| Spiele mit der Blockflote. Schule fur Sopranblockflote im Gruppen- und Einzelunterricht fur Kinder aus Grund- und Fruherziehungskursen Flûte à bec Soprano [Conducteur] Barenreiter
(Mit uber 60 Liedern und Spielstucken, zahlreiche Illustrationen im Text, 2 Tafe...(+)
(Mit uber 60 Liedern und
Spielstucken, zahlreiche
Illustrationen im Text, 2
Tafeln mit 4 vierfarbigen
Bildern). By Armgard
Pudelko. For Recorder.
Blockfloten-Schule
(Recorder Method).
Playing Score
(paperbound). Published
by Baerenreiter Verlag
$22.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Sumarovo dite - Des Spielmanns Kind - The Fiddlers Child Orchestre Barenreiter
Orchestra (2 Fl, 2 Ob, 2 clarinet, clarinet-B, 2 bassoon, 3Hn, 2 Trp, 3trombone,...(+)
Orchestra (2 Fl, 2 Ob, 2
clarinet, clarinet-B, 2
bassoon, 3Hn, 2 Trp,
3trombone, Tb, harp,
timpani, percussion, Str)
SKU: BA.BA06848
Orchester-Ballade.
Composed by Leos Janacek.
Edited by Jarmil
Burghauser and Radomil
Eliska. This edition:
complete edition, urtext
edition. Linen. Complete
Critical Edition of the
Works of Leos Janacek
D/6. Complete edition,
Score. Composed
1912-1914. Duration 12
minutes. Baerenreiter
Verlag #BA06848_00.
Published by Baerenreiter
Verlag (BA.BA06848).
ISBN 9790006483303.
34.4 x 27 cm inches.
Text: Svatopluk
Cech. Over the
years Janácek’s
uvre has increasingly
received the recognition
it so richly merits and
performances of his works
are becoming more and
more frequent. This
development is, however,
offset by a manuscript
tradition so disorderly
that some of
Janácek’s works
continue, as before, to
be played in versions
which are heavily
adapted, corrupt or
otherwise contrary to the
composer’s
intentions. Thus, a
critical edition of
Janácek’s music
is indispensable for
scholars and performers
alike.
This editon
presents an authentic
printed text based on all
available sources for
each work. In addition to
the musical text, each
volume also contains a
critical report (Czech /
German), a rendition of
deleted or rejected
versions, and a
comprehensive appendix of
facsimiles.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$141.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Way of Jesus: His Mission in Word and Song (Choir Score) Chorale SATB SATB, Orgue [Conducteur] MorningStar Music Publishers
Congregation, unison voices or SATB choir, organ, optional handbells, timpani (+)
Congregation, unison
voices or SATB choir,
organ, optional
handbells, timpani
SKU: MN.70-200
Composed by Hal H.
Hopson.
Multi-Movement/Large
Choral Work. Lent, 21st
Century. Score.
MorningStar Music
Publishers #70-200.
Published by MorningStar
Music Publishers
(MN.70-200). UPC:
688670702006. This
hymn festival provides a
unique experience in hymn
singing. The congregation
and choir sing ten hymns
from various Christian
traditions. The
accompaniments are
arranged for organ or
piano, and several of the
hymn settings include
optional handbells and
timpani. The accompanying
narration provides
commentary on the words
and deeds of Jesus and
also creates a transition
from one hymn to the
next. This spiral-bound
edition allows for
reproduction of handbell
and timpani parts,
narrator pages, and
congregation pages.
Organist plays
from the hymn festival
score (70-200A). All
instrumental parts,
narrator pages, and
congregation pages are
included in the full
score.
Contents:
Alleluia! Sing to
Jesus Lord, When You
Came to Jordan Jesus
Calls Us O'er the
Tumult Though I May
Speak with Bravest
Fire This Little Light
of Mine The Lord's My
Shepherd, I'll Not
Want Be Thou My
Vision All Who Hunger,
Gather Gladly Christ
Is Risen! Should
Hosanna! Go, My
Children with My
Blessing. $3.20 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Band Time Starter Score Only Orchestre d'harmonie [Conducteur] - Débutant De Haske Publications
Concert Band - very easy-easy SKU: HL.44001726 Composed by Jan de Haan. D...(+)
Concert Band - very
easy-easy SKU:
HL.44001726 Composed
by Jan de Haan. De Haske
Concert Band. Educational
Tool. Score. Composed
2001. 126 pages. De Haske
Publications #1012563.
Published by De Haske
Publications
(HL.44001726). ISBN
9789043112642. UPC:
073999968965.
9.25x12.0x0.485
inches. The series
Band Time is based on the
successful method Look,
Listen & Learn. Composer
and publisher Jan de Haan
has developed the series
especially with the
intention of introducing
children to playing
together in a wind band
at an early stage. Band
Time Starter makes this
possible after just a few
lessons! Band Time is a
collection of fourteen
original three and
four-part pieces which
can be played in
practically every small
or large wind band
strength - with a minimum
of three players. The
difficulty of the pieces
increases in parallel
with the material covered
in the Look, Listen &
Learn method, but the use
of this method is not
required to be able to
play from Band
TimeStarter. The score
explains how the series
can be optimally used,
and how the
instrumentation that you
have works best.
De serie Band
Time is ontwikkeld om
kinderen vroeg kennis te
laten maken met het
samenspel in een
blaasorkest. Band
time Starter maakt
dit al in het eerste jaar
mogelijk. Deze uitgave
bevat vierstemmige
stukken in
diversestijlen- de eerste
drie stukken zijn drie
stemmig, aangespast aan
de vaardigheden van de
beginnende leerling. De
moeilijkheidsgraad en de
muzikale inhoud zijn
gebasseerd op Horen,
Lezen & Spelen. In de
partituur staatuitgelegd
hoe u de serie optimaal
benut en hoe de
instrumentatie in uw
specifieke bezetting het
best kan worden
toegepast. Op de los
verkrijgbare cd worden de
stukken door een
harmonieorkest
voorgespeeld, zodat de
leerlingen thuiseen goede
indruk krijgen van hoe de
stukken klinken. Ze
kunnen zelf meespelen of
ernaar luisteren. Dit zal
de motifatie (en het
studieresultaat)
bevorderen.
Parall
el zu den ersten Stunden
Instrumentalunterricht
werden die jungen Musiker
mit den Stucken dieser
Sammlung fur das Spielen
im Anfangerorchester
motiviert. BAND TIME
Starter eignet sich
fur das erste Jahr im
Blasorchester und enthalt
vierstimmige Stucke in
vielen verschiedenen
Stilen. Der allmahlich
fortschreitende
Schwierigkeitsgrad
entspricht dem Stoff der
Blaserschule Horen,
lesen und spielen Band
1, kann aber auch gut
unabhangig davon
eingesetzt werden. Die
ersten drei Stucke passen
sich mit ihren lediglich
drei Stimmen dem noch
begrenzten Tonumfang an,
uber den die Schuler in
diesem Stadium verfugen.
Aus dem gleichen Grund
weichen manchmaldieselben
Stimmen fur
unterschiedliche
Instrumente leicht
voneinander ab.
Geringfugige Abweichungen
erklaren sich ausserdem
aus manchen besonderen
Bedingungen bei einem
bestimmten Instrument,
zum Beispiel schwierige
Tonfolgen. Passend zu der
Reihe ist eine CD
erhaltlich, mit deren
Unterstutzung die Schuler
zu Hause mit richtiger
Orchesterbegleitung
spielen konnen. Ein
schnellerer Erfolg ist
damit gesichert!
L'Obiettivo della
collana BAND TIME e
quello di motivare i
giovani musicisti a
suonare in una banda
principiante o giovanile.
BAND TIME Starter e il
suo seguito BAND TIME
Expert, come anche i
brani natalizi raccolti
in BAND TIME Christmas
propongono brani in vari
generi musicali che
seguono il livello di
difficolta crescente
proposto del metodo
Ascolta, leggi & suona
(possono essere usati
anche separatamente). I
brani sono eseguibili gia
a partire da un organico
di tre o quattro
elementi. per ogni
collana e disponibile
separatamente un CD con
gli accompagnamenti
orchestrali. Per la lista
degli strumenti
disponibili visitate il
nostro sito. $49.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Elegy I (jealousy) Concert Band Score/parts Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie (Score & Parts) - Grade 5 SKU: HL.44011138 Jealo...(+)
Concert Band/Harmonie
(Score & Parts) - Grade 5
SKU: HL.44011138
Jealousy. Composed
by Jacob De Haan. De
Haske Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2010.
De Haske Publications
#1104942010. Published by
De Haske Publications
(HL.44011138). UPC:
884088672638.
9.0x12.0x1.08
inches. Elegy I
'Jealousy' werd
genoemd naar het
gelijknamige gedicht van
John Donne. Jaloezie
(Jealousy) roept een hele
rij emoties op. Van
teleurstelling, treurnis
en verdriet tot boosheid
en woede. Het gedicht
Jealousy van Donneen ook
het gelijknamige
schilderij van Edvard
Munch inspireerden Jacob
de Haan om dit werk te
componeren. En het is hem
goed gelukt om alle
emoties die bij jaloerse
gevoelens horen muzikaal
te verklanken! Een
treffend concertwerkdat u
niet mag
missen...
Elegy I
'Jealousy' wurde nach dem
gleichnamigen Gedicht von
John Donne benannt.
Eifersucht (Jealousy)
vermag eine ganze Reihe
von Emotionen auszulosen
- von Enttauschung,
Trauer, Bedauern bis hin
zu Arger und Wut. Von
Donnes Gedicht und einem
ebenfalls mit Eifersucht
betitelten Gemalde von
Edvard Munch inspiriert,
ist es Jacob de Haan
gelungen, all diese
Gefühle in Musik
umzusetzen. Ein
bewegendes Konzertwerk,
das Sie sich nicht
entgehen lassen
sollten.
Elegy
I: Jealousy (Elegie 1 :
La Jalousie) a
emprunte son nom au poeme
eponyme de John Donne. La
jalousie peut declencher
de nombreuses emotions
qui vont de la deception,
de la peine et du regret
a la colere ou a la
folie. Toutes ces
emotions ont trouve leur
place dans cette
composition, inspiree de
trois formes d'art
differentes : la poesie
(Elegy I), la
peinture (La
Jalousie - Edvard
Munch) ; la chanson
(Je ne l'ose dire
- Pierre Certon). La
resonance affective et
emotionnelle est forte.
En un instant, l'auditeur
est touche par ce qu'il
entend. $245.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Elegy I (jealousy) Concert Band Full Score Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44011139 Jealousy....(+)
Concert Band/Harmonie
(Score) - Grade 5 SKU:
HL.44011139
Jealousy. Composed
by Jacob De Haan. De
Haske Concert Band.
Concert Piece. Score
Only. Composed 2010. De
Haske Publications
#1104942140. Published by
De Haske Publications
(HL.44011139). UPC:
884088672645. 9x12
inches. Elegy I
'Jealousy' wurde nach dem
gleichnamigen Gedicht von
John Donne benannt.
Eifersucht (Jealousy)
vermag eine ganze Reihe
von Emotionen auszulosen
- von Enttauschung,
Trauer, Bedauern bis hin
zu Arger und Wut. Von
Donnes Gedicht und einem
ebenfalls mit Eifersucht
betitelten Gemalde von
Edvard Munch inspiriert,
ist es Jacob de Haan
gelungen, all diese
Gefühle in Musik
umzusetzen. Ein
bewegendes Konzertwerk,
das Sie sich nicht
entgehen lassen
sollten.
Elegy
I: Jealousy (Elegie 1 :
La Jalousie) a
emprunte son nom au poeme
eponyme de John Donne. La
jalousie peut declencher
de nombreuses emotions
qui vont de la deception,
de la peine et du regret
a la colere ou a la
folie. Toutes ces
emotions ont trouve leur
place dans cette
composition, inspiree de
trois formes d'art
differentes : la poesie
(Elegy I), la
peinture (La
Jalousie - Edvard
Munch) ; la chanson
(Je ne l'ose dire
- Pierre Certon). La
resonance affective et
emotionnelle est forte.
En un instant, l'auditeur
est touche par ce qu'il
entend. $49.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Essence Of Youth Sc/pts Full Score Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44011673 Composed by Stij...(+)
Concert Band/Harmonie
(Score) - Grade 5 SKU:
HL.44011673 Composed
by Stijn Roels. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2011. De Haske
Publications #1115065140.
Published by De Haske
Publications
(HL.44011673). UPC:
884088895662. 9x12
inches.
English-German-French-Dut
ch. In The
Essence of Youth the
composer gives an insight
into childhood and youth
— inspired by his
own daughter. The opening
of sparking rhythms,
dynamic contrasts and
changes of time signature
paint a vivid picture of
the unpredictability of
children. The first and
second movements recount
the love — and also
tension and the worries
— in the
adult-child bond, through
dissonant harmonies but
also pretty melodies. The
fugue-like ending leads
to a final splendid
chorale: a picture of
proud parents with their
child!
