SKU: HL.48182320 Composed by Henri Tomasi. Leduc. Classical. 23 pages. Al...(+)
SKU: HL.48182320
Composed by Henri Tomasi.
Leduc. Classical. 23
pages. Alphonse Leduc
#AL23456. Published by
Alphonse Leduc
(HL.48182320).
UPC:
888680840440.
9.0x12.0x0.208
inches.
Spring by
Henri Tomassi is a wind
sextet for Flute, Oboe,
Bb Clarinet, Alto
Saxophone, Horn and
Bassoon. This book
includes the score for
each instrument and the
conductor?s score.
Lasting 9 and a half
minutes, this melodious
piece is divided into
three main parts and
finishes on a Scherzando
section. These three
pieces musically describe
the flirting process of
birds in Spring. 1.
Reveil des oiseaux /
Birds wake up 2. Chant
d?amour / Love song 3.
Danse des oiseaux / Dance
of the birds This piece
is very difficult to play
for all instruments
involved, but
simultaneously really
nice and challenging.
Henri Tomasi also
composed a variety of
concerti for Alto
Saxophone and for
Trombone, as well as some
ballades..
Spring Overture Orchestre d'harmonie - Intermédiaire Boosey and Hawkes
Concert Band (Score) - Grade 5 SKU: HL.48024518 Windependence Series -...(+)
Concert Band (Score) -
Grade 5
SKU:
HL.48024518
Windependence Series -
Artist Level (Grade
5). Composed by
Kenneth Amis.
Windependence Artist
Level. Concert.
Softcover. 44 pages.
Boosey & Hawkes
#M051663941. Published by
Boosey & Hawkes
(HL.48024518).
UPC:
888680900397.
9.0x12.0x0.134
inches.
Commissione
d in celebration of
renowned
conductor/educator Frank
Battisti's 85th birthday,
′Spring
Overture′ is an
energetic rondo that can
serve as a rousing opener
or closer to either half
of a concert program.
Inspired by a motif
written by Maestro
Battisti himself, this
work is sure to please
performers and audiences
alike. Its closing
measures even allow a
conductor to feature
performers of his or her
choosing in brief solos.
Rcorded by the New
England Conservatory Wind
Ensemble – Charles
Peltz, conductor. Dur:
6:25.
Overture. Concert
Band. Audio recording
available separately
(item CL.WFR138).
Oversized, spiral-bound
score. Composed 1982.
Opus III Wind Orchestra
Publications
#012-1645-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-1645-75).
Following a
brilliant fanfare opening
for winds and percussion,
this overture quickly
settles into beautiful
relaxed melodic lines for
solo instruments.
Spring Lake Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Opus III Wind Orchestra Publications
Grade 4 SKU: CL.012-1645-00 Overture. Concert Band. Score and set ...(+)
Grade 4
SKU:
CL.012-1645-00
Overture. Concert
Band. Score and set of
parts. Composed 1982.
Opus III Wind Orchestra
Publications
#012-1645-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-1645-00).
Following a
brilliant fanfare opening
for winds and percussion,
this overture quickly
settles into beautiful
relaxed melodic lines for
solo instruments.
As Spring Arrives Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4216-75 Composed by Wada. Concert Band...(+)
Concert band - Grade 3
SKU:
CL.012-4216-75
Composed by Wada. Concert
Band. Concert Band
Series. Audio recording
available separately
(item CL.WFR378).
Oversized, spiral-bound
score. Composed 2013.
Duration 7 minutes, 52
seconds. Opus III Wind
Orchestra Publications
#012-4216-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-4216-75).
An outstanding
work for band by Japanese
composer Naoya Wada, As
Spring Arrives is the
perfect selection for
contest and festival use.
Dramatic, lyrical and
playful, it is based on a
single melodic theme that
appears in variations.
Sure to be one of your
performers' and
audience's favorites!
Composed by Sheldon.
Concert Band. Command
Series. Audio recording
available separately
(item CL.WFR315). Score
and set of parts.
Composed 1992. Duration 5
minutes, 19 seconds. Opus
III Wind Orchestra
Publications
#012-2434-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-2434-00).
Wistful,
exuberant, and spirited!
An uplifting set of
variations on an original
theme provides
exceptional material for
teaching a wide range of
articulations and styles.
Robert Sheldon is firmly
entrenched as one of the
most popular band
composers of the this
decade and Silver Spring
Soliloquy is sure to add
a new dimension to your
concert/contest program.
Superb!
About C.L.
Barnhouse Command
Series
The
Barnhouse Command Series
includes works at grade
levels 2, 2.5, and 3.
This series is designed
for middle school and
junior high school bands,
as well as high school
bands of smaller
instrumentation or
limited experience.
