Cello and piano (solo: vc - 2.2.2.2 - 2.0.0.0 - str) SKU: BR.CB-215 Or...(+)
Cello and piano (solo: vc
- 2.2.2.2 - 2.0.0.0 -
str)
SKU:
BR.CB-215
Original
Version. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Thomas Kohlhase. Solo
instruments; Softcover.
Variations; Solo
concerto; Romantic. Piano
reduction. 48 pages.
Duration 18'. Breitkopf
and Haertel #CB 215.
Published by Breitkopf
and Haertel (BR.CB-215).
ISBN 9790001157223. 9
x 12 inches.
The
triumphal concert hall
success of Tchaikovsky's
most popular and
musically most valuable
concert pieces for solo
instrument and orchestra
was preceded by severe
teething troubles. His
Piano Concerto No. 1 Op.
23 of 1874/75 was slated
by Tchaikovsky's mentor
and potential performer
at the premiere, the
pianist, conductor and
director of the Moscow
Conservatory, Nikolai
Rubinstein. So Hans von
Bulow premiered it
gratefully and
enthusiastically (in
Boston, USA, on 25
October 1875). Leopold
Auer, violin virtuoso and
professor at the
Petersburg Conservatory,
to whom Tchaikovsky
wanted to dedicate his
Violin Concerto Op. 35 of
1878, refused to premiere
it - he regarded the solo
part as unrewarding and
unplayable. On 4 December
1881, Adolf Brodsky
premiered the Violin
Concerto in Vienna, with
Hans Richter conducting,
but Eduard Hanslick wrote
a crushing and unpleasant
review. The Variations on
a Rococo Theme for Cello
and Orchestra Op. 33 were
finally published by
their dedicatee, the
German cellist and
professor at the Moscow
Conservatory, Wilhelm
Fitzenhagen, after he had
almost completely
rewritten and then
premiered it on 18
December 1877 in Moscow,
while Tchaikovsky, who
had asked him to publish
the work, was abroad. The
original version, which
can be found in this
edition, was not
published until the
1950s.
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1740 Arranged by Randall S...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1740
Arranged by
Randall Standridge.
Concert Band. FJH Young
Band. Chanukah; Holiday
Pops. Score and Part(s).
Duration 2:15. The FJH
Music Company Inc
#98-B1740. Published by
The FJH Music Company Inc
(FJ.B1740).
UPC:
241444392430.
English.
Hold on
for this whimsical work
intended to paint the
picture of a person
galloping by horse across
a snowy plain to a
Hanukkah celebration. The
songs Hanukkah, Oh
Hanukkah, The Dreidel
Song, and Sevivon, Sov,
Sov, Sov are heard as the
celebrants draw closer
and closer to their
destination. A Hannukah
celebration unlike any
other!
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
Concert Band Concert Band - Grade 2.5 SKU: FJ.B1740S Score Only. A...(+)
Concert Band Concert Band
- Grade 2.5
SKU:
FJ.B1740S
Score
Only. Arranged by
Randall Standridge.
Concert Band. FJH Young
Band. Chanukah; Holiday
Pops. Score. Duration
2:15. The FJH Music
Company Inc #98-B1740S.
Published by The FJH
Music Company Inc
(FJ.B1740S).
English.
Hold on
for this whimsical work
intended to paint the
picture of a person
galloping by horse across
a snowy plain to a
Hanukkah celebration. The
songs Hanukkah, Oh
Hanukkah, The Dreidel
Song, and Sevivon, Sov,
Sov, Sov are heard as the
celebrants draw closer
and closer to their
destination. A Hannukah
celebration unlike any
other!
About FJH
Young
Band
Appro
priate for middle school
and smaller high school
groups. Second clarinets
usually stay below the
break. Parts are written
with more independence,
and instrumentation
increases slightly. There
is still adequate
doubling in the lower
voices. Grades 2 -
2.5
SKU: HL.49008186 Orgelbau und Orgelspiel von der Antike bis zur Gegenw...(+)
SKU: HL.49008186
Orgelbau und
Orgelspiel von der Antike
bis zur Gegenwart.
Composed by Friedrich
Jakob. This edition:
Hardback/Hard Cover.
Book. Edition Schott.
Classical. 102 pages.
Schott Music #ED 8863.
Published by Schott Music
(HL.49008186).
ISBN
9783795723644.
German.