In The
Essence of Youth
geeft de componist zijn
visie op de kindertijd en
de jeugd. Zijn eigen
dochter vormde hierbij
een belangrijke
inspiratiebron. De
opening staat met
opgewekte ritmes,
dynamische contrasten en
maatsoortwisselingenvoor
de spontaniteit van
kinderen. Het eerste en
tweede deel vertellen
over de liefde, zorg en
toewijding die horen bij
een ouder-kindrelatie.
Met dissonante
harmonieen, maar ook met
mooie melodieen weet de
componist ditprachtig te
verbeelden. Een fuga
leidt ten slotte naar een
prachtig koraal: de
trotse ouders met hun
kind
verbeeldend.
In
The Essence of
Youth beschreibt der
Komponist sein Bild von
Kindheit und Jugend -
inspiriert von seiner
eigenen Tochter. Die
Eroffnung steht mit
aufgeweckten Rhythmen,
dynamischen Kontrasten,
Taktartwechseln fur die
Unberechenbarkeit von
Kindern. Der erste und
zweite Satz erzahlen mit
dissonanten Harmonien,
aber auch mit schonen
Melodien von Spannungen,
Liebe und Sorge in der
Eltern-Kind-Beziehung.
Den Schluss bildet eine
Fuge, die zu einem
prachtvollen Choral
fuhrt: ein Bild stolzer
Eltern mit ihrem
Kind!
Cette
composition reflete ce
que le compositeur
considere comme les
caracteristiques typiques
de la jeunesse : une
melodie eclatante pleine
de rythmes vifs, des
contrastes dynamiques et
des changements de tempi
qui se combinent pour
symboliser l'energie
debordante des enfants,
ainsi que la tension
entre parents et enfant.
Un passage lyrique
exprime l'amour parental
par des lignes melodiques
tres subtiles. Les notes
s'egrenent, le charme
opere !
The
Essence of Youth e un
brano che riflette cio
che il compositore,
ispirato da sua figlia,
considera come le
caratteristiche tipiche
della gioventu.
Un'ouverture spettacolare
nella quale contrasti
dinamici e dai ritmi
vivaci si susseguono come
a simboleggiare la
straordinaria energia dei
bambini. Il primo
movimento, sulla scia
dell'introduzione,
anticipa una parte di
solo che accompagna al
secondo movimento,
testimonianza dell'amore
infinito dei genitori nei
confronti dei figli. Una
fuga basata sul tema
iniziale contraddistingue
il terzo movimento che
conduce all'apoteosi
finale. $49.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Renaissance Dance Book Guitare Schott
Guitar SKU: HL.49010767 For 2, 3 or 4 Guitars. Composed by Various...(+)
Guitar SKU:
HL.49010767 For 2,
3 or 4 Guitars.
Composed by Various.
Edited by Franz Julius
Giesbert. Arranged by
Franz Julius Giesbert.
This edition: Saddle
stitching. Sheet music.
Gitarren-Archiv (Guitar
Archive). Classical,
Renaissance. Playing
score. 48 pages. Schott
Music #GA227. Published
by Schott Music
(HL.49010767). ISBN
9790001096249. UPC:
884088098469.
9.0x12.0x0.192
inches. $24.99 - Voir plus => Acheter | | |
| All Who Hunger, Gather Gladly (Choral Score) Chorale 3 parties SAB - Facile MorningStar Music Publishers
SAB choir and organ, with optional instrument in C - Early Intermediate SKU: ...(+)
SAB choir and organ, with
optional instrument in C
- Early Intermediate
SKU: MN.50-8322
Composed by David M.
Cherwien. World Communion
Sunday. MorningStar Music
Publishers #50-8322.
Published by MorningStar
Music Publishers
(MN.50-8322). UPC:
688670583223.
English. The tune
HOLY MANNA is matched
with a text by Sylvia G.
Dunstan. Themes of
gratitude, unity,
outreach, and kindness
are prevalent
throughout. $2.65 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Aurora Borealis Violoncelle [Conducteur] Subito Music
Solo Violoncello SKU: SU.29120150 For Solo Violoncello. Composed b...(+)
Solo Violoncello SKU:
SU.29120150 For
Solo Violoncello.
Composed by Todd Mason.
Strings, Cello.
Unaccompanied. Score.
Subito Music Corporation
#29120150. Published by
Subito Music Corporation
(SU.29120150).
Aurora Borealis
for solo cello evokes the
mystery and drama of the
northern lights, also
known as the Aurora
Borealis. The Aurora
Borealis was out. It hung
and moved with majesty in
folds like an infinite
traveler upstage in an
infinite theater. In
colors of rose and
lavender and purple it
moved and pulsed against
the night, and the
frost-sharpened stars
shone through it. What a
thing to see!... ―
John Steinbeck Level of
difficulty - music school
student to professional
Solo Violoncello
Duration: 6' Composed:
2020 Published by: Todd
Mason Aurora Borealis for
Solo cello
(Youtube):. $8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Aurora Borealis [Conducteur] Subito Music
Solo Clarinet in Bb SKU: SU.29120160 For Solo Clarinet in Bb. Comp...(+)
Solo Clarinet in Bb
SKU: SU.29120160
For Solo Clarinet in
Bb. Composed by Todd
Mason. Woodwinds,
Clarinet. Score. Subito
Music Corporation
#29120160. Published by
Subito Music Corporation
(SU.29120160).
Aurora Borealis
for solo Bb Clarinet
evokes the mystery and
drama of the northern
lights, also known as the
Aurora Borealis. The
Aurora Borealis was out.
It hung and moved with
majesty in folds like an
infinite traveler upstage
in an infinite theater.
In colors of rose and
lavender and purple it
moved and pulsed against
the night, and the
frost-sharpened stars
shone through it. What a
thing to see!... ―
John Steinbeck Level of
difficulty - music school
student to professional
Clarinet in Bb Duration:
6' Composed: 2020
Published by: Todd Mason
Aurora Borealis for Solo
Clarinet (Youtube):. $8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Harold en Italie (Berlioz) und andere Werke Piano seul EMB (Editio Musica Budapest)
Piano SKU: BT.EMBZ14504 EMB Liszt Works. Book Only. Composed 2009. 252 pa...(+)
Piano SKU:
BT.EMBZ14504 EMB
Liszt Works. Book Only.
Composed 2009. 252 pages.
Editio Musica Budapest
#EMBZ14504. Published by
Editio Musica Budapest
(BT.EMBZ14504).
English-German-Hungari
an. Volume 9 in the
series of Supplements is
mainly devoted to
hitherto unpublished or
inaccessible works. Apart
from the piano score of
the Berlioz symphony it
contains smaller-scale
late masterpieces
(Excelsior!,
Resignazione), the Album
leaves written in
Woronince in 1847, the
large-scale but
unfinished and not fully
worked out Figaro and Don
Juan fantasia,
incorporating several
Mozart themes, the piano
piece No.1 in A flat
major, two unpublished
works incorrectly
identified up till now by
the special literature,
the Maometto fantasia and
the Siege de Corinthe
(both transcriptions of
Rossini works), and the
volume also includes
three other unpublished
works (the Piano piece in
Fmajor, the Cavatina from
Robert le Diable by
Meyerbeer, and Freudvoll
und leidvoll, written
down for Pauline von
Iwanowska. The Prefaces
preceding the scores,
which give very accurate,
detailed information
about the genesis of the
works, make interesting
reading in themselves,
but their true
significance consists in
the new scholarly
discoveries made by the
editors. Similarly to the
other NLE volumes, both
the cloth-bound (Z.
14504a) version and the
one bound in hard-paper
(Z. 14504) contain in
three languages the
series preface, the
preface to this volume,
and the captions below
the facsimiles, but the
critical notes in English
are to be found only in
the linen-bound edition.
Der Band
enthält neben der
Klavierpartitur der
Symphonie von Berlioz,
kleinere, spätere
Meisterwerke (Excelsior!,
Resignazione), die 1874
in Woronince entstandenen
Albumblätter, die
umfangreichen, mehrere
Mozart-Themen
aufgreifenden, aber
unbeendeten und
unausgearbeiteten Figaro-
und Don
Giovanni-Phantasien, das
schon seit langem
unzugängliche
Klavierstück No. 1 in
As-Dur, zwei von der
Fachliteratur verkannte,
unveröffentlichte
Werke, die
Maometto-Phantasie und
die ‚Siege de
Corinthe' (beide sind
Transkriptionen von
Rossini-Werken) und drei,
ebenfalls bisher nicht
erschienene Stücke,
das Klavierstück in
F-Dur, die Cavatina aus
Meyerbeers ‚Robert
der Teufel' und dasfür
Pauline von Iwanowska
komponierte
‚Freudvoll und
leidvoll'. Das Vorwort,
welches die
Entstehungsgeschichte der
Werke sehr genau und auf
jedes Detail eingehend
vorstellt, ist auch
selbst eine interessante
Lektüre. Seine wahre
Bedeutung machen aber die
neuen wissenschaftlichen
Entdeckungen aus. $49.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Transcriptions of Lieder Piano seul Carl Fischer
Chamber Music Piano SKU: CF.PL1056 Composed by Clara Wieck-Schumann, Fran...(+)
Chamber Music Piano
SKU: CF.PL1056
Composed by Clara
Wieck-Schumann, Franz
Schubert, and Robert
Schumann. Edited by
Nicholas Hopkins.
Collection. With Standard
notation. 128 pages. Carl
Fischer Music #PL1056.
Published by Carl Fischer
Music (CF.PL1056).
ISBN 9781491153390.
UPC: 680160910892.
Transcribed by Franz
Liszt. Introduction
It is true that Schubert
himself is somewhat to
blame for the very
unsatisfactory manner in
which his admirable piano
pieces are treated. He
was too immoderately
productive, wrote
incessantly, mixing
insignificant with
important things, grand
things with mediocre
work, paid no heed to
criticism, and always
soared on his wings. Like
a bird in the air, he
lived in music and sang
in angelic fashion.
--Franz Liszt, letter to
Dr. S. Lebert (1868) Of
those compositions that
greatly interest me,
there are only Chopin's
and yours. --Franz Liszt,
letter to Robert Schumann
(1838) She [Clara
Schumann] was astounded
at hearing me. Her
compositions are really
very remarkable,
especially for a woman.
There is a hundred times
more creativity and real
feeling in them than in
all the past and present
fantasias by Thalberg.
--Franz Liszt, letter to
Marie d'Agoult (1838)
Chretien Urhan
(1790-1845) was a
Belgian-born violinist,
organist and composer who
flourished in the musical
life of Paris in the
early nineteenth century.
According to various
accounts, he was deeply
religious, harshly
ascetic and wildly
eccentric, though revered
by many important and
influential members of
the Parisian musical
community. Regrettably,
history has forgotten
Urhan's many musical
achievements, the most
important of which was
arguably his pioneering
work in promoting the
music of Franz Schubert.
He devoted much of his
energies to championing
Schubert's music, which
at the time was unknown
outside of Vienna.
Undoubtedly, Urhan was
responsible for
stimulating this
enthusiasm in Franz
Liszt; Liszt regularly
heard Urhan's organ
playing in the
St.-Vincent-de-Paul
church in Paris, and the
two became personal
acquaintances. At
eighteen years of age,
Liszt was on the verge of
establishing himself as
the foremost pianist in
Europe, and this
awakening to Schubert's
music would prove to be a
profound experience.
Liszt's first travels
outside of his native
provincial Hungary were
to Vienna in 1821-1823,
where his father enrolled
him in studies with Carl
Czerny (piano) and
Antonio Salieri (music
theory). Both men had
important involvements
with Schubert; Czerny
(like Urhan) as performer
and advocate of
Schubert's music and
Salieri as his theory and
composition teacher from
1813-1817. Curiously,
Liszt and Schubert never
met personally, despite
their geographical
proximity in Vienna
during these years.
Inevitably, legends later
arose that the two had
been personal
acquaintances, although
Liszt would dismiss these
as fallacious: I never
knew Schubert personally,
he was once quoted as
saying. Liszt's initial
exposure to Schubert's
music was the Lieder,
what Urhan prized most of
all. He accompanied the
tenor Benedict
Randhartinger in numerous
performances of
Schubert's Lieder and
then, perhaps realizing
that he could benefit the
composer more on his own
terms, transcribed a
number of the Lieder for
piano solo. Many of these
transcriptions he would
perform himself on
concert tour during the
so-called Glanzzeit, or
time of splendor from
1839-1847. This publicity
did much to promote
reception of Schubert's
music throughout Europe.
