidit . Romanzo di
avventura ai tempi della
costruzione di
cattedrali, The Heaven
Tree descrive il Medioevo
in tutto il suo splendore
e la sua crudelt .
Thierry Deleruyelle ci
offre il romanzo in
musica, con un senso
tangibile di suspense,
tipico di questo periodo
storico.
The Heaven Tree Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1104887-140 La pierre de v...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1104887-140
La pierre de vie.
Composed by Thierry
Deleruyelle. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2010. 32
pages. De Haske
Publications #DHP
1104887-140. Published by
De Haske Publications
(BT.DHP-1104887-140).
9x12 inches.
English-German-French-Dut
ch.
The Heaven Tree
is based on the fi rst
book in an intensely
imagined trilogy by
author Edith Pargeter.
Set during the golden age
of cathedral building,
this adventure novel
explores the splendour
and cruelty of the Middle
Ages. Thierry
Deleruyelle’s work
is an ideal accompaniment
to the novel. With an
obvious sense of
suspense, his music helps
us get in touch with a
distant reality that
brings the past to life.
Für The
Heaven Tree nahm sich der
Komponist den ersten Band
einer fantasievollen
Romantrilogie von Edith
Pargeter als Vorlage.
Dieser spielt im goldenen
Zeitalter des
Kathedralenbaus und
spiegelt die ganze Pracht
und die Grausamkeit des
Mittelalters wider.
Thierry Deleruyelles Werk
ist das perfekte
Äquivalent des
Romans. Mit einem guten
Gespür für
Spannung gelingt es dem
Komponisten, mit seiner
Musik längst
vergangene Zeiten
begreifbar zu machen und
zu neuem Leben zu
erwecken.
Primo
volume di una trilogia
storica di Edith Pargeter
(alias Ellis Peters
1913-1995) e considerato
come il suo miglior
lavoro, The Heaven Tree
incanta per la sua
fluidit . Romanzo di
avventura ai tempi della
costruzione di
cattedrali, The Heaven
Tree descrive il Medioevo
in tutto il suo splendore
e la sua crudelt .
Thierry Deleruyelle ci
offre il romanzo in
musica, con un senso
tangibile di suspense,
tipico di questo periodo
storico.
Composed by Geraldine Green. Classical; 21st century. Complete set of parts, co...(+)
Composed by Geraldine
Green. Classical; 21st
century. Complete set of
parts, conductor's
score. Composed 1992.
Duration 23 minutes.
Published by Alea
Publishing
(A7.ALEA1067A).
Composed by Geraldine Green. For bass clarinet and piano. Classical; 21st centur...(+)
Composed by Geraldine
Green. For bass clarinet
and piano. Classical;
21st century. Solo part
and piano reduction.
Composed 1992. Duration
23 minutes. Published by
Alea Publishing
Double Bass, Bayan (Score & Parts) SKU: HL.50600462 For Bayan and Two ...(+)
Double Bass, Bayan (Score
& Parts)
SKU:
HL.50600462
For
Bayan and Two Double
Basses. Composed by
Sofia Gubaidulina.
Ensemble. Classical,
Contemporary. Softcover.
28 pages. Sikorski
#SIK8717. Published by
Sikorski (HL.50600462).
UPC: 888680602598.
8.25x11.75
inches.
It so
happens, time and again,
that composers have
written one work or
another with great
élan and then
withheld it for a while.
This is rather an
exception with Sofia
Gubaidulina. Nonetheless,
several decades passed
before the striking
“Tatar Dance”
for bayan and two double
basses - unusual simply
in view of its
instrumental combination
- could now be published
as a printed edition. The
“Tatar” Dance
was composed in 1992, and
it is thanks to the bayan
virtuoso Friedrich Lips
that he continued to
speak to the composer
about this wonderful
composition and motivated
her to have it published.
Lips has now edited the
work which is full of
magnificent new sounds,
with the double basses
forming a sonorous
counterpoint to the
bayan. The world premiere
of the chamber work
“Tatar Dance”
was given on 25 July 1992
by the soloists Elsbeth
Moser (bayan), Wolfgang
Güttler and
Alexander Suslin (both
double bass) in
Hitzacker. Sofia
Gubaidulina dedicated
this work to Viktor
Suslin.