Sie ist die
Konigin der Instrumente -
nicht nur, was die
Vielfalt ihrer
musikalischen und
klanglichen Moglichkeiten
betrifft, sondern auch
hinsichtlich des
Reichtums an historischen
und baulichen Formen. Die
Orgel ist ein Instrument,
das uber seine Funktion
in Liturgie und Konzert
eine grosse Zahl von
Liebhabern in ihren Bann
schlagt. Dieses Buch
mochte drei Aufgaben
erfullen: dem Liebhaber
will es eine erste
Einfuhrung sein, dem
Fachmann aber zugleich
eine ubersichtliche und
konzentrierte Gesamtschau
bieten. Drittens soll es
als Unterrichtsmaterial
dienen, sowohl fur den
Orgelstudenten an
Kirchenmusikschulen und
Musikhochschulen als auch
fur den Orgelbaulehrling
an Fachschulen.Unsere
Musikinstrumente' ist
eine sorgfaltig edierte
Reihe uber die einzelnen
Musikinstrumente, ihren
Bau und ihre Geschichte
sowie die Entwicklung
ihrer Spieltechnik. Alle
Bande stammen aus der
Feder fuhrender
Musikologen und
Interpreten. Alle Bande
der Reihe haben das
Format 19,0 x 21,0
cm.
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Violin Abc Violon et Piano EMB (Editio Musica Budapest)
Violin and Piano (VIOLIN AND P) SKU: HL.50487758 Violin Tutor for begi...(+)
Violin and Piano (VIOLIN
AND P)
SKU:
HL.50487758
Violin
Tutor for beginners using
children's and folksongs
from all over the
world. Composed by
Judit Reger Jozsefne
Szasz, Laszlo Denes, and
Rudolf Nemeth. EMB.
Method, Tutor. Book Only.
122 pages. Editio Musica
Budapest #Z14098.
Published by Editio
Musica Budapest
(HL.50487758).
ISBN
9790080140987.
9.0x12.0x0.31 inches.
Hungarian, English,
German.
Violin ABC
is the perfect volume for
pupils to familiarize
themselves with the
instrument, basic musical
elements, and the
sensation of moving
naturally while playing.
Its editors comprise
renowned Hungarian
experts in the field of
violin pedagogy, and
their aim was to create a
publication that allows
children to have a joyous
first encounter with the
violin. Violin ABC helps
students learn to have
calm, relaxed posture and
movements through playful
illustrations. That way,
those who want to play
the violin can get a
worthwhile introduction
to the basics of the
violin repertoire through
various folk songs and
beautiful music
examples.The legendary
violinist, Yehudi Menuhin
(1916 - 1999), had this
to say about the
publication: ''I am
delighted to see a work
on the teaching of the
violin stress the
importance of the
preparation of our body
and limbs, of our minds
and our soul,
independently of the
instrument itself. I have
always said that,
ideally, I would like the
preparation to be so
complete and thorough and
enjoyable, that when a
child first picks up a
violin and a bow, it will
draw a clean sound.')' -
Yehudi Menuhin (1916 -
1999).
Critical Edition
Hardcover. Composed
by Karol Szymanowski.
PWM. Classical.
Hardcover. 60 pages.
Polskie Wydawnictwo
Muzyczne #9267030.
Published by Polskie
Wydawnictwo Muzyczne
(HL.370494).
ISBN
9781705147009. UPC:
840126994025.
The
First String Quartet in C
major, Op. 37, was
written in the autumn of
1917 and earned
Szymanowski the first
prize in a competition
organized by the Ministry
of Religious and in a
competition organized by
the Ministry of Religious
and Educational Affairs
in January 1922. The
First String Quartet is
notable for its clar and
simple construction. The
first movement is in the
formof a sonata allegro;
the Andantino semplice
(in modo iuna canzone) in
the middle is a cross
between ternary and
variation form. The final
Scherzando alla burlesca
also keeps to the form of
a sonata allegro. The
combinations and
proportions of formal
factors and the treatment
of thematic material
betray a fairly
conventional adoption of
classical models.
Similarly, the expressive
and structural use of
melodic material shows a
respect for traditional
norms. Szymanowski
created, in other works
from the same period, his
own individual type of
melodic line, which was
strongly expressive and
achieved its effect
chiefly by its tonal
qualieties; nevertheless
in this Quartet he
returns to a fluid,
cantilena-like,
symmetrically shaped
melodic line, which runs
along in broad phrases of
a concentrated,
reflective character.
Melody becomes the chief
factor in the development
of the form, both in
thematic usage and in the
application of a more
polyphonic texture.