Once Liszt retired from
the concert stage and
settled in Weimar as a
conductor in the 1840s,
he continued to perform
Schubert's orchestral
music, his Symphony No. 9
being a particular
favorite, and is credited
with giving the world
premiere performance of
Schubert's opera Alfonso
und Estrella in 1854. At
this time, he
contemplated writing a
biography of the
composer, which
regrettably remained
uncompleted. Liszt's
devotion to Schubert
would never waver.
Liszt's relationship with
Robert and Clara Schumann
was far different and far
more complicated; by
contrast, they were all
personal acquaintances.
What began as a
relationship of mutual
respect and admiration
soon deteriorated into
one of jealousy and
hostility, particularly
on the Schumann's part.
Liszt's initial contact
with Robert's music
happened long before they
had met personally, when
Liszt published an
analysis of Schumann's
piano music for the
Gazette musicale in 1837,
a gesture that earned
Robert's deep
appreciation. In the
following year Clara met
Liszt during a concert
tour in Vienna and
presented him with more
of Schumann's piano
music. Clara and her
father Friedrich Wieck,
who accompanied Clara on
her concert tours, were
quite taken by Liszt: We
have heard Liszt. He can
be compared to no other
player...he arouses
fright and astonishment.
His appearance at the
piano is indescribable.
He is an original...he is
absorbed by the piano.
Liszt, too, was impressed
with Clara--at first the
energy, intelligence and
accuracy of her piano
playing and later her
compositions--to the
extent that he dedicated
to her the 1838 version
of his Etudes d'execution
transcendante d'apres
Paganini. Liszt had a
closer personal
relationship with Clara
than with Robert until
the two men finally met
in 1840. Schumann was
astounded by Liszt's
piano playing. He wrote
to Clara that Liszt had
played like a god and had
inspired indescribable
furor of applause. His
review of Liszt even
included a heroic
personification with
Napoleon. In Leipzig,
Schumann was deeply
impressed with Liszt's
interpretations of his
Noveletten, Op. 21 and
Fantasy in C Major, Op.
17 (dedicated to Liszt),
enthusiastically
observing that, I feel as
if I had known you twenty
years. Yet a variety of
events followed that
diminished Liszt's glory
in the eyes of the
Schumanns. They became
critical of the cult-like
atmosphere that arose
around his recitals, or
Lisztomania as it came to
be called; conceivably,
this could be attributed
to professional jealousy.
Clara, in particular,
came to loathe Liszt,
noting in a letter to
Joseph Joachim, I despise
Liszt from the depths of
my soul. She recorded a
stunning diary entry a
day after Liszt's death,
in which she noted, He
was an eminent keyboard
virtuoso, but a dangerous
example for the
young...As a composer he
was terrible. By
contrast, Liszt did not
share in these negative
sentiments; no evidence
suggests that he had any
ill-regard for the
Schumanns. In Weimar, he
did much to promote
Schumann's music,
conducting performances
of his Scenes from Faust
and Manfred, during a
time in which few
orchestras expressed
interest, and premiered
his opera Genoveva. He
later arranged a benefit
concert for Clara
following Robert's death,
featuring Clara as
soloist in Robert's Piano
Concerto, an event that
must have been
exhilarating to witness.
Regardless, her opinion
of him would never
change, despite his
repeated gestures of
courtesy and respect.
Liszt's relationship with
Schubert was a spiritual
one, with music being the
one and only link between
the two men. That with
the Schumanns was
personal, with music
influenced by a hero
worship that would
aggravate the
relationship over time.
Nonetheless, Liszt would
remain devoted to and
enthusiastic for the
music and achievements of
these composers. He would
be a vital force in
disseminating their music
to a wider audience, as
he would be with many
other composers
throughout his career.
His primary means for
accomplishing this was
the piano transcription.
Liszt and the
Transcription
Transcription versus
Paraphrase Transcription
and paraphrase were
popular terms in
nineteenth-century music,
although certainly not
unique to this period.
Musicians understood that
there were clear
distinctions between
these two terms, but as
is often the case these
distinctions could be
blurred. Transcription,
literally writing over,
entails reworking or
adapting a piece of music
for a performance medium
different from that of
its original; arrangement
is a possible synonym.
Adapting is a key part of
this process, for the
success of a
transcription relies on
the transcriber's ability
to adapt the piece to the
different medium. As a
result, the pre-existing
material is generally
kept intact, recognizable
and intelligible; it is
strict, literal,
objective. Contextual
meaning is maintained in
the process, as are
elements of style and
form. Paraphrase, by
contrast, implies
restating something in a
different manner, as in a
rewording of a document
for reasons of clarity.
In nineteenth-century
music, paraphrasing
indicated elaborating a
piece for purposes of
expressive virtuosity,
often as a vehicle for
showmanship. Variation is
an important element, for
the source material may
be varied as much as the
paraphraser's imagination
will allow; its purpose
is metamorphosis.
Transcription is adapting
and arranging;
paraphrasing is
transforming and
reworking. Transcription
preserves the style of
the original; paraphrase
absorbs the original into
a different style.
Transcription highlights
the original composer;
paraphrase highlights the
paraphraser.
Approximately half of
Liszt's compositional
output falls under the
category of transcription
and paraphrase; it is
noteworthy that he never
used the term
arrangement. Much of his
early compositional
activities were
transcriptions and
paraphrases of works of
other composers, such as
the symphonies of
Beethoven and Berlioz,
vocal music by Schubert,
and operas by Donizetti
and Bellini. It is
conceivable that he
focused so intently on
work of this nature early
in his career as a means
to perfect his
compositional technique,
although transcription
and paraphrase continued
well after the technique
had been mastered; this
might explain why he
drastically revised and
rewrote many of his
original compositions
from the 1830s (such as
the Transcendental Etudes
and Paganini Etudes) in
the 1850s. Charles Rosen,
a sympathetic interpreter
of Liszt's piano works,
observes, The new
revisions of the
Transcendental Etudes are
not revisions but concert
paraphrases of the old,
and their art lies in the
technique of
transformation. The
Paganini etudes are piano
transcriptions of violin
etudes, and the
Transcendental Etudes are
piano transcriptions of
piano etudes. The
principles are the same.
He concludes by noting,
Paraphrase has shaded off
into
composition...Composition
and paraphrase were not
identical for him, but
they were so closely
interwoven that
separation is impossible.
The significance of
transcription and
paraphrase for Liszt the
composer cannot be
overstated, and the
mutual influence of each
needs to be better
understood. Undoubtedly,
Liszt the composer as we
know him today would be
far different had he not
devoted so much of his
career to transcribing
and paraphrasing the
music of others. He was
perhaps one of the first
composers to contend that
transcription and
paraphrase could be
genuine art forms on
equal par with original
pieces; he even claimed
to be the first to use
these two terms to
describe these classes of
arrangements. Despite the
success that Liszt
achieved with this type
of work, others viewed it
with circumspection and
criticism. Robert
Schumann, although deeply
impressed with Liszt's
keyboard virtuosity, was
harsh in his criticisms
of the transcriptions.
Schumann interpreted them
as indicators that
Liszt's virtuosity had
hindered his
compositional development
and suggested that Liszt
transcribed the music of
others to compensate for
his own compositional
deficiencies.
Nonetheless, Liszt's
piano transcriptions,
what he sometimes called
partitions de piano (or
piano scores), were
instrumental in promoting
composers whose music was
unknown at the time or
inaccessible in areas
outside of major European
capitals, areas that
Liszt willingly toured
during his Glanzzeit. To
this end, the
transcriptions had to be
literal arrangements for
the piano; a Beethoven
symphony could not be
introduced to an
unknowing audience if its
music had been subjected
to imaginative
elaborations and
variations. The same
would be true of the 1833
transcription of
Berlioz's Symphonie
fantastique (composed
only three years
earlier), the
astonishingly novel
content of which would
necessitate a literal and
intelligible rendering.
Opera, usually more
popular and accessible
for the general public,
was a different matter,
and in this realm Liszt
could paraphrase the
original and manipulate
it as his imagination
would allow without
jeopardizing its
reception; hence, the
paraphrases on the operas
of Bellini, Donizetti,
Mozart, Meyerbeer and
Verdi. Reminiscence was
another term coined by
Liszt for the opera
paraphrases, as if the
composer were reminiscing
at the keyboard following
a memorable evening at
the opera. Illustration
(reserved on two
occasions for Meyerbeer)
and fantasy were
additional terms. The
operas of Wagner were
exceptions. His music was
less suited to paraphrase
due to its general lack
of familiarity at the
time. Transcription of
Wagner's music was thus
obligatory, as it was of
Beethoven's and Berlioz's
music; perhaps the
composer himself insisted
on this approach. Liszt's
Lieder Transcriptions
Liszt's initial
encounters with
Schubert's music, as
mentioned previously,
were with the Lieder. His
first transcription of a
Schubert Lied was Die
Rose in 1833, followed by
Lob der Tranen in 1837.
Thirty-nine additional
transcriptions appeared
at a rapid pace over the
following three years,
and in 1846, the Schubert
Lieder transcriptions
would conclude, by which
point he had completed
fifty-eight, the most of
any composer. Critical
response to these
transcriptions was highly
favorable--aside from the
view held by
Schumann--particularly
when Liszt himself played
these pieces in concert.
Some were published
immediately by Anton
Diabelli, famous for the
theme that inspired
Beethoven's variations.
Others were published by
the Viennese publisher
Tobias Haslinger (one of
Beethoven's and
Schubert's publishers in
the 1820s), who sold his
reserves so quickly that
he would repeatedly plead
for more. However,
Liszt's enthusiasm for
work of this nature soon
became exhausted, as he
noted in a letter of 1839
to the publisher
Breitkopf und Hartel:
That good Haslinger
overwhelms me with
Schubert. I have just
sent him twenty-four new
songs (Schwanengesang and
Winterreise), and for the
moment I am rather tired
of this work. Haslinger
was justified in his
demands, for the Schubert
transcriptions were
received with great
enthusiasm. One Gottfried
Wilhelm Fink, then editor
of the Allgemeine
musikalische Zeitung,
observed of these
transcriptions: Nothing
in recent memory has
caused such sensation and
enjoyment in both
pianists and audiences as
these arrangements...The
demand for them has in no
way been satisfied; and
it will not be until
these arrangements are
seen on pianos
everywhere. They have
indeed made quite a
splash. Eduard Hanslick,
never a sympathetic
critic of Liszt's music,
acknowledged thirty years
after the fact that,
Liszt's transcriptions of
Schubert Lieder were
epoch-making. There was
hardly a concert in which
Liszt did not have to
play one or two of
them--even when they were
not listed on the
program. These
transcriptions quickly
became some of his most
sough-after pieces,
despite their extreme
technical demands.
Leading pianists of the
day, such as Clara Wieck
and Sigismond Thalberg,
incorporated them into
their concert programs
immediately upon
publication. Moreover,
the transcriptions would
serve as inspirations for
other composers, such as
Stephen Heller, Cesar
Franck and later Leopold
Godowsky, all of whom
produced their own
transcriptions of
Schubert's Lieder. Liszt
would transcribe the
Lieder of other composers
as well, including those
by Mendelssohn, Chopin,
Anton Rubinstein and even
himself. Robert Schumann,
of course, would not be
ignored. The first
transcription of a
Schumann Lied was the
celebrated Widmung from
Myrten in 1848, the only
Schumann transcription
that Liszt completed
during the composer's
lifetime. (Regrettably,
there is no evidence of
Schumann's regard of this
transcription, or even if
he was aware of it.) From
the years 1848-1881,
Liszt transcribed twelve
of Robert Schumann's
Lieder (including one
orchestral Lied) and
three of Clara (one from
each of her three
published Lieder cycles);
he would transcribe no
other works of these two
composers. The Schumann
Lieder transcriptions,
contrary to those of
Schubert, are literal
arrangements, posing, in
general, far fewer
demands on the pianist's
technique. They are
comparatively less
imaginative in their
treatment of the original
material. Additionally,
they seem to have been
less valued in their day
than the Schubert
transcriptions, and it is
noteworthy that none of
the Schumann
transcriptions bear
dedications, as most of
the Schubert
transcriptions do. The
greatest challenge posed
by Lieder transcriptions,
regardless of the
composer or the nature of
the transcription, was to
combine the vocal and
piano parts of the
original such that the
character of each would
be preserved, a challenge
unique to this form of
transcription. Each part
had to be intact and
aurally recognizable, the
vocal line in particular.
Complications could be
manifold in a Lied that
featured dissimilar
parts, such as Schubert's
Auf dem Wasser zu singen,
whose piano accompaniment
depicts the rocking of
the boat on the
shimmering waves while
the vocal line reflects
on the passing of time.