(Opus 22 in D Minor). By Henri Wieniawski; edited by Zakhar Bron. For Violin. So...(+)
(Opus 22 in D Minor). By
Henri Wieniawski; edited
by Zakhar Bron. For
Violin. Solos. AMA
Verlag. Classic. Level:
Intermediate. Book. Size
9x12. 72 pages. Published
by AMA Verlag. ISBN
3932587847.
Composition SKU: FP.FTJ06 Composed by John Turner. Sheet Music and Books....(+)
Composition
SKU:
FP.FTJ06
Composed by
John Turner. Sheet Music
and Books. Recorder
virtuosi and composer
John Turner's
indispensible new guide
for composers writing for
the solo recorder. This
hugely useful book
features chapters on the
history of recorder
composition, as well as
the instrument's range,
player technique, dynami.
Classical, Instructional.
Reference Book. Forsyths
Publications #FTJ06.
Published by Forsyths
Publications (FP.FTJ06).
ISBN
9780951479537.
Comp
osing for the recorder
can be intimidating for
those with limited or no
experience playing the
instrument. John Turner's
new book is the ideal
primer, taking the would
be recorder composer on a
journey through the
history of recorder
composition, and onwards
to explore player
techniques and the
musicality offered by
this versatile
instrument. Each section
is extensively referenced
to exisiting
compositions, providing a
fantastic platform for
further research by the
reader.
About the
Author:
JOHN
TURNER is one of the
leading recorder players
of today. Born in
Stockport, he was Senior
Scholar in Law at
Fitzwilliam College
Cambridge before pursuing
a legal career, acting
for many distinguished
musicians and musical
organisations alongside
his many musical
activities. These
included numerous
appearances and
recordings with David
Munrow's Early Music
Consort of London, the
Academy of Ancient Music,
the English Chamber
Orchestra, the Academy of
St. Martin-in-the-Fields
and the English Baroque
Soloists. He now devotes
his time to playing,
writing, reviewing,
publishing, composing and
generally
energising.
He has
played as recorder
soloist with the Halle
Orchestra, the Royal
Liverpool Philharmonic
Orchestra, the Manchester
Camerata, the English
Baroque Soloists, the
English Chamber
Orchestra, and many other
leading orchestras and
ensembles. Concertos and
works with orchestra have
been written for him by
Gordon Crosse, Anthony
Gilbert, Peter Hope,
Kenneth Leighton, Elis
Pehkonen, Alan Bullard,
John Casken, and many
other distinguished
composers. His recordings
include no less than five
sets of the Brandenburg
Concertos, as well as the
F Major version of
Brandenburg Concerto No.
4 with Menuhin and George
Malcolm, but lately he
has madenumerous
acclaimed recordings of
the recorder’s
contemporary concerto and
chamber music repertoire,
including several
concerto discs, all of
which have received
critical acclaim. In all,
he has given the first
performances of over 600
works for the recorder,
with works by many
non-British composers,
including Leonard
Bernstein, Ned Rorem,
Peter Sculthorpe, Douglas
Lilburn and Petr
Eben.
Many of the
works he has premiered
have now entered the
instrument’s
standard repertoire, and
these and his own
recorder compositions are
regularly set for
festivals and
examinations. He edits
series of recorder
publications for both
Forsyths and Peacock
Press, and founded the
periodical Manchester
Sounds, in response to
the perceived threat to
music libraries in Great
Britain. In addition he
was responsible for the
rediscovery of several
works for his instrument,
including the Rawsthorne
Recorder Suite, Antony
Hopkins' Pastiche Suite,
Herbert Murrill’s
Sarabande, the Handel F
Major Trio Sonata and
John Parry's Nightingale
Rondo (the only
substantial known British
nineteenth century work
for a fipple flute). He
was awarded an Honorary
Fellowship by the Royal
Northern College of Music
in 2002 for his services
to British music, and is
a Visiting Distinguished
Scholar of Manchester
University.
Pulcinella Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-513-010 For Euphonium and ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-513-010
For
Euphonium and Concert
Band. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Set (Score &
Parts). Composed 2021.
Anglo Music Press #AMP
513-010. Published by
Anglo Music Press
(BT.AMP-513-010).
English-German-French-
Dutch.
Pulcinell
a was commissioned by
the Taiwanese euphonium
player Tzu-Hsiang Lin.