Harmonic and tonal means
are considerably
simplified in the Quartet
[]. Most of the writing
is linear, or horizontal,
with individual treatment
of each part, the
parallel continuation of
the four sound planes,
almost a matter of
principle. The functions
of the particular
instruments in realizing
these planes are
constantly changing,which
accounts for the even
greater variedy of
tone-colour. The decision
to forego experiment with
forms and sonorities is
reflectedin the overall
approach to musical
expression. The
predominant atmosphere of
restrained emotion, quiet
lyricism and serenity is
strongly suggestive of
classical aestetic
models. (Based on Zofia
Helman Commentary on
Szymanowski Complete
Edition, Vol. B6) (II)
The ''Second String
Quartet'' represents an
interesting attempt to
revert to classical form
coupled with the new
harmonic and tonal
vocabulary worked out
previously in the
''Slopiewnie'', ''Stabat
Mater'' and ''Mazurkas''.
It was also the first
time the composer had
used folk elements in the
framework of a major
classical form. The
''Second String Quartet''
is in a special category
among Szymanowski's
works. Though it dates
from the composer was
still occupied with folk
music, it nevertheless
shows him returning to
classical models, but at
the same time using an
aesthetic of subjective
expression, which gives
the work its own
individual stamp. The
''Second String Quartet''
synthesis of the various
directions in which
Szymanowski was
attempting to develop.
The sonority and texture
used in the first.
Composed
by Ryan Fraley. Arranged
by Ryan Fraley. 5 or
More; Collections; Jazz
Ensemble (Combo);
Method/Instruction; Solo
Small Ensembles. HXmusic.
Contents Include: Porto
Alegre; Time Will Tell;
Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk. Jazz. Book.
The FJH Music Company Inc
#98-HX102BB. Published by
The FJH Music Company Inc
(FJ.HX102BB).
ISBN
9781530825288. UPC:
682821970153.
English.
A
collection of six charts
for small jazz groups at
grade 2 - 2.5. All charts
are scored in three-part
writing, with flexible
instrumentation provided
by all three parts in
each wind book. Solo
sections are provided
with changes, and also a
mini-clinic for each tune
with a break down of the
spelled-out chord
progression and suggested
scales to use throughout
each solo. Twelve
transcribed solos match
the recordings
note-for-note, and twelve
suggested solos give
younger players a
starting point with
themes taken from the
recorded solos. 49
downloadable play-along
tracks provide every
instrument a chance to
sit in with the recorded
band. Contents Include:
Porto Alegre; Time Will
Tell; Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk.
Composed
by Ryan Fraley. Arranged
by Ryan Fraley. 5 or
More; Collections; Jazz
Ensemble (Combo);
Method/Instruction; Solo
Small Ensembles. HXmusic.
Contents Include: Porto
Alegre; Time Will Tell;
Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk. Jazz. Book.
The FJH Music Company Inc
#98-HX102BC. Published by
The FJH Music Company Inc
(FJ.HX102BC).
ISBN
9781530828616. UPC:
682500374609.
English.
A
collection of six charts
for small jazz groups at
grade 2 - 2.5. All charts
are scored in three-part
writing, with flexible
instrumentation provided
by all three parts in
each wind book. Solo
sections are provided
with changes, and also a
mini-clinic for each tune
with a break down of the
spelled-out chord
progression and suggested
scales to use throughout
each solo. Twelve
transcribed solos match
the recordings
note-for-note, and twelve
suggested solos give
younger players a
starting point with
themes taken from the
recorded solos. 49
downloadable play-along
tracks provide every
instrument a chance to
sit in with the recorded
band. Contents Include:
Porto Alegre; Time Will
Tell; Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk.
Composed
by Ryan Fraley. Arranged
by Ryan Fraley. 5 or
More; Collections; Jazz
Ensemble (Combo);
Method/Instruction; Solo
Small Ensembles. HXmusic.
Contents Include: Porto
Alegre; Time Will Tell;
Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk. Jazz. Book.
The FJH Music Company Inc
#98-HX102EB. Published by
The FJH Music Company Inc
(FJ.HX102EB).
ISBN
9781530840816. UPC:
682500374616.
English.
A
collection of six charts
for small jazz groups at
grade 2 - 2.5. All charts
are scored in three-part
writing, with flexible
instrumentation provided
by all three parts in
each wind book. Solo
sections are provided
with changes, and also a
mini-clinic for each tune
with a break down of the
spelled-out chord
progression and suggested
scales to use throughout
each solo. Twelve
transcribed solos match
the recordings
note-for-note, and twelve
suggested solos give
younger players a
starting point with
themes taken from the
recorded solos. 49
downloadable play-along
tracks provide every
instrument a chance to
sit in with the recorded
band. Contents Include:
Porto Alegre; Time Will
Tell; Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk.