Similar complications
would be encountered in
Gretchen am Spinnrade, in
which the ubiquitous
sixteenth-note pattern in
the piano's right hand
epitomizes the
ever-turning spinning
wheel over which the
soprano voice expresses
feelings of longing and
heartache. The resulting
transcriptions for solo
piano would place
exceptional demands on
the pianist. The
complications would be
far less imposing in
instances in which voice
and piano were less
differentiated, as in
many of Schumann's Lieder
that Liszt transcribed.
The piano parts in these
Lieder are true
accompaniments for the
voice, providing harmonic
foundation and rhythmic
support by doubling the
vocal line throughout.
The transcriptions, thus,
are strict and literal,
with far fewer demands on
both pianist and
transcriber. In all of
Liszt's Lieder
transcriptions,
regardless of the way in
which the two parts are
combined, the melody
(i.e. the vocal line) is
invariably the focal
point; the melody should
sing on the piano, as if
it were the voice. The
piano part, although
integral to contributing
to the character of the
music, is designed to
function as
accompaniment. A singing
melody was a crucial
objective in
nineteenth-century piano
performance, which in
part might explain the
zeal in transcribing and
paraphrasing vocal music
for the piano. Friedrich
Wieck, father and teacher
of Clara Schumann,
stressed this point
repeatedly in his 1853
treatise Clavier und
Gesang (Piano and Song):
When I speak in general
of singing, I refer to
that species of singing
which is a form of
beauty, and which is a
foundation for the most
refined and most perfect
interpretation of music;
and, above all things, I
consider the culture of
beautiful tones the basis
for the finest possible
touch on the piano. In
many respects, the piano
and singing should
explain and supplement
each other. They should
mutually assist in
expressing the sublime
and the noble, in forms
of unclouded beauty. Much
of Liszt's piano music
should be interpreted
with this concept in
mind, the Lieder
transcriptions and opera
paraphrases, in
particular. To this end,
Liszt provided numerous
written instructions to
the performer to
emphasize the vocal line
in performance, with
Italian directives such
as un poco marcato il
canto, accentuato assai
il canto and ben
pronunziato il canto.
Repeated indications of
cantando,singend and
espressivo il canto
stress the significance
of the singing tone. As
an additional means of
achieving this and
providing the performer
with access to the
poetry, Liszt insisted,
at what must have been a
publishing novelty at the
time, on printing the
words of the Lied in the
music itself. Haslinger,
seemingly oblivious to
Liszt's intent, initially
printed the poems of the
early Schubert
transcriptions separately
inside the front covers.
Liszt argued that the
transcriptions must be
reprinted with the words
underlying the notes,
exactly as Schubert had
done, a request that was
honored by printing the
words above the
right-hand staff. Liszt
also incorporated a
visual scheme for
distinguishing voice and
accompaniment, influenced
perhaps by Chopin, by
notating the
accompaniment in cue
size. His transcription
of Robert Schumann's
Fruhlings Ankunft
features the vocal line
in normal size, the piano
accompaniment in reduced
size, an unmistakable
guide in a busy texture
as to which part should
be emphasized: Example 1.
Schumann-Liszt Fruhlings
Ankunft, mm. 1-2. The
same practice may be
found in the
transcription of
Schumann's An die Turen
will ich schleichen. In
this piece, the performer
must read three staves,
in which the baritone
line in the central staff
is to be shared between
the two hands based on
the stem direction of the
notes: Example 2.
Schumann-Liszt An die
Turen will ich
schleichen, mm. 1-5. This
notational practice is
extremely beneficial in
this instance, given the
challenge of reading
three staves and the
manner in which the vocal
line is performed by the
two hands. Curiously,
Liszt did not use this
practice in other
transcriptions.
Approaches in Lieder
Transcription Liszt
adopted a variety of
approaches in his Lieder
transcriptions, based on
the nature of the source
material, the ways in
which the vocal and piano
parts could be combined
and the ways in which the
vocal part could sing.
One approach, common with
strophic Lieder, in which
the vocal line would be
identical in each verse,
was to vary the register
of the vocal part. The
transcription of Lob der
Tranen, for example,
incorporates three of the
four verses of the
original Lied, with the
register of the vocal
line ascending one octave
with each verse (from low
to high), as if three
different voices were
participating. By the
conclusion, the music
encompasses the entire
range of Liszt's keyboard
to produce a stunning
climactic effect, and the
variety of register of
the vocal line provides a
welcome textural variety
in the absence of the
words. The three verses
of the transcription of
Auf dem Wasser zu singen
follow the same approach,
in which the vocal line
ascends from the tenor,
to the alto and to the
soprano registers with
each verse.
Fruhlingsglaube adopts
the opposite approach, in
which the vocal line
descends from soprano in
verse 1 to tenor in verse
2, with the second part
of verse 2 again resuming
the soprano register;
this is also the case in
Das Wandern from
Mullerlieder. Gretchen am
Spinnrade posed a unique
problem. Since the poem's
narrator is female, and
the poem represents an
expression of her longing
for her lover Faust,
variation of the vocal
line's register, strictly
speaking, would have been
impractical. For this
reason, the vocal line
remains in its original
register throughout,
relentlessly colliding
with the sixteenth-note
pattern of the
accompaniment. One
exception may be found in
the fifth and final verse
in mm. 93-112, at which
point the vocal line is
notated in a higher
register and doubled in
octaves. This sudden
textural change, one that
is readily audible, was a
strategic means to
underscore Gretchen's
mounting anxiety (My
bosom urges itself toward
him. Ah, might I grasp
and hold him! And kiss
him as I would wish, at
his kisses I should
die!). The transcription,
thus, becomes a vehicle
for maximizing the
emotional content of the
poem, an exceptional
undertaking with the
general intent of a
transcription. Registral
variation of the vocal
part also plays a crucial
role in the transcription
of Erlkonig. Goethe's
poem depicts the death of
a child who is
apprehended by a
supernatural Erlking, and
Schubert, recognizing the
dramatic nature of the
poem, carefully depicted
the characters (father,
son and Erlking) through
unique vocal writing and
accompaniment patterns:
the Lied is a dramatic
entity. Liszt, in turn,
followed Schubert's
characterization in this
literal transcription,
yet took it an additional
step by placing the
register of the father's
vocal line in the
baritone range, that of
the son in the soprano
range and that of the
Erlking in the highest
register, options that
would not have been
available in the version
for voice and piano.
Additionally, Liszt
labeled each appearance
of each character in the
score, a means for
guiding the performer in
interpreting the dramatic
qualities of the Lied. As
a result, the drama and
energy of the poem are
enhanced in this
transcription; as with
Gretchen am Spinnrade,
the transcriber has
maximized the content of
the original. Elaboration
may be found in certain
Lieder transcriptions
that expand the
performance to a level of
virtuosity not found in
the original; in such
cases, the transcription
approximates the
paraphrase. Schubert's Du
bist die Ruh, a paradigm
of musical simplicity,
features an uncomplicated
piano accompaniment that
is virtually identical in
each verse. In Liszt's
transcription, the
material is subjected to
a highly virtuosic
treatment that far
exceeds the original,
including a demanding
passage for the left hand
alone in the opening
measures and unique
textural writing in each
verse. The piece is a
transcription in
virtuosity; its art, as
Rosen noted, lies in the
technique of
transformation.
Elaboration may entail an
expansion of the musical
form, as in the extensive
introduction to Die
Forelle and a virtuosic
middle section (mm.
63-85), both of which are
not in the original. Also
unique to this
transcription are two
cadenzas that Liszt
composed in response to
the poetic content. The
first, in m. 93 on the
words und eh ich es
gedacht (and before I
could guess it), features
a twisted chromatic
passage that prolongs and
thereby heightens the
listener's suspense as to
the fate of the trout
(which is ultimately
caught). The second, in
m. 108 on the words
Betrogne an (and my blood
boiled as I saw the
betrayed one), features a
rush of
diminished-seventh
arpeggios in both hands,
epitomizing the poet's
rage at the fisherman for
catching the trout. Less
frequent are instances in
which the length of the
original Lied was
shortened in the
transcription, a tendency
that may be found with
certain strophic Lieder
(e.g., Der Leiermann,
Wasserflut and Das
Wandern). Another
transcription that
demonstrates Liszt's
readiness to modify the
original in the interests
of the poetic content is
Standchen, the seventh
transcription from
Schubert's
Schwanengesang. Adapted
from Act II of
Shakespeare's Cymbeline,
the poem represents the
repeated beckoning of a
man to his lover. Liszt
transformed the Lied into
a miniature drama by
transcribing the vocal
line of the first verse
in the soprano register,
that of the second verse
in the baritone register,
in effect, creating a
dialogue between the two
lovers. In mm. 71-102,
the dialogue becomes a
canon, with one voice
trailing the other like
an echo (as labeled in
the score) at the
distance of a beat. As in
other instances, the
transcription resembles
the paraphrase, and it is
perhaps for this reason
that Liszt provided an
ossia version that is
more in the nature of a
literal transcription.
The ossia version, six
measures shorter than
Schubert's original, is
less demanding
technically than the
original transcription,
thus representing an
ossia of transcription
and an ossia of piano
technique. The Schumann
Lieder transcriptions, in
general, display a less
imaginative treatment of
the source material.
Elaborations are less
frequently encountered,
and virtuosity is more
restricted, as if the
passage of time had
somewhat tamed the
composer's approach to
transcriptions;
alternatively, Liszt was
eager to distance himself
from the fierce
virtuosity of his early
years. In most instances,
these transcriptions are
literal arrangements of
the source material, with
the vocal line in its
original form combined
with the accompaniment,
which often doubles the
vocal line in the
original Lied. Widmung,
the first of the Schumann
transcriptions, is one
exception in the way it
recalls the virtuosity of
the Schubert
transcriptions of the
1830s. Particularly
striking is the closing
section (mm. 58-73), in
which material of the
opening verse (right
hand) is combined with
the triplet quarter notes
(left hand) from the
second section of the
Lied (mm. 32-43), as if
the transcriber were
attempting to reconcile
the different material of
these two sections.
Fruhlingsnacht resembles
a paraphrase by
presenting each of the
two verses in differing
registers (alto for verse
1, mm. 3-19, and soprano
for verse 2, mm. 20-31)
and by concluding with a
virtuosic section that
considerably extends the
length of the original
Lied. The original
tonalities of the Lieder
were generally retained
in the transcriptions,
showing that the tonality
was an important part of
the transcription
process. The infrequent
instances of
transposition were done
for specific reasons. In
1861, Liszt transcribed
two of Schumann's Lieder,
one from Op. 36 (An den
Sonnenschein), another
from Op. 27 (Dem roten
Roslein), and merged
these two pieces in the
collection 2 Lieder; they
share only the common
tonality of A major. His
choice for combining
these two Lieder remains
unknown, but he clearly
recognized that some
tonal variety would be
needed, for which reason
Dem roten Roslein was
transposed to C>= major.
The collection features
An den Sonnenschein in A
major (with a transition
to the new tonality),
followed by Dem roten
Roslein in C>= major
(without a change of key
signature), and
concluding with a reprise
of An den Sonnenschein in
A major. A three-part
form was thus established
with tonal variety
provided by keys in third
relations (A-C>=-A); in
effect, two of Schumann's
Lieder were transcribed
into an archetypal song
without words. In other
instances, Liszt treated
tonality and tonal
organization as important
structural ingredients,
particularly in the
transcriptions of
Schubert's Lieder cycles,
i.e. Schwanengesang,
Winterreise a... $32.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| We Will Rock You Ensemble de cuivres [Conducteur et Parties séparées] - Facile De Haske Publications
Brass Band - Grade 2.5 SKU: BT.DHP-1115046-030 Arranged by Lorenzo Bocci....(+)
Brass Band - Grade 2.5
SKU:
BT.DHP-1115046-030
Arranged by Lorenzo
Bocci. Flexible 4 Series.
Set (Score & Parts).
Composed 2011. De Haske
Publications #DHP
1115046-030. Published by
De Haske Publications
(BT.DHP-1115046-030).
9x12 inches.
English-German-French-Dut
ch. Brian
May’s We Will Rock
You was not
Queen’s biggest
hit when it first came
out. However, looking
back it has become much
more than simply a
successful song. It is
the group’s hymn,
welcomed with loud cheers
whenever and wherever it
is played. Let the good
times roll with Lorenzo
Bocci’s
outstanding arrangement
that will rock your band!
We Will Rock You
von Brian May ist kurz
nach seiner
Veröffentlichung nicht
einmal der größte
Erfolg für die
Rockgruppe Queen gewesen
- rückblickend,
anlässlich des
40-jährigen
Bühnenjubiläums,
ist er die Hymne und das
Erkennungszeichen der
Band schlechthin. Wenn
Sie einer der
großartigsten
Rockbands aller Zeiten
ein Konzertprogramm
widmen wollen, darf diese
Bearbeitung nicht fehlen!
Lors de sa
sortie, en 1977, la
chanson We Will Rock You,
écrite par Brian May,
reçut un accueil
plutôt mitigé.