Lin is a renowned soloist
and teacher and a Besson
Euphonium Artist. He
teaches euphonium at
Taipei National
University of the Arts,
National Taiwan
University of Arts, Shih
Chien University and
National Kaohsiung Normal
University. Lin gave the
premiere of
Pulcinella in both
its concert band and
brass band versions in
January 2021.
Pulcinella
continues Sparke’s
series of euphonium solos
named after characters of
the Italian commedia
dell’arte and
opens with a long and
expressive minor melody
for the soloist over a
brooding accompaniment.
This is taken up briefly
by the full band and is
extended by the soloist
after a change of key. A
cadenza, accompanied by
fragments of the main
melody leads to a
complete change of mood,
tempo and tonality,
introducing a Vivo
section starting with a
perky syncopated tune for
the soloist. The band
then uses elements of
this new tune to
introduce a change of
key, where the soloist
introduces a more lyrical
second subject over a
pulsing accompaniment.
The band then takes this
up and changes key to
reintroduce the original
Vivo melody, which
leads to a short and
acrobatic coda to bring
the work to a spectacular
close.
Pulcinella
werd geschreven in
opdracht van de Taiwanese
eufoniumspeler Tzu-Hsiang
Lin. Lin is een
gerenommeerd solist en
leraar en een Besson
Euphonium Artist. Hij
geeft eufoniumles aan de
Taipei National
University of the Arts,
de National Taiwan
University of Arts, de
Shih Chien University en
de National Kaohsiung
Normal University. In
januari 2021 bracht Lin
de première van
Pulcinella in
zowel de versie voor
harmonieorkest als die
voor brassband.
Pulcinella is een
vervolg binnen Sparkes
serie
eufoniumsolo’s
waarin personages uit de
Italiaanse commedia
dell’arte de
hoofdrol spelen. Het werk
opent met een lange,
expressieve mineurmelodie
voor de solist, boven een
sonore begeleiding. Deze
wordt kortstondig door
het complete orkest
overgenomen en dan na een
modulatie door de solist
verder uitgewerkt. Een
cadens, begeleid door
fragmenten van de
hoofdmelodie, mondt uit
in een totaal andere
sfeer, tempo en
tonaliteit, met de
introductie van een
Vivo-gedeelte dat
begint met een pittige,
gesyncopeerde passage
voor de solist. Het
orkest gebruikt elementen
hieruit om een nieuwe
modulatie in te voeren,
waarbij de solist een
lyrischer tweede thema
boven een pulserende
begeleiding introduceert.
Het orkest neemt dit dan
over en verandert van
toonsoort om naar de
originele
Vivo-melodie terug
te keren, die naar een
korte, acrobatische coda
leidt en het werk op
spectaculaire wijze
afsluit.
Pulcinella
wurde von dem
taiwanesischen
Euphoniumspieler
Tzu-Hsiang Lin in Auftrag
gegeben, einem bekannten
Solisten, Lehrer und
Besson Euphonium
Artist“. Er
unterrichtet Euphonium an
der Taipei National
University of the Arts,
der National Taiwan
University of Arts, der
Shih Chien University und
an der National Kaohsiung
Normal University.
Tzu-Hsiang Lin spielte im
Januar 2021 die
Uraufführungen von
Pulcinella, sowohl
die Version mit
Blasorchesterbegleitung
als auch die mit
Brass-Band-Begleitung.
Mit Pulcinella
setzt sich Philip Sparkes
Serie mit Stücken
für Euphonium solo
fort, die nach
Charakteren der
italienischen Commedia
dell’Arte
benannt sind. Das Werk
beginnt mit einer langen
und ausdrucksvollen
Melodie des Solisten in
Moll über einer
düsteren Begleitung.
Die Melodie wird vom
gesamten Blasorchester
kurz übernommen und
durch den Solisten nach
einem Tonartwechsel
erweitert. Eine Kadenz,
begleitet von Fragmenten
der Hauptmelodie,
führt zu einer
kompletten Veränderung
von Stimmung, Tempo und
Tonalität und leitet
einen
Vivo-Abschnitt
ein, der mit einer
munteren synkopierten
Melodie des Solisten
beginnt. Das
Blasorchester greift
Elemente der neuen
Melodie auf, um einen
Tonartwechsel
einzuführen, wobei der
Solist ein lyrischeres
zweites Thema über
einer pulsierenden
Begleitung vorstellt. Das
Blasorchester greift
dieses wiederum auf,
wechselt die Tonart und
übernimmt erneut die
ursprüngliche
Vivo-Melodie. Eine
kurze und technisch
anspruchsvolle Coda
leitet in einen
fulminanten Schluss
über.