Command Series
publications have a
slightly larger
instrumentation than the
Rising Band Series, and
are typically of larger
scope, duration, and
musical content.
As Spring Arrives Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Concert band - Grade 3 SKU: CL.012-4216-01 Composed by Wada. Concert Band...(+)
Concert band - Grade 3
SKU:
CL.012-4216-01
Composed by Wada. Concert
Band. Concert Band
Series. Audio recording
available separately
(item CL.WFR378). Extra
full score. Composed
2013. Duration 7 minutes,
52 seconds. Opus III Wind
Orchestra Publications
#012-4216-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-4216-01).
An outstanding
work for band by Japanese
composer Naoya Wada, As
Spring Arrives is the
perfect selection for
contest and festival use.
Dramatic, lyrical and
playful, it is based on a
single melodic theme that
appears in variations.
Sure to be one of your
performers’ and
audience’s
favorites!
Composed by Sheldon.
Concert Band. Audio
recording available
separately (item
CL.WFR315). Extra full
score. Composed 1992.
Duration 5 minutes, 19
seconds. Opus III Wind
Orchestra Publications
#012-2434-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-2434-01).
Wistful,
exuberant, and spirited!
An uplifting set of
variations on an original
theme provides
exceptional material for
teaching a wide range of
articulations and styles.
Robert Sheldon is firmly
entrenched as one of the
most popular band
composers of the this
decade and Silver Spring
Soliloquy is sure to add
a new dimension to your
concert/contest program.
Superb!
Concert Band (Score) - Grade 4 SKU: HL.4004207 Composed by Igor Stravinsk...(+)
Concert Band (Score) -
Grade 4
SKU:
HL.4004207
Composed
by Igor Stravinsky.
Arranged by Robert
Buckley. MusicWorks Grade
4. Classical. 28 pages.
Published by Hal Leonard
(HL.4004207).
UPC:
888680062651. 9x12
inches.
The premier
performance of The
Rite of Spring in
1913 is the stuff of
legends. There are
disagreements amongst the
people who attended
whether it was the music
or the choreography that
caused the near-riot in
the audience. Since then
The Rite has been
performed regularly and
is considered to be one
of the most influential
works of the 20th
century, laying the basis
for modern jazz, film
music and even heavy
metal. It's all here: the
driving rhythms, the
haunting Russian folk
melodies, the brilliant
scoring, the crunching
harmonies and the epic
drama! The intention with
this arrangement for band
was to stay as true as
possible to the original
and choose the sections
that would work well in
this context. Sure to
become a valued and
important addition to the
wind band repertoire!
Duration: 6:30.
From the Series Nature Pictures. By Veljo Tormis. (SSAB divisi a cappella). Boo...(+)
From the Series Nature
Pictures. By Veljo
Tormis. (SSAB divisi a
cappella). Boosey and
Hawkes Large Choral. Size
8.25x11.75 inches. 11
pages. Published by
Boosey and Hawkes.
Kanata Spring Orchestre d'harmonie [Conducteur] - Intermédiaire Opus III Wind Orchestra Publications
Grade 3.5 SKU: CL.012-3599-01 Composed by Eastmond. Concert Band. Heritag...(+)
Grade 3.5
SKU:
CL.012-3599-01
Composed by Eastmond.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR349). Extra full
score. Composed 2007.
Duration 7 minutes, 5
seconds. Opus III Wind
Orchestra Publications
#012-3599-01. Published
by Opus III Wind
Orchestra Publications
(CL.012-3599-01).
Bold and
playful, lyrical and
dramatic, this new work
by young Canadian
composer David Eastmond
is sure to delight. An
original hymn tune forms
the basis of bold
fanfares, lush lyrical
settings, dramatic
melodies, imitative
counterpoint and
surprising harmonic
twists. A variety of
articulations and dynamic
contrasts will show off
your ensemble's
versatility. An
outstanding choice for
concert or contest
performance.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Concert Band. Classics
Series. Audio recording
available separately
(items CL.WFR337 &
CL.WFR318). Oversized,
spiral-bound score.
Composed 2001. Duration 6
minutes, 14 seconds. Opus
III Wind Orchestra
Publications
#012-3169-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3169-75).
A masterfully
written and delightfully
descriptive piece in
three movements that
paints a musical picture
of the transition of
seasons from the fury of
winter into the
blossoming joy of
springtime. This colorful
composition is certain to
be included on many
contest and festivals
lists.
About C.L.
Barnhouse Classics
Series
Und
er the editorial
supervision of Dr. Alfred
Reed, these classics from
master composers have
been adapted and arranged
for concert band. A
perfect way to acquaint
concert band performers
and audiences with some
of the greatest classical
music of all time!