Pourtant, elle compte
aujourd’hui parmi
les chansons les plus
populaires du groupe.
Elle fut reprise par
divers artistes et
utilisée par le monde
publicitaire. En
choisissant We Will Rock
You, vous rendrez un
hommage vibrant ce groupe
mythique.
We Will
Rock You è la prima
canzone dell’album
News of the World dei
Queen, uscito nel 1977 e
composta da Brian May.
Sulla facciata B del 45
giri si trovava We Are
the Champions, ciò che
spiega il fatto che
queste due canzoni furono
a volte eseguite insieme
nei concerti della band,
spesso una seconda volta
in una versione più
rapida. We Will Rock You
resta una delle canzoni
più popolari del
gruppo ed è stata
più volte ripresa da
vari artisti. $72.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| We Will Rock You Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band/Brass Band - Grade 2.5 SKU: BT.DHP-1115046...(+)
Concert
Band/Harmonie/Fanfare
Band/Brass Band - Grade
2.5 SKU:
BT.DHP-1115046-216
As performed by
Queen. Arranged by
Lorenzo Bocci. Flexible 4
Series. Pop & Rock. Score
Only. Composed 2011. 8
pages. De Haske
Publications #DHP
1115046-216. Published by
De Haske Publications
(BT.DHP-1115046-216).
9x12
inches. Brian
May’s We Will Rock
You was not
Queen’s biggest
hit when it first came
out. However, looking
back it has become much
more than simply a
successful song. It is
the group’s hymn,
welcomed with loud cheers
whenever and wherever it
is played. Let the good
times roll with Lorenzo
Bocci’s
outstanding arrangement
that will rock your band!
We Will Rock You
von Brian May ist kurz
nach seiner
Veröffentlichung nicht
einmal der größte
Erfolg für die
Rockgruppe Queen gewesen
- rückblickend,
anlässlich des
40-jährigen
Bühnenjubiläums,
ist er die Hymne und das
Erkennungszeichen der
Band schlechthin. Wenn
Sie einer der
großartigsten
Rockbands aller Zeiten
ein Konzertprogramm
widmen wollen, darf diese
Bearbeitung nicht fehlen!
Lors de sa
sortie, en 1977, la
chanson We Will Rock You,
écrite par Brian May,
reçut un accueil
plutôt mitigé.
Pourtant, elle compte
aujourd’hui parmi
les chansons les plus
populaires du groupe.
Elle fut reprise par
divers artistes et
utilisée par le monde
publicitaire. En
choisissant We Will Rock
You, vous rendrez un
hommage vibrant ce groupe
mythique.
We Will
Rock You è la prima
canzone dell’album
News of the World dei
Queen, uscito nel 1977 e
composta da Brian May.
Sulla facciata B del 45
giri si trovava We Are
the Champions, ciò che
spiega il fatto che
queste due canzoni furono
a volte eseguite insieme
nei concerti della band,
spesso una seconda volta
in una versione più
rapida. We Will Rock You
resta una delle canzoni
più popolari del
gruppo ed è stata
più volte ripresa da
vari artisti. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Geuzen Medal Fanfare Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1115067-120 Composed by Jan de Haan. C...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1115067-120
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Opening
Pieces. Score Only.
Composed 2011. 16 pages.
De Haske Publications
#DHP 1115067-120.
Published by De Haske
Publications
(BT.DHP-1115067-120).
9x12 inches.
English-German-French-Dut
ch. The Geuzen
Medal is an annual award
given to people or
organizations who have
found unique ways to
further democracy in the
world and help eliminate
dictatorships, racism,
and discrimination. The
original Geuzen fought
against Spanish
imperialism in Holland
during the16th century.
During the Second World
War a group resisting the
Nazis also named
themselves De Geuzen. Jan
de Haan incorporates
Psalm 43, sung by a group
of condemned prisoners
shortly before their
execution in 1943, into
Geuzen Medal Fanfare,
composed for the 25th
bestowal of this special
award.
Ieder jaar
weer wordt ze weer
uitgereikt: de
Geuzenpenning. Dit is aan
een persoon of
organisatie die zich op
bijzondere wijze inzet
voor de democratie en
tegen dictatuur, racisme
en discriminatie. In de
zestiende eeuw streden
deGeuzen tegen de Spaanse
bezetting. In de Tweede
Wereldoorlog was er
eveneens een verzetsgroep
die zich zo noemde. Een
deel van hen werd in 1943
veroordeeld tot de
doodstraf. Vlak voor de
voltrekking van het
vonnis zetten zij psalm43
in. Precies deze psalm
verwerkte Jan de Haan in
zijn openingswerk Geuzen
Medal Fanfare. Hij
schreef het ter
gelegenheid van de
vijfentwintigste
uitreiking.
Der
Geuzenpenning (Geuzen
Medal) wird jährlich
an Menschen oder
Organisataionen
verliehen, die sich auf
besondere Weise für
die Demokratie und gegen
Diktatur, Rassismus und
Diskriminierung
eingesetzt haben. Die
ursprünglichen Geuzen
kämpften gegen
spanische Besatzung in
Holland im 16.
Jahrhundert; im Zweiten
Weltkrieg nannte sich
eine Widerstandsgruppe
gegen die Deutschen
ebenfalls De Geuzen. Den
Psalm 43, den eine Gruppe
von Verurteilten 1943
kurz vor ihrer
Hinrichtung anstimmte,
verarbeitete Jan de Haan
in seinem
Eröffnungswerk De
Geuzen Medal Fanfare, das
er zur 25. Verleihung
dieses besonderen Ordens
schrieb.
La
Médaille des Gueux
décernée par la
Geuzen Resistance
Foundation 1940-1945, met
l’honneur une
personne ou une
organisation
méritante,
s’étant
engagée dans la lutte
pour la démocratie. Le
nom de la fondation tire
son origine de la
révolte des Gueux,
mouvement patriotique
néerlandais. Pendant
la Seconde Guerre
mondiale, des
résistants reprirent
le nom des Gueux. Lorsque
quinze d’entre eux
tombèrent aux mains
des occupants allemands,
ils entamèrent le
Psaume 43.
L’arrangement de
Jan de Haan conserve
l’authenticité
de la mélodie
originale.
Ogni
anno la “Geuzen
Medalâ€, viene
conferita dalla
Fondazione olandese
“Geuzen Resistance
1940-1945
Foundation†quale
tributo ad individui o
istituzioni che si siano
prodigate per la
democrazia o contro le
dittature, le
discriminazioni ed il
razzismo. Nel corso della
seconda guerra mondiale,
un gruppo di resistenti
riprese il nome di
“Geuzenâ€: 15
membri caddero
prigionieri e al momento
della loro fucilazione
cantarono il Salmo
43. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Geuzen Medal Fanfare Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1115067-020 Composed by Jan de Haan. C...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1115067-020
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Opening
Pieces. Set (Score &
Parts). Composed 2011. De
Haske Publications #DHP
1115067-020. Published by
De Haske Publications
(BT.DHP-1115067-020).
9x12 inches.
English-German-French-Dut
ch. The Geuzen
Medal is an annual award
given to people or
organizations who have
found unique ways to
further democracy in the
world and help eliminate
dictatorships, racism,
and discrimination. The
original Geuzen fought
against Spanish
imperialism in Holland
during the16th century.
During the Second World
War a group resisting the
Nazis also named
themselves De Geuzen. Jan
de Haan incorporates
Psalm 43, sung by a group
of condemned prisoners
shortly before their
execution in 1943, into
Geuzen Medal Fanfare,
composed for the 25th
bestowal of this special
award.
Ieder jaar
weer wordt ze weer
uitgereikt: de
Geuzenpenning. Dit is aan
een persoon of
organisatie die zich op
bijzondere wijze inzet
voor de democratie en
tegen dictatuur, racisme
en discriminatie. In de
zestiende eeuw streden
deGeuzen tegen de Spaanse
bezetting. In de Tweede
Wereldoorlog was er
eveneens een verzetsgroep
die zich zo noemde. Een
deel van hen werd in 1943
veroordeeld tot de
doodstraf. Vlak voor de
voltrekking van het
vonnis zetten zij psalm43
in. Precies deze psalm
verwerkte Jan de Haan in
zijn openingswerk Geuzen
Medal Fanfare. Hij
schreef het ter
gelegenheid van de
vijfentwintigste
uitreiking.
Der
Geuzenpenning (Geuzen
Medal) wird jährlich
an Menschen oder
Organisataionen
verliehen, die sich auf
besondere Weise für
die Demokratie und gegen
Diktatur, Rassismus und
Diskriminierung
eingesetzt haben. Die
ursprünglichen Geuzen
kämpften gegen
spanische Besatzung in
Holland im 16.
Jahrhundert; im Zweiten
Weltkrieg nannte sich
eine Widerstandsgruppe
gegen die Deutschen
ebenfalls De Geuzen. Den
Psalm 43, den eine Gruppe
von Verurteilten 1943
kurz vor ihrer
Hinrichtung anstimmte,
verarbeitete Jan de Haan
in seinem
Eröffnungswerk De
Geuzen Medal Fanfare, das
er zur 25. Verleihung
dieses besonderen Ordens
schrieb.
La
Médaille des Gueux
décernée par la
Geuzen Resistance
Foundation 1940-1945, met
l’honneur une
personne ou une
organisation
méritante,
s’étant
engagée dans la lutte
pour la démocratie. Le
nom de la fondation tire
son origine de la
révolte des Gueux,
mouvement patriotique
néerlandais. Pendant
la Seconde Guerre
mondiale, des
résistants reprirent
le nom des Gueux. Lorsque
quinze d’entre eux
tombèrent aux mains
des occupants allemands,
ils entamèrent le
Psaume 43.
L’arrangement de
Jan de Haan conserve
l’authenticité
de la mélodie
originale.
Ogni
anno la “Geuzen
Medalâ€, viene
conferita dalla
Fondazione olandese
“Geuzen Resistance
1940-1945
Foundation†quale
tributo ad individui o
istituzioni che si siano
prodigate per la
democrazia o contro le
dittature, le
discriminazioni ed il
razzismo. Nel corso della
seconda guerra mondiale,
un gruppo di resistenti
riprese il nome di
“Geuzenâ€: 15
membri caddero
prigionieri e al momento
della loro fucilazione
cantarono il Salmo
43. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Geuzen Medal Fanfare Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115067-010 Composed by Jan d...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1115067-010
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Opening
Pieces. Set (Score &
Parts). Composed 2011. De
Haske Publications #DHP
1115067-010. Published by
De Haske Publications
(BT.DHP-1115067-010).
9x12 inches.
English-German-French-Dut
ch. The Geuzen
Medal is an annual award
given to people or
organizations who have
found unique ways to
further democracy in the
world and help eliminate
dictatorships, racism,
and discrimination. The
original Geuzen fought
against Spanish
imperialism in Holland
during the16th century.
During the Second World
War a group resisting the
Nazis also named
themselves De Geuzen. Jan
de Haan incorporates
Psalm 43, sung by a group
of condemned prisoners
shortly before their
execution in 1943, into
Geuzen Medal Fanfare,
composed for the 25th
bestowal of this special
award.
Ieder jaar
weer wordt ze weer
uitgereikt: de
Geuzenpenning. Dit is aan
een persoon of
organisatie die zich op
bijzondere wijze inzet
voor de democratie en
tegen dictatuur, racisme
en discriminatie. In de
zestiende eeuw streden
deGeuzen tegen de Spaanse
bezetting. In de Tweede
Wereldoorlog was er
eveneens een verzetsgroep
die zich zo noemde. Een
deel van hen werd in 1943
veroordeeld tot de
doodstraf. Vlak voor de
voltrekking van het
vonnis zetten zij psalm43
in. Precies deze psalm
verwerkte Jan de Haan in
zijn openingswerk Geuzen
Medal Fanfare. Hij
schreef het ter
gelegenheid van de
vijfentwintigste
uitreiking.
Der
Geuzenpenning (Geuzen
Medal) wird jährlich
an Menschen oder
Organisataionen
verliehen, die sich auf
besondere Weise für
die Demokratie und gegen
Diktatur, Rassismus und
Diskriminierung
eingesetzt haben. Die
ursprünglichen Geuzen
kämpften gegen
spanische Besatzung in
Holland im 16.
Jahrhundert; im Zweiten
Weltkrieg nannte sich
eine Widerstandsgruppe
gegen die Deutschen
ebenfalls De Geuzen. Den
Psalm 43, den eine Gruppe
von Verurteilten 1943
kurz vor ihrer
Hinrichtung anstimmte,
verarbeitete Jan de Haan
in seinem
Eröffnungswerk De
Geuzen Medal Fanfare, das
er zur 25. Verleihung
dieses besonderen Ordens
schrieb.