Flame and Glory Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1135413-140 Vatra I Slava<...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1135413-140
Vatra I Slava.
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2013. 24
pages. De Haske
Publications #DHP
1135413-140. Published by
De Haske Publications
(BT.DHP-1135413-140).
9x12 inches.
English-German-French-Dut
ch.
This opening
piece was commissioned by
a youth orchestra, which
explains why it has such
a lot of dynamism, energy
and optimism. However, it
begins in a stately and
noble fashion, in the
lower range of the wind
orchestra. Soon the
rhythmical drive takes
over, imbuing this piece
with a vibrant and
energetic character. Some
lovely melodic lines and
themes are also
integrated within this
fast section. Wind music
in Croatia is developing
apace as more and more
ensembles are excited by
the next generation of
composers finding so much
success worldwide. For
this reason, the
Vatroslav Lisinski Music
School commissioned this
short but effective piece
from Jan Van der Roost.
The premièretook place
in Zagreb on April 24
2013, conducted by Mario
Komazin.
Dit
openingswerk is
geschreven in opdracht
van een jeugdorkest, wat
verklaart waarom het
zoveel dynamiek, energie
en optimisme ademt. Het
begint echter op
plechtige en statige
wijze - in het lage
blazersregister. Al snel
krijgt de muziek een
steeds ritmischer
karakter en wordt ze
levendiger en vitaler van
sfeer. In dit snelle
gedeelte zijn ook
verschillende mooie
melodielijnen en
thema’s verwerkt.
Het genre blaasmuziek is
in Kroatië sterk in
opkomst, en meer en meer
ensembles zijn
enthousiast over de
volgende generatie jonge
musici die wereldwijd
zoveel succes hebben.
Tegen die achtergrond
heeft de Vatroslav
Lisinski Music School de
Belgische componist Jan
Van der Roost verzochtdit
korte maar effectvolle
werk te schrijven. De
première vond op 24
april 2013 plaats in
Zagreb, onder leiding van
dirigent Mario Komazin.
Dieses
Eröffnungswerk wurde
im Auftrag eines
Jugendblasorchesters
geschrieben, was
erklärt, warum es so
viel Dynamik, Energie und
Optimismus ausstrahlt. Es
beginnt jedoch feierlich
und würdevoll - in den
tiefen Bläsern. Schon
bald wird der Charakter
der Musik immer
rhythmischer und
lebendiger und die
Stimmung wechselt ins
Lebhafte. In diesem
schnellen Teil sind auch
verschiedene schöne
Melodielinien und Themen
verarbeitet. Das Genre
Blasmusik ist in Kroatien
stark im Kommen und immer
mehr Ensembles zeigen
sich begeistert von der
jungen
Komponistengeneration,
die weltweit so
erfolgreich ist. Vor
diesem Hintergrund bat
die Vatroslav Lisinski
Musikschule den
belgischenKomponisten Jan
Van der Roost, dieses
kurze, aber wirkungsvolle
Werk zu schreiben. Die
Premiere fand am 24.
April 2013 in Zagreb
unter der Leitung von
Dirigent Mario Komazin
statt.
Pulcinella Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-513-140 For Euphonium and ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.AMP-513-140
For
Euphonium and Concert
Band. Composed by
Philip Sparke. Anglo
Music Midway Series. Solo
& Concerto. Score Only.
Composed 2021. 28 pages.
Anglo Music Press #AMP
513-140. Published by
Anglo Music Press
(BT.AMP-513-140).
English-German-French-
Dutch.
Pulcinell
a was commissioned by
the Taiwanese euphonium
player Tzu-Hsiang Lin.
Lin is a renowned soloist
and teacher and a Besson
Euphonium Artist. He
teaches euphonium at
Taipei National
University of the Arts,
National Taiwan
University of Arts, Shih
Chien University and
National Kaohsiung Normal
University. Lin gave the
premiere of
Pulcinella in both
its concert band and
brass band versions in
January 2021.