Kanata Spring Orchestre d'harmonie [Conducteur] - Facile Opus III Wind Orchestra Publications
Grade 3 SKU: CL.012-3599-75 Composed by Eastmond. Concert Band. Oversized...(+)
Grade 3
SKU:
CL.012-3599-75
Composed by Eastmond.
Concert Band. Oversized,
spiral-bound score.
Composed 2007. Opus III
Wind Orchestra
Publications
#012-3599-75. Published
by Opus III Wind
Orchestra Publications
(CL.012-3599-75).
Composed by Eastmond.
Concert Band. Heritage of
the March Series. Audio
recording available
separately (item
CL.WFR349). Score and set
of parts. Composed 2007.
Duration 7 minutes, 5
seconds. Opus III Wind
Orchestra Publications
#012-3599-00. Published
by Opus III Wind
Orchestra Publications
(CL.012-3599-00).
Bold and
playful, lyrical and
dramatic, this new work
by young Canadian
composer David Eastmond
is sure to delight. An
original hymn tune forms
the basis of bold
fanfares, lush lyrical
settings, dramatic
melodies, imitative
counterpoint and
surprising harmonic
twists. A variety of
articulations and dynamic
contrasts will show off
your ensemble's
versatility. An
outstanding choice for
concert or contest
performance.
About Heritage
of the
March
Full
-sized concert band
editions of the greatest
marches of all time. Each
has been faithfully
re-scored to accommodate
modern instrumentation
and incorporate
performance practices of
classic march style
Spring Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Boosey and Hawkes
Windependence Series - Artist Level (Grade 5). Composed by Kenneth Amis. Winde...(+)
Windependence Series -
Artist
Level (Grade 5). Composed
by
Kenneth Amis.
Windependence
Artist Level. Concert.
Softcover. Boosey and
Hawkes
#M051663934. Published by
Boosey and Hawkes
Spring Orchestre d'harmonie - Intermédiaire Amstel Music
(Overture for Wind Orchestra). Composed by Johan De Meij. For Concert Band (Scor...(+)
(Overture for Wind
Orchestra). Composed by
Johan De Meij. For
Concert Band (Score).
Amstel Music. Grade 4.
Guitar tablature. 50
pages. Amstel Music
#AM113. Published by
Amstel Music
Arranged by John Carter. Choir Sacred. SATB choir. Choral (Sacred); Choral Octav...(+)
Arranged by John Carter.
Choir Sacred. SATB choir.
Choral (Sacred); Choral
Octavo; Worship
Resources. Jubilate.
Pentecost; Sacred;
Spring. Published by
Jubilate Music
The Carol of the Bells Ensemble de Flûtes [Conducteur et Parties séparées] Wonderful Winds
Shchedryk . Composed by Mykola Leontovych. Arranged by Mel Orriss. Flute...(+)
Shchedryk .
Composed by Mykola
Leontovych. Arranged by
Mel Orriss. Flutets
series. Score and parts.
Duration 1'10. Published
by Wonderful Winds
(WN.L006).
Piano SKU: M7.ART-42190 18 romantisch-emotionale Balladen & gefühlv...(+)
Piano
SKU:
M7.ART-42190
18
romantisch-emotionale
Balladen &
gefühlvoll-moderne
Kompositionen für
Klavier. Composed by
Tatjana Davidoff. Score
with online audio files.
Performance book. 52
pages. MDS (Music
Distribution Services)
#ART 42190. Published by
MDS (Music Distribution
Services) (M7.ART-42190).
ISBN
9783866421905.
'Pia
no' - 18 leichte bis
mittelschwere,
romantisch-emotionale
Balladen &
gefühlvoll-moderne
Kompositionen fürs
Klavier. Die sehr
schönen,
abwechslungsreichen und
sehr emotionalen
Klavierballaden lassen
kein Herz unberührt.
Bei einem Familienfest
wird man oft gebeten,
etwas Schönes auf dem
Klavier vorzuspielen, und
zwar am besten etwas, das
hübsch klingt und
jedes Gemüt
berührt. Dieses Buch
enthält 18 Stücke,
die sich hervorragend
für solche
Gelegenheiten eignen. Die
Stücke kann jede/r,
mit ein paar Jahren
Klavierunterricht
spielen. Alle
Kompositionen sind mit
Fingersätzen versehen,
um das selbständige
Erarbeiten zu
erleichtern. Unter
www.artist-ahead-download
.de stehen die
enthaltenen
Klavierstücke als
Audio- und MP3-Dateien
zum Download zur
Verfügung.
(10 of His Original Piano Solos). Composed by Mike Springer. For Piano. Book; Gr...(+)
(10 of His Original Piano
Solos). Composed by Mike
Springer. For Piano.