La
Médaille des Gueux
décernée par la
Geuzen Resistance
Foundation 1940-1945, met
l’honneur une
personne ou une
organisation
méritante,
s’étant
engagée dans la lutte
pour la démocratie. Le
nom de la fondation tire
son origine de la
révolte des Gueux,
mouvement patriotique
néerlandais. Pendant
la Seconde Guerre
mondiale, des
résistants reprirent
le nom des Gueux. Lorsque
quinze d’entre eux
tombèrent aux mains
des occupants allemands,
ils entamèrent le
Psaume 43.
L’arrangement de
Jan de Haan conserve
l’authenticité
de la mélodie
originale.
Ogni
anno la “Geuzen
Medalâ€, viene
conferita dalla
Fondazione olandese
“Geuzen Resistance
1940-1945
Foundation†quale
tributo ad individui o
istituzioni che si siano
prodigate per la
democrazia o contro le
dittature, le
discriminazioni ed il
razzismo. Nel corso della
seconda guerra mondiale,
un gruppo di resistenti
riprese il nome di
“Geuzenâ€: 15
membri caddero
prigionieri e al momento
della loro fucilazione
cantarono il Salmo
43. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Geuzen Medal Fanfare Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115067-140 Composed by Jan d...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1115067-140
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Opening
Pieces. Score Only.
Composed 2011. 16 pages.
De Haske Publications
#DHP 1115067-140.
Published by De Haske
Publications
(BT.DHP-1115067-140).
9x12 inches.
English-German-French-Dut
ch. The Geuzen
Medal is an annual award
given to people or
organizations who have
found unique ways to
further democracy in the
world and help eliminate
dictatorships, racism,
and discrimination. The
original Geuzen fought
against Spanish
imperialism in Holland
during the16th century.
During the Second World
War a group resisting the
Nazis also named
themselves De Geuzen. Jan
de Haan incorporates
Psalm 43, sung by a group
of condemned prisoners
shortly before their
execution in 1943, into
Geuzen Medal Fanfare,
composed for the 25th
bestowal of this special
award.
Ieder jaar
weer wordt ze weer
uitgereikt: de
Geuzenpenning. Dit is aan
een persoon of
organisatie die zich op
bijzondere wijze inzet
voor de democratie en
tegen dictatuur, racisme
en discriminatie. In de
zestiende eeuw streden
deGeuzen tegen de Spaanse
bezetting. In de Tweede
Wereldoorlog was er
eveneens een verzetsgroep
die zich zo noemde. Een
deel van hen werd in 1943
veroordeeld tot de
doodstraf. Vlak voor de
voltrekking van het
vonnis zetten zij psalm43
in. Precies deze psalm
verwerkte Jan de Haan in
zijn openingswerk Geuzen
Medal Fanfare. Hij
schreef het ter
gelegenheid van de
vijfentwintigste
uitreiking.
Der
Geuzenpenning (Geuzen
Medal) wird jährlich
an Menschen oder
Organisataionen
verliehen, die sich auf
besondere Weise für
die Demokratie und gegen
Diktatur, Rassismus und
Diskriminierung
eingesetzt haben. Die
ursprünglichen Geuzen
kämpften gegen
spanische Besatzung in
Holland im 16.
Jahrhundert; im Zweiten
Weltkrieg nannte sich
eine Widerstandsgruppe
gegen die Deutschen
ebenfalls De Geuzen. Den
Psalm 43, den eine Gruppe
von Verurteilten 1943
kurz vor ihrer
Hinrichtung anstimmte,
verarbeitete Jan de Haan
in seinem
Eröffnungswerk De
Geuzen Medal Fanfare, das
er zur 25. Verleihung
dieses besonderen Ordens
schrieb.
La
Médaille des Gueux
décernée par la
Geuzen Resistance
Foundation 1940-1945, met
l’honneur une
personne ou une
organisation
méritante,
s’étant
engagée dans la lutte
pour la démocratie. Le
nom de la fondation tire
son origine de la
révolte des Gueux,
mouvement patriotique
néerlandais. Pendant
la Seconde Guerre
mondiale, des
résistants reprirent
le nom des Gueux. Lorsque
quinze d’entre eux
tombèrent aux mains
des occupants allemands,
ils entamèrent le
Psaume 43.
L’arrangement de
Jan de Haan conserve
l’authenticité
de la mélodie
originale.
Ogni
anno la “Geuzen
Medalâ€, viene
conferita dalla
Fondazione olandese
“Geuzen Resistance
1940-1945
Foundation†quale
tributo ad individui o
istituzioni che si siano
prodigate per la
democrazia o contro le
dittature, le
discriminazioni ed il
razzismo. Nel corso della
seconda guerra mondiale,
un gruppo di resistenti
riprese il nome di
“Geuzenâ€: 15
membri caddero
prigionieri e al momento
della loro fucilazione
cantarono il Salmo
43. $31.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| We Will Rock You Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2.5 SKU: BT.DHP-1115046-015 (+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2.5 SKU:
BT.DHP-1115046-015
As performed by
Queen. Arranged by
Lorenzo Bocci. Flexible 4
Series. Set (Score and
Parts). Composed 2011. De
Haske Publications #DHP
1115046-015. Published by
De Haske Publications
(BT.DHP-1115046-015).
9x12
inches. Brian
Mayâ??s We Will Rock
You was not
Queenâ??s biggest hit
when it first came out.
However, looking back it
has become much more than
simply a successful song.
It is the groupâ??s
hymn, welcomed with loud
cheers whenever and
wherever it is played.Let
the good times roll with
Lorenzo Bocciâ??s
outstanding arrangement
that will rock your
band!
Toen het
werd uitgebracht, was het
nummer We Will Rock
You van Brian May
niet meteen een grote hit
voor Queen. Later is het
echter veel meer geworden
dan gewoon een
succesvolle song: het is
uitgegroeid tot de
herkenningstune van de
band. Waaren wanneer het
ook klinkt: het wordt
altijd met gejuich
begroet. Laat de goede
oude tijd herleven met
Lorenzo Bocciâ??s
bewerking - die beslist
rockt!
We Will
Rock You von Brian May
ist kurz nach seiner
Veröffentlichung nicht
einmal der grö�te
Erfolg fu?r die
Rockgruppe Queen gewesen
- ru?ckblickend,
anlässlich des
40-jährigen
Bu?hnenjubiläums, ist
er die Hymne und das
Erkennungszeichen der
Band schlechthin. Wenn
Sie einer der
groÃ?artigsten Rockbands
aller Zeiten ein
Konzertprogramm widmen
wollen, darf diese
Bearbeitung nicht fehlen!
Queen a
conservé, malgré le
décès de son
charismatique leader et
auteur succès, Freddie
Mercury, en 1991, de
très nombreux
admirateurs
inconditionnels dans le
monde entier. La chanson
We Will Rock You
figure encore
aujourdâ??hui parmi
leschansons les plus
populaires du groupe. En
choisissant We Will
Rock You, faites
vibrer votre auditoire au
rythme magique de Queen
!
We Will Rock
You è la prima
canzone dellâ??album
News of the World dei
Queen, uscito nel 1977 e
composta da Brian May.
Sulla facciata B del 45
giri si trovava We Are
the Champions, ciò
che spiega il fatto che
queste due canzoni furono
avolte eseguite insieme
nei concerti della band,
spesso una seconda volta
in una versione più
rapida. We Will Rock
You resta una delle
canzoni più popolari
del gruppo ed è stata
più volte ripresa da
vari artisti. $90.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eternal Friendship Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-010 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1216344-010
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Hymns & Chorals. Set
(Score & Parts). Composed
2021. De Haske
Publications #DHP
1216344-010. Published by
De Haske Publications
(BT.DHP-1216344-010).
English-German-French-
Dutch. This work is
a close-up of the
encounters and
relationships of trust
between people, following
the idea that friendship
lasts forever.â€
After the passing of
Satoshi Yagisawa’s
close friend and work
partner, Tsutomu Murata,
a designer of Neo Create
in August 2020, the
composer began work on
this piece. Murata
performed music for
audiences primarily as a
leader and conductor of
Kurume City Brass, a
group which is active in
Fukuoka Prefecture in
Japan. Eternal
Frienship depicts a
five-minute chorale which
explores “how music
can convey that a close
friend is indispensable
to you, more broadly,
everyone to
someone,†much like
how Murata conveyed the
appeal of music to his
audiences. Under the
direction of the composer
himself, the work had its
world premiere and was
recorded with the Kobe
College Wind Orchestra.
Dit werk werpt
een blik op fijne
ontmoetingen en
vertrouwelijke relaties
tussen mensen en gaat uit
van het idee dat
vriendschap voor altijd
is. Nadat
Yagisawa’s goede
vriend en collega Tsutomu
Murata, een van de
ontwerpers van Neo
Create, in augustus 2020
overleed, begon hij aan
deze compositie te
werken. Murata musiceerde
vooral als muzikaal
leider en dirigent van
Kurume City Brass, een
ensemble dat actief is in
de Japanse prefectuur
Fukuoka. Eternal
Frienship is een vijf
minuten durend koraal
waarin wordt verkend hoe
muziek kan verklanken dat
een goede vriendschap
onmisbaar voor je is en
hoe dit principe in
bredere zin voor alle
mensen geldt. Op een
vergelijkbare manier wist
Murata de betekenis van
muziek op zijn publiek
over te brengen. Het werk
is onder leiding van de
componist zelf in
première gebracht en
werd opgenomen door het
Kobe College Wind
Orchestra.
Dieses
Werk betrachtet
Begegnungen und
Vertrauensbeziehungen
zwischen Menschen, die
überzeugt davon sind,
dass Freundschaft ewig
hält“. Nach dem
Tod von Satoshi Yagisawas
engem Freund und Kollegen
Tsutomu Murata, einem
Designer von Neo Create,
im August 2020 begann der
Komponist mit der Arbeit
an diesem Stück.
Murata trat
hauptsächlich als
Leiter und Dirigent von
Kurume City Brass, einem
Blasorchester in der
Präfektur Fukuoka in
Japan, in Erscheinung.
Eternal Frienship
besteht aus einem
fünfminütigen
Choral, der beschreibt,
wie Musik verdeutlichen
kann, dass ein enger
Freund für jeden
unverzichtbar ist“
eben genauso, wie auch
Murata seinem Publikum
die Anziehungskraft der
Musik vermittelt hat. Das
Werk wurde unter der
Leitung des Komponisten
mit dem Kobe College Wind
Orchestra uraufgeführt
und aufgenommen.
Cette Å“uvre
examine les rencontres et
rapports de confiance
entre les gens, selon
l’idée que «
l’amitié est
éternelle ».
Satoshi Yagisawa
commença écrire
cette pièce la suite
du décès, en ao t
2020, de son associé
et ami proche, Tsutomu
Murata, un concepteur de
Neo Create. Murata se
produisait en public
principalement en tant
que directeur et chef
d’orchestre de
Kurume City Brass, un
ensemble actif dans la
préfecture de Fukuoka,
au Japon. Eternal
Frienship prend la
forme d’un choral
de cinq minutes qui
explore « comment la
musique peut exprimer
l’idée
qu’il est
indispensable
d’avoir un ami
proche et, plus
largement, que
l’on ne peut vivre
sans les autres ».
Murata savait
certainement communiquer
l’attrait de la
musique son public.
Eternal Frienship
a été créée
et enregistrée par
l’Harmonie du
collège de Kobe
(Japon) sous la direction
du compositeur
lui-même.
2020 8 “
â€. $118.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Eternal Friendship Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1216344-140 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1216344-140
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Hymns & Chorals. Score
Only. Composed 2021. 15
pages. De Haske
Publications #DHP
1216344-140. Published by
De Haske Publications
(BT.DHP-1216344-140).
English-German-French-
Dutch. This work is
a close-up of the
encounters and
relationships of trust
between people, following
the idea that friendship
lasts forever.â€
After the passing of
Satoshi Yagisawa’s
close friend and work
partner, Tsutomu Murata,
a designer of Neo Create
in August 2020, the
composer began work on
this piece. Murata
performed music for
audiences primarily as a
leader and conductor of
Kurume City Brass, a
group which is active in
Fukuoka Prefecture in
Japan. Eternal
Frienship depicts a
five-minute chorale which
explores “how music
can convey that a close
friend is indispensable
to you, more broadly,
everyone to
someone,†much like
how Murata conveyed the
appeal of music to his
audiences. Under the
direction of the composer
himself, the work had its
world premiere and was
recorded with the Kobe
College Wind Orchestra.