Pulcinella
continues Sparke’s
series of euphonium solos
named after characters of
the Italian commedia
dell’arte and
opens with a long and
expressive minor melody
for the soloist over a
brooding accompaniment.
This is taken up briefly
by the full band and is
extended by the soloist
after a change of key. A
cadenza, accompanied by
fragments of the main
melody leads to a
complete change of mood,
tempo and tonality,
introducing a Vivo
section starting with a
perky syncopated tune for
the soloist. The band
then uses elements of
this new tune to
introduce a change of
key, where the soloist
introduces a more lyrical
second subject over a
pulsing accompaniment.
The band then takes this
up and changes key to
reintroduce the original
Vivo melody, which
leads to a short and
acrobatic coda to bring
the work to a spectacular
close.
Pulcinella
werd geschreven in
opdracht van de Taiwanese
eufoniumspeler Tzu-Hsiang
Lin. Lin is een
gerenommeerd solist en
leraar en een Besson
Euphonium Artist. Hij
geeft eufoniumles aan de
Taipei National
University of the Arts,
de National Taiwan
University of Arts, de
Shih Chien University en
de National Kaohsiung
Normal University. In
januari 2021 bracht Lin
de première van
Pulcinella in
zowel de versie voor
harmonieorkest als die
voor brassband.
Pulcinella is een
vervolg binnen Sparkes
serie
eufoniumsolo’s
waarin personages uit de
Italiaanse commedia
dell’arte de
hoofdrol spelen. Het werk
opent met een lange,
expressieve mineurmelodie
voor de solist, boven een
sonore begeleiding. Deze
wordt kortstondig door
het complete orkest
overgenomen en dan na een
modulatie door de solist
verder uitgewerkt. Een
cadens, begeleid door
fragmenten van de
hoofdmelodie, mondt uit
in een totaal andere
sfeer, tempo en
tonaliteit, met de
introductie van een
Vivo-gedeelte dat
begint met een pittige,
gesyncopeerde passage
voor de solist. Het
orkest gebruikt elementen
hieruit om een nieuwe
modulatie in te voeren,
waarbij de solist een
lyrischer tweede thema
boven een pulserende
begeleiding introduceert.
Het orkest neemt dit dan
over en verandert van
toonsoort om naar de
originele
Vivo-melodie terug
te keren, die naar een
korte, acrobatische coda
leidt en het werk op
spectaculaire wijze
afsluit.
Pulcinella
wurde von dem
taiwanesischen
Euphoniumspieler
Tzu-Hsiang Lin in Auftrag
gegeben, einem bekannten
Solisten, Lehrer und
Besson Euphonium
Artist“. Er
unterrichtet Euphonium an
der Taipei National
University of the Arts,
der National Taiwan
University of Arts, der
Shih Chien University und
an der National Kaohsiung
Normal University.
Tzu-Hsiang Lin spielte im
Januar 2021 die
Uraufführungen von
Pulcinella, sowohl
die Version mit
Blasorchesterbegleitung
als auch die mit
Brass-Band-Begleitung.
Mit Pulcinella
setzt sich Philip Sparkes
Serie mit Stücken
für Euphonium solo
fort, die nach
Charakteren der
italienischen Commedia
dell’Arte
benannt sind. Das Werk
beginnt mit einer langen
und ausdrucksvollen
Melodie des Solisten in
Moll über einer
düsteren Begleitung.
Die Melodie wird vom
gesamten Blasorchester
kurz übernommen und
durch den Solisten nach
einem Tonartwechsel
erweitert. Eine Kadenz,
begleitet von Fragmenten
der Hauptmelodie,
führt zu einer
kompletten Veränderung
von Stimmung, Tempo und
Tonalität und leitet
einen
Vivo-Abschnitt
ein, der mit einer
munteren synkopierten
Melodie des Solisten
beginnt. Das
Blasorchester greift
Elemente der neuen
Melodie auf, um einen
Tonartwechsel
einzuführen, wobei der
Solist ein lyrischeres
zweites Thema über
einer pulsierenden
Begleitung vorstellt. Das
Blasorchester greift
dieses wiederum auf,
wechselt die Tonart und
übernimmt erneut die
ursprüngliche
Vivo-Melodie. Eine
kurze und technisch
anspruchsvolle Coda
leitet in einen
fulminanten Schluss
über.