Composed by
Ryan Fraley. Arranged by
Ryan Fraley. 5 or More;
Collections; Jazz
Ensemble (Combo);
Method/Instruction; Solo
Small Ensembles. HXmusic.
Contents Include: Porto
Alegre; Time Will Tell;
Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk. Jazz. Book.
The FJH Music Company Inc
#98-HX102C. Published by
The FJH Music Company Inc
(FJ.HX102C).
ISBN
9781530852208. UPC:
682500374623.
English.
A
collection of six charts
for small jazz groups at
grade 2 - 2.5. All charts
are scored in three-part
writing, with flexible
instrumentation provided
by all three parts in
each wind book. Solo
sections are provided
with changes, and also a
mini-clinic for each tune
with a break down of the
spelled-out chord
progression and suggested
scales to use throughout
each solo. Twelve
transcribed solos match
the recordings
note-for-note, and twelve
suggested solos give
younger players a
starting point with
themes taken from the
recorded solos. 49
downloadable play-along
tracks provide every
instrument a chance to
sit in with the recorded
band. Contents Include:
Porto Alegre; Time Will
Tell; Leap Day; Bohemian
Groove; Avalon; Steam
Punk Funk.
Sweet Sunset Flûte traversière et Piano - Intermédiaire De Haske Publications
Flute and Piano - intermediate SKU: BT.DHP-1145588-401 For Flute and P...(+)
Flute and Piano -
intermediate
SKU:
BT.DHP-1145588-401
For Flute and
Piano. Composed by
Jan de Haan. De Haske
Flute Series. Book Only.
Composed 2014. 6 pages.
De Haske Publications
#DHP 1145588-401.
Published by De Haske
Publications
(BT.DHP-1145588-401).
ISBN 9789043136785.
International.
The
heat of the day ebbs away
as the sun slowly dips
from view over the
western horizon. A
dazzling display of warm
hues, vibrant yellows,
glowing oranges and
burning reds, lights up
the evening before
cooling to calm blues,
dark, cool purples
andfinally the black of
night. Such are the
unforgettable sunsets
that inspired Jan de Haan
to write this
piece.
De hitte
van overdag ebt weg
terwijl de zon in het
westen langzaam achter de
horizon verdwijnt. Een
schitterend schouwspel
van warme schakeringen -
levendig geel, gloedvol
oranje en vurig rood -
verlicht nog even de
avond, waarna koele
kleuren volgenmet serene
tinten blauw, donkere
nuances van paars en ten
slotte het zwart van de
nacht. Fraaie
zonsondergangen als deze
vormden voor Jan de Haan
de inspiratie tot het
schrijven van dit
sfeervolle werk voor
blaasinstrument en
piano.
Die Hitze
des Tages verebbt,
während die Sonne
langsam am westlichen
Horizont versinkt. Ein
schillernder Reigen
warmer Farben aus
pulsierendem Gelb,
glühendem Orange und
brennendem Rot erhellt
den Abendhimmel, bevor
ruhige Blautöne,
kühle
Lilaschattierungen und
schließlich die
Schwärze der Nacht
Abkühlung bringen.
Solcheunvergesslichen
Sonnenuntergänge
inspirieren Jan de Haan
zur Komposition dieses
Stückes für diverse
Blasinstrumente und
Klavierbegleitungen.
Il calore
del giorno si stempera
mentre il sole scompare
lentamente all`orizzonte.
Una brillante
combinazione di calde
tonalit di giallo
vibrante, arancio
luccicante e rosso
incandescente riscalda la
sera. Colori che lasciano
il passo a un blu
cherilassa, a
rinfrescanti tonalit del
viola, e infine al nero
della notte. Questi sono
i tramonti
indimenticabili che hanno
ispirato Jan de Haan nel
scirvere questo brano per
diversi strumenti a fiati
e pianoforte.
Sweet Sunset Trompette, Piano - Intermédiaire De Haske Publications
Trumpet and Piano - intermediate SKU: BT.DHP-1145587-401 For Trumpet o...(+)
Trumpet and Piano -
intermediate
SKU:
BT.DHP-1145587-401
For Trumpet or
Flugelhorn and Piano.
Composed by Jan de Haan.
De Haske Brass Series.
Book Only. Composed 2014.
6 pages. De Haske
Publications #DHP
1145587-401. Published by
De Haske Publications
(BT.DHP-1145587-401).
ISBN 9789043136778.
International.