Dit werk werpt
een blik op fijne
ontmoetingen en
vertrouwelijke relaties
tussen mensen en gaat uit
van het idee dat
vriendschap voor altijd
is. Nadat
Yagisawa’s goede
vriend en collega Tsutomu
Murata, een van de
ontwerpers van Neo
Create, in augustus 2020
overleed, begon hij aan
deze compositie te
werken. Murata musiceerde
vooral als muzikaal
leider en dirigent van
Kurume City Brass, een
ensemble dat actief is in
de Japanse prefectuur
Fukuoka. Eternal
Frienship is een vijf
minuten durend koraal
waarin wordt verkend hoe
muziek kan verklanken dat
een goede vriendschap
onmisbaar voor je is en
hoe dit principe in
bredere zin voor alle
mensen geldt. Op een
vergelijkbare manier wist
Murata de betekenis van
muziek op zijn publiek
over te brengen. Het werk
is onder leiding van de
componist zelf in
première gebracht en
werd opgenomen door het
Kobe College Wind
Orchestra.
Dieses
Werk betrachtet
Begegnungen und
Vertrauensbeziehungen
zwischen Menschen, die
überzeugt davon sind,
dass Freundschaft ewig
hält“. Nach dem
Tod von Satoshi Yagisawas
engem Freund und Kollegen
Tsutomu Murata, einem
Designer von Neo Create,
im August 2020 begann der
Komponist mit der Arbeit
an diesem Stück.
Murata trat
hauptsächlich als
Leiter und Dirigent von
Kurume City Brass, einem
Blasorchester in der
Präfektur Fukuoka in
Japan, in Erscheinung.
Eternal Frienship
besteht aus einem
fünfminütigen
Choral, der beschreibt,
wie Musik verdeutlichen
kann, dass ein enger
Freund für jeden
unverzichtbar ist“
eben genauso, wie auch
Murata seinem Publikum
die Anziehungskraft der
Musik vermittelt hat. Das
Werk wurde unter der
Leitung des Komponisten
mit dem Kobe College Wind
Orchestra uraufgeführt
und aufgenommen.
Cette Å“uvre
examine les rencontres et
rapports de confiance
entre les gens, selon
l’idée que «
l’amitié est
éternelle ».
Satoshi Yagisawa
commença écrire
cette pièce la suite
du décès, en ao t
2020, de son associé
et ami proche, Tsutomu
Murata, un concepteur de
Neo Create. Murata se
produisait en public
principalement en tant
que directeur et chef
d’orchestre de
Kurume City Brass, un
ensemble actif dans la
préfecture de Fukuoka,
au Japon. Eternal
Frienship prend la
forme d’un choral
de cinq minutes qui
explore « comment la
musique peut exprimer
l’idée
qu’il est
indispensable
d’avoir un ami
proche et, plus
largement, que
l’on ne peut vivre
sans les autres ».
Murata savait
certainement communiquer
l’attrait de la
musique son public.
Eternal Frienship
a été créée
et enregistrée par
l’Harmonie du
collège de Kobe
(Japon) sous la direction
du compositeur
lui-même.
2020 8 “
â€. $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Mother [Conducteur] Deutscher Verlag für Musik
Voice(s) with various inst. (vce,trp,tbne,dr,pno) SKU: BR.DV-1354A 1st...(+)
Voice(s) with various
inst.
(vce,trp,tbne,dr,pno)
SKU: BR.DV-1354A
1st Version - 9
Ballads from the Didactic
Play. Composed by
Hanns Eisler. Edited by
Manfred Grabs. Voice;
Softbound. Deutscher
Verlag. Music samples
please see Die Mutter -
2nd version. Song; Early
modern; Music post-1945.
Full score. Composed
Berlin 1931/1932. 68
pages. Deutscher Verlag
fur Musik #DV 1354a.
Published by Deutscher
Verlag fur Musik
(BR.DV-1354A). ISBN
9790200410242. 9 x 12
inches. Die ,,Neun
Balladen sind weitgehend
mit der Musik identisch,
die Hanns Eisler im
Herbst 1931 fur Bertolt
Brechts Lehrstuck ,,Die
Mutter schrieb. Es fehlt
lediglich das nur in
skizzenhafter
Aufzeichnung uberlieferte
,,Lied vom Ausweg, das
funf Jahre spater als
,,Lied von der Suppe neu
komponiert wurde. Ob
seinerzeit schon der
Schlusschor ,,Lob der
Dialektik existierte, auf
den sich Brecht in seiner
1935 verfassten
Beschreibung der Musik
bezieht, geht aus den
erhaltenen Quellen nicht
hervor. Zur Arbeit an der
Dramatisierung des Romans
,,Die Mutter von Maxim
Gorki versammelte Brecht
ein Mitarbeiterkollektiv
um sich, dem neben Slatan
Dudow und Gunter
Weisenborn auch Hanns
Eisler angehorte. Die
erste offentliche
Auffuhrung des Stuckes
durch die ,,Gruppe junger
Schauspieler unter dem
Patronat der
revolutionaren ,,Jungen
Volksbuhne fand am 17.
Januar 1932 im Berliner
Komodienhaus am
Schiffbauerdamm statt.
Helene Weigel, die damals
bereits die Mutter
spielte, berichtete das
Stuck sei - auch
hinsichtlich der
Inszenierung und des
Buhnenbildes - so
eingerichtet gewesen,
dass man es uberall,
selbst in Salen in den
Arbeiterbezirken,
auffuhren konnte. (Dieses
Vorhaben wurde jedoch
durch die erstarkende
faschistische Reaktion
vereitelt.) Die
Spielweise war im
Hinblick auf das
proletarische Publikum
unmittelbar agitatorisch.
Dieser Konzeption
entsprachen auch Gestus
und Zuschnitt der Musik.
Brecht wehrte allerdings
ab, dass sie ,,einfach
sei: ,,Sie ist als Musik
ziemlich kompliziert, und
ich kenne keine
ernsthaftere als sie. Sie
ermoglichte in einer
bewunderungswurdigen
Weise gewisse
Vereinfachungen
schwierigster politischer
Probleme, deren Losung
fur das Proletariat
lebensnotwendig ist ...
Wer glaubt, dass einer
Massenbewegung, die sich
der schrankenlosen
Gewalt, Unterdruckung und
Ausbeutung
gegenubersieht, ein so
strenger und zugleich so
zarter, vernunftiger
Gestus, wie ihn diese
Musik propagiert, nicht
angemessen sei, der hat
eine wichtige Seite
dieses Kampfes nicht
begriffen. Die ,,Neun
Balladen (zunachst
sollten nur sieben
ausgewahlt werden) wurden
noch in den letzten
Monaten vor dem
faschistischen
Machtantritt
zusammengestellt, eine
Veroffentlichung war
jedoch nicht mehr
moglich. Die
,,Mutter-Musik erlebte
einige Metamorphosen:
1935/36 schrieb Eisler in
den USA eine Fassung fur
zwei Klaviere, 1949
entstand die Kantate und
1950 die erweiterte
Einrichtung fur das
Berliner Ensemble.Die
vorliegende Ausgabe
basiert auf den im
HannsEisler-Archiv
befindlichen Quellen:
Partitur-Autograph (EA
70/1-52; C 115),
Partitur-Abschrift von
fremder Hand (EA 17
/82-128),
Stimmen-Abschriften von
fremder Hand (EA
154/1-138). (Manfred
Grabs) Audio samples of
the Mother are to be
found in the 2nd
version. $51.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| The Mother Deutscher Verlag für Musik
Voice(s) with various inst. (vce,trp,tbne,dr,pno) SKU: BR.DV-1354C 1st...(+)
Voice(s) with various
inst.
(vce,trp,tbne,dr,pno)
SKU: BR.DV-1354C
1st Version - 9
Ballads from the Didactic
Play. Composed by
Hanns Eisler. Voice;
Softcover. Deutscher
Verlag. Music samples
please see Die Mutter -
2nd version. Song; Early
modern; Music post-1945.
Choral score. Composed
Berlin 1931/1932. 12
pages. Deutscher Verlag
fur Musik #DV 1354c.
Published by Deutscher
Verlag fur Musik
(BR.DV-1354C). ISBN
9790200410259. 9 x 12
inches. Die ,,Neun
Balladen sind weitgehend
mit der Musik identisch,
die Hanns Eisler im
Herbst 1931 fur Bertolt
Brechts Lehrstuck ,,Die
Mutter schrieb. Es fehlt
lediglich das nur in
skizzenhafter
Aufzeichnung uberlieferte
,,Lied vom Ausweg, das
funf Jahre spater als
,,Lied von der Suppe neu
komponiert wurde. Ob
seinerzeit schon der
Schlusschor ,,Lob der
Dialektik existierte, auf
den sich Brecht in seiner
1935 verfassten
Beschreibung der Musik
bezieht, geht aus den
erhaltenen Quellen nicht
hervor. Zur Arbeit an der
Dramatisierung des Romans
,,Die Mutter von Maxim
Gorki versammelte Brecht
ein Mitarbeiterkollektiv
um sich, dem neben Slatan
Dudow und Gunter
Weisenborn auch Hanns
Eisler angehorte. Die
erste offentliche
Auffuhrung des Stuckes
durch die ,,Gruppe junger
Schauspieler unter dem
Patronat der
revolutionaren ,,Jungen
Volksbuhne fand am 17.
Januar 1932 im Berliner
Komodienhaus am
Schiffbauerdamm statt.
Helene Weigel, die damals
bereits die Mutter
spielte, berichtete das
Stuck sei - auch
hinsichtlich der
Inszenierung und des
Buhnenbildes - so
eingerichtet gewesen,
dass man es uberall,
selbst in Salen in den
Arbeiterbezirken,
auffuhren konnte. (Dieses
Vorhaben wurde jedoch
durch die erstarkende
faschistische Reaktion
vereitelt.) Die
Spielweise war im
Hinblick auf das
proletarische Publikum
unmittelbar agitatorisch.
Dieser Konzeption
entsprachen auch Gestus
und Zuschnitt der Musik.
Brecht wehrte allerdings
ab, dass sie ,,einfach
sei: ,,Sie ist als Musik
ziemlich kompliziert, und
ich kenne keine
ernsthaftere als sie. Sie
ermoglichte in einer
bewunderungswurdigen
Weise gewisse
Vereinfachungen
schwierigster politischer
Probleme, deren Losung
fur das Proletariat
lebensnotwendig ist ...
Wer glaubt, dass einer
Massenbewegung, die sich
der schrankenlosen
Gewalt, Unterdruckung und
Ausbeutung
gegenubersieht, ein so
strenger und zugleich so
zarter, vernunftiger
Gestus, wie ihn diese
Musik propagiert, nicht
angemessen sei, der hat
eine wichtige Seite
dieses Kampfes nicht
begriffen. Die ,,Neun
Balladen (zunachst
sollten nur sieben
ausgewahlt werden) wurden
noch in den letzten
Monaten vor dem
faschistischen
Machtantritt
zusammengestellt, eine
Veroffentlichung war
jedoch nicht mehr
moglich. Die
,,Mutter-Musik erlebte
einige Metamorphosen:
1935/36 schrieb Eisler in
den USA eine Fassung fur
zwei Klaviere, 1949
entstand die Kantate und
1950 die erweiterte
Einrichtung fur das
Berliner Ensemble.Die
vorliegende Ausgabe
basiert auf den im
HannsEisler-Archiv
befindlichen Quellen:
Partitur-Autograph (EA
70/1-52; C 115),
Partitur-Abschrift von
fremder Hand (EA 17
/82-128),
Stimmen-Abschriften von
fremder Hand (EA
154/1-138). (Manfred
Grabs) Audio samples of
the Mother are to be
found in the 2nd
version. $5.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Sinfonietta No. 4 Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band (Score) - Grade 5 SKU: HL.44011052 Stramproy Centennial(+)
Concert Band (Score) -
Grade 5 SKU:
HL.44011052
Stramproy
Centennial. Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert. Score Only.
Composed 2011. Anglo
Music Press #AMP274140.
Published by Anglo Music
Press (HL.44011052).
UPC: 884088639976.
9x12 inches.
English-German-French-Dut
ch. Philip Sparke's
Sinfonietta No. 4
is comprised of three
parts that are played as
an uninterrupted whole.
The _x001F_first movement
begins with a lyrical
fugato passage, framing a
brisker and more
rhythmical middle
section. The second
movement is slower and
contains a long and
expressive euphonium
solo. The third movement
is a salute to the
sponsor of this
commission: various
percussion instruments
conjure up sounds
reminiscent of a
carpenter's workshop,
accompanied by a unison
orchestral passage in a
scat style.
Philip
Sparke schreef
Sinfonietta No 4
voor de Fanfare St.
Willibrordus Stramproy
ter gelegenheid van het
honderdjarig bestaan van
het orkest in 2009. De
opdracht kwam van Math en
Nol Palmen van
Timmerfabriek Palmen, die
inhetzelfde jaar maar
liefst tweehonderd jaar
bestond. De compositie
was een geschenk aan het
fanfareorkest als symbool
van de dubbele
feestelijkheden.Sinfon
ietta No 4 werd voor
het eerst ten gehore
gebracht toen het
orkestop 28 juni 2009
zijn honderdjarig
jubileum vierde. De
eerste openbare premiere
vond op 18 oktober plaats
tijdens het bondsconcours
van de LBM te Venlo. Het
werk bestaat uit drie
aaneengesloten delen. Het
eerste deel beschrijft
hetdorp Stramproy - een
lyrische fugato passage
omsluit hier een sneller
en ritmischer gedeelte.