Piano - Grade 5 SKU: FA.MFCD017B By Nicolas Horvath. By Claude Debussy an...(+)
Piano - Grade 5
SKU:
FA.MFCD017B
By
Nicolas Horvath. By
Claude Debussy and Robert
Orledge. Rediscoverd
Debussy. Christmas.
Score. Musik Fabrik
#MFCD017B. Published by
Musik Fabrik
(FA.MFCD017B).
8.27 x
11.69
inches.
Contains Le
Roi Lear:
Prelude,Premiere Fanfare,
and La Mort de
Cordelia,Toomai des
elephants, Rodrigue et
Chimene: Prelude a l'acte
1p. Le Martyre de Saint
Sebastien: La Passion ,
and No-ja-li ou Le Palais
du Silence
From
Robert Orledge's
notes:
My interest
in the wonderful music of
Claude Debussy began in
the 1980s when I
researched and published
a book with Cambridge
University Press entitled
Debussy and the Theatre.
During the course of my
studies in Paris, I was
amazed to discover that
Debussy planned over 50
theatrical works but only
finished two of these
entirely by himself (the
opera Pelleas et
Melisande in 1893-1902
and the ballet Jeux for
Diaghilev's Ballets
Russes in 1912-13). Of
the rest, many were never
started musically (like
Siddartha and Orphee-roi
with the Oriental scholar
Victor Segalen, 1907);
some had a few
tantalising sketches
(like the Edgar Allan Poe
opera Le Diable dans le
beffroi, 1902-03); some
were half-finished (like
his other Poe opera La
Chute de la Maison Usher,
1908-17); while others
were musically complete
but had their
orchestrations completed
by other composers (like
Khamma, by Charles
Koechlin, 1912-13; or Le
Martyre de Saint
Sebastien and La Boite a
joujoux by his 'angel of
corrections' ['l'ange des
Corrections'] Andre
Caplet in 1911 and 1919
respectively).
For
it has to be admitted
that what some scholars
call Debussy's
'compulsive achievement'
could equally well be
viewed as laziness,
especially as far as the
minute detail required
for calligraphing his
orchestral scores was
concerned. It was as if
creating the music itself
was of greater importance
than controlling its
final sound, even if
Debussy was an
imaginative orchestrator
when he found the time
and energy to do it. It
also seems true that
Debussy also preferred
inventing ideas to
turning them into
complete pieces. However,
despite the lack of
detail in many of his
sketches (missing clefs,
key signatures, dynamics,
phrasing, etc.) the notes
themselves are
surprisingly accurate,
whether or not they can
be compared with a later
draft. Thus, a large
number of sketches exist
for his Chinese ballet
No-ja-li ou Le Palais du
Silence and it is not too
difficult to see which
parts of Georges de
Feure's 1913 scenario
(see below) inspired
which ideas. But Debussy
hardly made any attempt
to join them together
after the first few
bars.
It was
usually up to his
publisher, Jacques
Durand, to find solutions
when Debussy risked a
breach of contract.
Debussy was supposed to
supervise the
orchestrations completed
by others, but this
supervision was usually
very light and restricted
to quiet, sensitive
moments in which problems
were easier to spot. Far
from jealously guarding
every one of his created
notes, as Ravel did,
Debussy once even went as
far as to ask Koechlin to
'write a ballet for him
that he would sign' on 26
March 1914 when he was
hard-pressed to fulfil
his lucrative contract
for No-ja-li with Andre
Charlot at the Alhambra
Theatre in London. In the
end, Debussy (through
Durand) sent Charlot the
symphonic suite Printemps
instead, whose
orchestration had been
completed by Henri Busser
in the Spring of
1912.
So, when I
was offered early
retirement as Professor
of Music at Liverpool
University in 2004, I
seized the opportunity it
would give me to spend
time trying to
reconstruct some of
Debussy's lost potential
masterpieces from his
existing sketches and
drafts--then
orchestrating them in
Debussy's style when this
was appropriate. I had
begun this mission in
2001 with the most
promising project, the
missing parts of Scene 2
of La Chute de la Maison
Usher and the sheer joy
it gave me at every stage
persuaded me to tackle
other projects,
especially when Debussy
experts were unable to
identify exactly where I
took over from Debussy
(and vice versa) in
Usher.