The
heat of the day ebbs away
as the sun slowly dips
from view over the
western horizon. A
dazzling display of warm
hues, vibrant yellows,
glowing oranges and
burning reds, lights up
the evening before
cooling to calm blues,
dark, cool purples
andfinally the black of
night. Such are the
unforgettable sunsets
that inspired Jan de Haan
to write this
piece.
De hitte
van overdag ebt weg
terwijl de zon in het
westen langzaam achter de
horizon verdwijnt. Een
schitterend schouwspel
van warme schakeringen -
levendig geel, gloedvol
oranje en vurig rood -
verlicht nog even de
avond, waarna koele
kleuren volgenmet serene
tinten blauw, donkere
nuances van paars en ten
slotte het zwart van de
nacht. Fraaie
zonsondergangen als deze
vormden voor Jan de Haan
de inspiratie tot het
schrijven van dit
sfeervolle werk voor
blaasinstrument en
piano.
Die Hitze
des Tages verebbt,
während die Sonne
langsam am westlichen
Horizont versinkt. Ein
schillernder Reigen
warmer Farben aus
pulsierendem Gelb,
glühendem Orange und
brennendem Rot erhellt
den Abendhimmel, bevor
ruhige Blautöne,
kühleLilaschattierunge
n und schließlich die
Schwärze der Nacht
Abkühlung bringen.
Solche unvergesslichen
Sonnenuntergänge
inspirieren Jan de Haan
zur Komposition dieses
Stückes für diverse
Blasinstrumente und
Klavierbegleitungen.
Il calore
del giorno si stempera
mentre il sole scompare
lentamente all`orizzonte.
Una brillante
combinazione di calde
tonalit di giallo
vibrante, arancio
luccicante e rosso
incandescente riscalda la
sera. Colori che lasciano
il passo a un blu
cherilassa, a
rinfrescanti tonalit del
viola, e infine al nero
della notte. Questi sono
i tramonti
indimenticabili che hanno
ispirato Jan de Haan nel
scirvere questo brano per
diversi strumenti a fiati
e pianoforte.
Sweet Sunset Hautbois, Piano (duo) - Intermédiaire De Haske Publications
Oboe and Piano - intermediate SKU: BT.DHP-1145591-401 For Oboe and Pia...(+)
Oboe and Piano -
intermediate
SKU:
BT.DHP-1145591-401
For Oboe and
Piano. Composed by
Jan de Haan. De Haske
Oboe Series. Book Only.
Composed 2014. 6 pages.
De Haske Publications
#DHP 1145591-401.
Published by De Haske
Publications
(BT.DHP-1145591-401).
ISBN 9789043136815.
International.
The
heat of the day ebbs away
as the sun slowly dips
from view over the
western horizon. A
dazzling display of warm
hues, vibrant yellows,
glowing oranges and
burning reds, lights up
the evening before
cooling to calm blues,
dark, cool purples
andfinally the black of
night. Such are the
unforgettable sunsets
that inspired Jan de Haan
to write this
piece.
De hitte
van overdag ebt weg
terwijl de zon in het
westen langzaam achter de
horizon verdwijnt. Een
schitterend schouwspel
van warme schakeringen -
levendig geel, gloedvol
oranje en vurig rood -
verlicht nog even de
avond, waarna koele
kleuren volgenmet serene
tinten blauw, donkere
nuances van paars en ten
slotte het zwart van de
nacht. Fraaie
zonsondergangen als deze
vormden voor Jan de Haan
de inspiratie tot het
schrijven van dit
sfeervolle werk voor
blaasinstrument en
piano.
Die Hitze
des Tages verebbt,
während die Sonne
langsam am westlichen
Horizont versinkt. Ein
schillernder Reigen
warmer Farben aus
pulsierendem Gelb,
glühendem Orange und
brennendem Rot erhellt
den Abendhimmel, bevor
ruhige Blautöne,
kühle
Lilaschattierungen und
schlieÃ?lich die
Schwärze der Nacht
Abkühlung bringen.
Solcheunvergesslichen
Sonnenuntergänge
inspirieren Jan de Haan
zur Komposition dieses
Stückes für diverse
Blasinstrumente und
Klavierbegleitungen.
Il calore
del giorno si stempera
mentre il sole scompare
lentamente all`orizzonte.
Una brillante
combinazione di calde
tonalit di giallo
vibrante, arancio
luccicante e rosso
incandescente riscalda la
sera. Colori che lasciano
il passo a un blu
cherilassa, a
rinfrescanti tonalit del
viola, e infine al nero
della notte. Questi sono
i tramonti
indimenticabili che hanno
ispirato Jan de Haan nel
scirvere questo brano per
diversi strumenti a fiati
e pianoforte.