Het tweede deel is
langzamer en bevat een
lange, expressieve
euphoniumsolo. Tot slot
is het derde deel een
muzikale groet aan
TimmerfabriekPalmen: het
opent met geluiden uit de
werkplaats op diverse
slagwerkinstrumenten, die
een unisono passage in
scatstijl in het orkest
begeleiden.In 2010 heeft
de componist het werk
voor harmonieorkest
bewerkt. Deze versie
werdin november 2010 voor
het eerst ten gehore
gebracht door de Osaka
Municipal Symphonic
Band.
Philip
Sparkes Sinfonietta
No. 4 besteht aus
drei Teilen, die ohne
Unterbrechung gespielt
werden. Der erste Satz
beginnt mit einer
lyrischen Fugato-Passage,
die einen schnelleren und
rhythmischeren Mittelteil
umrahmt. Der zweite Teil
ist langsamer und enthalt
ein langes, expressives
Euphoniumsolo. Der dritte
Teil ist ein Salut an den
Sponsor dieses
Kompositionsauftrags:
Diverse Schlaginstrumente
erinnern an die Klange
aus einer Schreinerei,
unisono begleitet von
einer Orchesterpassage im
Scat-Stil.
Sinf
onietta Ndeg 4 est
une oeuvre en trois
mouvements qui
s'enchainent sans
interruption. Le premier
mouvement decrit le
village de Stramproy. Il
s'ouvre avec un passage
lyrique en style fugue
qui enserre un passage
central plus rapide et
plus rythme. Dans le
second mouvement, la
musique est plus apaisee.
Un magni_x001C_fique solo
d'euphonium traverse la
trame musicale. Le
troisieme et dernier
mouvement illustre les
activites de l'entreprise
commanditaire de
l'oeuvre. On entend les
bruits de l'atelier dans
un passage pour
multi-percussions, qui
ornemente une texture
orchestrale a l'unisson,
proche du
scat.
Sinfoniet
ta No. 4 si compone
di tre parti da eseguire
senza interruzione. Il
primo movimento inizia
con un lirico passaggio
fugato, che fa da cornice
a una parte centrale piu
veloce e ritmica. Nel
secondo movimento la
musica e piu calma. Un
magni_x001E_fico assolo
di eufonio attraversa la
trama musicale. Il terzo
movimento descrive in
musica le attivita
dell'azienda che ha
commissionato il brano
(un laboratorio di
falegnameria), attraverso
un passaggio per le
percussioni che ornano un
andamento orchestrale
all'unisono. $80.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sinfonietta No. 4 Orchestre d'harmonie - Intermédiaire Anglo Music
Concert Band (Score and Parts) - Grade 5 SKU: HL.44011051 Stramproy Ce...(+)
Concert Band (Score and
Parts) - Grade 5 SKU:
HL.44011051
Stramproy
Centennial. Composed
by Philip Sparke. Anglo
Music Concert Band. Set
(Score and Parts).
Composed 2011. Anglo
Music Press #AMP274010.
Published by Anglo Music
Press (HL.44011051).
UPC: 884088639969.
9x12 inches.
English-German-French-Dut
ch. Philip Sparke's
Sinfonietta No. 4
is comprised of three
parts that are played as
an uninterrupted whole.
The _x001F_first movement
begins with a lyrical
fugato passage, framing a
brisker and more
rhythmical middle
section. The second
movement is slower and
contains a long and
expressive euphonium
solo. The third movement
is a salute to the
sponsor of this
commission: various
percussion instruments
conjure up sounds
reminiscent of a
carpenter's workshop,
accompanied by a unison
orchestral passage in a
scat style.
Philip
Sparke schreef
Sinfonietta No 4
voor de Fanfare St.
Willibrordus Stramproy
ter gelegenheid van het
honderdjarig bestaan van
het orkest in 2009. De
opdracht kwam van Math en
Nol Palmen van
Timmerfabriek Palmen, die
inhetzelfde jaar maar
liefst tweehonderd jaar
bestond. De compositie
was een geschenk aan het
fanfareorkest als symbool
van de dubbele
feestelijkheden.Sinfon
ietta No 4 werd voor
het eerst ten gehore
gebracht toen het
orkestop 28 juni 2009
zijn honderdjarig
jubileum vierde. De
eerste openbare premiere
vond op 18 oktober plaats
tijdens het bondsconcours
van de LBM te Venlo. Het
werk bestaat uit drie
aaneengesloten delen. Het
eerste deel beschrijft
hetdorp Stramproy - een
lyrische fugato passage
omsluit hier een sneller
en ritmischer gedeelte.
Het tweede deel is
langzamer en bevat een
lange, expressieve
euphoniumsolo. Tot slot
is het derde deel een
muzikale groet aan
TimmerfabriekPalmen: het
opent met geluiden uit de
werkplaats op diverse
slagwerkinstrumenten, die
een unisono passage in
scatstijl in het orkest
begeleiden.In 2010 heeft
de componist het werk
voor harmonieorkest
bewerkt. Deze versie
werdin november 2010 voor
het eerst ten gehore
gebracht door de Osaka
Municipal Symphonic
Band.
Philip
Sparkes Sinfonietta
No. 4 besteht aus
drei Teilen, die ohne
Unterbrechung gespielt
werden. Der erste Satz
beginnt mit einer
lyrischen Fugato-Passage,
die einen schnelleren und
rhythmischeren Mittelteil
umrahmt. Der zweite Teil
ist langsamer und enthalt
ein langes, expressives
Euphoniumsolo. Der dritte
Teil ist ein Salut an den
Sponsor dieses
Kompositionsauftrags:
Diverse Schlaginstrumente
erinnern an die Klange
aus einer Schreinerei,
unisono begleitet von
einer Orchesterpassage im
Scat-Stil.
Sinf
onietta Ndeg 4 est
une oeuvre en trois
mouvements qui
s'enchainent sans
interruption. Le premier
mouvement decrit le
village de Stramproy. Il
s'ouvre avec un passage
lyrique en style fugue
qui enserre un passage
central plus rapide et
plus rythme. Dans le
second mouvement, la
musique est plus apaisee.
Un magni_x001C_fique solo
d'euphonium traverse la
trame musicale. Le
troisieme et dernier
mouvement illustre les
activites de l'entreprise
commanditaire de
l'oeuvre. On entend les
bruits de l'atelier dans
un passage pour
multi-percussions, qui
ornemente une texture
orchestrale a l'unisson,
proche du
scat.
Sinfoniet
ta No. 4 si compone
di tre parti da eseguire
senza interruzione. Il
primo movimento inizia
con un lirico passaggio
fugato, che fa da cornice
a una parte centrale piu
veloce e ritmica. Nel
secondo movimento la
musica e piu calma. Un
magni_x001E_fico assolo
di eufonio attraversa la
trama musicale. Il terzo
movimento descrive in
musica le attivita
dell'azienda che ha
commissionato il brano
(un laboratorio di
falegnameria), attraverso
un passaggio per le
percussioni che ornano un
andamento orchestrale
all'unisono. $331.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bohemian Rhapsody Ensemble de Clarinettes [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Clarinet Choir - intermediate SKU: BT.DHP-1135507-070 Composed by Freddie...(+)
Clarinet Choir -
intermediate SKU:
BT.DHP-1135507-070
Composed by Freddie
Mercury. Arranged by
Roland Kernen. De Haske
Clarinet Series. Set
(Score & Parts). Composed
2013. 12 pages. De Haske
Publications #DHP
1135507-070. Published by
De Haske Publications
(BT.DHP-1135507-070).
ISBN 9789043138734.
9x12
inches. Nstrumentat
ion 1 - Conductor 1 - Eb
Clarinet 1 - Bb Clarinet
1 1 - Bb Clarinet 2 1 -
Bb Clarinet 3 1 - Eb Alto
Clarinet 1 - Bb Bass
Clarinet 1 - Eb Contralto
Clarinet 1 - Bb
Contrabass Clarinet
Bohemian
Rhapsody was een
wereldwijde hit voor
Queen in 1975/1976, en de
heruitgave in 1991 werd
ook een groot hitsucces.
Het wordt algemeen
beschouwd als één
van de succesrijkste
popnummers aller tijden.
Met pop-, opera-,
klassieke rapsodie-en
rockelementen, is dit
nummer een hele uitdaging
voor klarinetensemble en
saxofoonkwartet!
Diesen Popsong
der Gruppe QUEEN kennt
eigentlich jeder - er
zählt zu den wohl
erfolgreichsten Hits
aller Zeiten.
Abwechslungsreich und
voller Ãœberraschungen
springt die Melodie
zwischen verschiedenen
Stilen hin- und her. Ein
Crossover mit
vielenHerausforderung
für alle Mitglieder
des
Ensembles.
Lors de
sa sortie dans les bacs,
Bohemian Rhapsody,
immense succès du
groupe Queen,
bouleversait les
conventions : une chanson
sans refrain, une
ballade, des passages de
hard rock, des traits
d´opéra... Un
concentré de bonheur
musical pourEnsemble vent
! Instrumentation :
Chœur de Clarinettes
: Clar. Mi / Clar. Si /
Clar. Alto / Clar. Basse
/ Cla. Contralto Mi /
Cla. Contrebasse Si.
Bohemian
Rhapsody, celebre per
la sua struttura musicale
con un´introduzione a
cappella, un segmento in
stile ballata che termina
con un assolo di
chitarra, un passaggio
d´opera e una sezione
rock, conobbe un enorme
successo per il
suoapproccio totalmente
innovativo. L´immenso
successo della band Queen
è un vero
concentrato di piacere
musicale! Strumentazione:
Coro di Clarinetti :
Clar. Mi♭ / Clar.
Si♭ / Clar.
contralto / Clar. basso /
Cla. Contralto Mi♭
/Cla. contrabasso
Si♭. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Bohemian Rhapsody Quatuor de Saxophones: 4 saxophones [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Saxophone Quartet - intermediate SKU: BT.DHP-1135506-070 Composed by Fred...(+)
Saxophone Quartet -
intermediate SKU:
BT.DHP-1135506-070
Composed by Freddie
Mercury. Arranged by
Roland Kernen. De Haske
Saxophone Series. Pop &
Rock. Set (Score &
Parts). Composed 2013. 12
pages. De Haske
Publications #DHP
1135506-070. Published by
De Haske Publications
(BT.DHP-1135506-070).
ISBN 9789043144810.
9x12
inches. Instrumenta
tion 1 - Conductor 1 -
Alto Saxophone 1 1 - Alto
Saxophone 2 1 - Tenor
Saxophone 1 - Baritone
Saxophone Additional Part
1 - Soprano Saxophone
substitute for Alto
Saxophone 1
Bohemian
Rhapsody was een
wereldwijde hit voor
Queen in 1975/1976, en de
heruitgave in 1991 werd
ook een groot hitsucces.
Het wordt algemeen
beschouwd als één
van de succesrijkste
popnummers aller tijden.
Met pop-, opera-,
klassieke rapsodie-en
rockelementen, is dit
nummer een hele uitdaging
voor klarinetensemble en
saxofoonkwartet!
Diesen Popsong
der Gruppe QUEEN kennt
eigentlich jeder - er
zählt zu den wohl
erfolgreichsten Hits
aller Zeiten.
Abwechslungsreich und
voller Ãœberraschungen
springt die Melodie
zwischen verschiedenen
Stilen hin- und her. Ein
Crossover mit
vielenHerausforderung
für alle Mitglieder
des Ensembles.
Lors de sa sortie
dans les bacs,
Bohemian Rhapsody,
immense succès du
groupe Queen,
bouleversait les
conventions : une chanson
sans refrain, une
ballade, des passages de
hard rock, des traits
d´opéra... Un
concentré de bonheur
musical pourEnsemble vent
! Instrumentation :
Quatuor de Saxophones :
Saxophone Soprano (ad
Libitum) / Saxophone Alto
/ Saxophone Ténor /
Saxophone Baryton
.
Bohemian
Rhapsody, celebre per
la sua struttura musicale
con un´introduzione a
cappella, un segmento in
stile ballata che termina
con un assolo di
chitarra, un passaggio
d´opera e una sezione
rock, conobbe un enorme
successo per il
suoapproccio totalmente
innovativo. L´ immenso
successo della band Queen
è un vero concentrato
di piacere musicale!
Strumentazione: Quartetto
di sassofoni: Sassofono
soprano (ad lib.) /
Sassofono contralto /
Sassofono tenore /
Sassofono baritono. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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