Book; Graded Standard
Repertoire; Piano
Collection; Piano
Supplemental. Favorite
Solos. Recital. Early
Intermediate; Late
Elementary. 24 pages.
Published by Alfred Music
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.
Chamber Music Piano SKU: PR.110418480 Composed by Chen Yi. Performance Sc...(+)
Chamber Music Piano
SKU: PR.110418480
Composed by Chen Yi.
Performance Score.
Duration 6 minutes.
Theodore Presser Company
#110-41848. Published by
Theodore Presser Company
(PR.110418480).
ISBN
9781491136294. UPC:
680160688784.
Chen
Yi’s beautiful and
highly-textured tone poem
was inspired by ancient
Chinese poetry; its
melodic ideas were
developed from musical
phrases characteristic of
Chinese opera. Wang
Ya’s original verse as
translated by Chen Yi
reads:“SONG OF SPRING
OUTING”Ten thousand
apricot trees by the
riverside,Spring flowers
bloom after the wind at
night.Covered over the
garden, colors dark and
light,Mirrored in the
green water
ripples. SONG OF
SPRING OUTING was
commissioned by the
Center for East Asian
Studies and the Asian
Classical Music
Initiative at the
University of Kansas in
2022 for Dr. Yi-Yang Chen
to premiere in 2023.The
work was inspired by an
ancient Chinese poem with
the same title:Song of
Spring Outingby Wang Ya
(Tang Dynasty)English
translation by Chen YiTen
thousand apricot trees by
the riverside,Spring
flowers bloom after the
wind at night.Covered
over the garden, colors
dark and light,Mirrored
in the green water
ripples.This inspiring
image is like taking a
walk through a beautiful
garden with layers of
colorful trees and
flowers, mirrored in the
green water.The opening
phrase of the music
introduces the signature
intervals, the leap of a
seventh found in Beijing
Opera fiddle’s
language, followed by
melodic material with a
major 2nd and perfect 4th
in pentatonic style as
the thematic materials.
[C-Bb-G in bars 1-2,
followed by the top
pitches A-B and Ab-E( in
bars 2-3]. This statement
is brought back
(Rehearsal F) in a
retrograded form of the
introduction at the
climatic end of the
piece.The musical form is
a combination of
variations on thematic
materials, and a rondo.
After the introductory
section, Rehearsal A
introduces an
improvisation-like
mountain song melody
(developed from the
pentatonic material in
the
introduction).Rehearsal B
brings in a lively
texture in short
groupings with staccato
in both hands (using the
seventh leap interval
introduced in the opening
of the piece).Rehearsals
C and D develop the
introduction’s
pentatonic melody and the
mountain tune (introduced
in Rehearsal A) with more
layers in the
texture.Rehearsal E
develops the material
presented in Rehearsal B,
with an extended range in
both ends of the
keyboard, increasing the
freshness and
excitement.
Score (Study Score) SKU: HL.49045775 Study Score. Composed by Kurt...(+)
Score (Study Score)
SKU: HL.49045775
Study Score.
Composed by Kurt Weill.
Study Score. Classical.
Softcover. Universal
Edition #UE35538.
Published by Universal
Edition (HL.49045775).
ISBN 9783702471132.
UPC: 803452068235.
7.0x10.0x0.436
inches.
Kurt Weill
developed his creative
energies mainly within
the world of musical
theater, where he proved
to be an immensely
productiveand imaginative
innovator, but he also
left behind a small body
of work for the concert
hall. The Concerto for
Violin and Wind Orchestra
op. 12 dates from the
spring of 1924. Scored
for two flutes,
clarinets, bassoons,
horns, one oboe and
trumpet, percussion and
four contrabasses, the
concerto comprises three
movements. While
composing the work, Weill
informed his publisher:
'I am workingon a
concerto for violin and
wind orchestra that I
hope to finish within two
or three weeks. The work
is inspired by the idea -
one never carried out
before - of juxtaposing a
single violin with a
chorus of winds.' The
specific character of
Weill's concerto as music
written for chamber
orchestra (with an often
soloistic treatment of
instruments) leads to a
transparency that
requires utmost precision
in the ensemble playing.
In the quest for an
overall sonic balance,
the coarser-sounding wind
instruments need to
explore all dynamic
nuances. The solo part is
challenging not only from
a technical standpoint
but also from an acoustic
one (it is crucial to
make the violin 'sound').
In spite of these
challenges - or precisely
because of them - critics
in the 1920s called the
solo parthighly idiomatic
and extremely rewarding.
Since then the concerto
has become a 'modern
classic' in concert halls
around the world. (Elmar
Juchem, August 2010). The
score is based on the
critical text of the Kurt
Weill Edition Ser. II,
Vol. 2.