Somebody To Love Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1185966-120 As Performed by Queen(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1185966-120
As Performed by
Queen. Composed by
Freddie Mercury. Arranged
by Peter Kleine Schaars.
Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2018. 16 pages. De Haske
Publications #DHP
1185966-120. Published by
De Haske Publications
(BT.DHP-1185966-120).
Somebody to
Love, from rock
legends Queen, is one of
the most popular rock
ballads of all time.
Taking its inspiration
from gospel choirs, the
band’s vocal lines
were multiplied many
times over to create a
full choral sound. This
layered effect has been
carefully preserved in
Peter Kleine
Schaars’ powerful
arrangement for fanfare
band.
Somebody
to Love komt van het
album A Day at the
Races van Queen uit
1976. Het is een
rockballad. Ge nspireerd
door het gezang van
gospelkoren,
vermenigvuldigden ze hier
de stemmen van Freddie
Mercury, Brian May en
Roger Taylor tot een
gigantisch koor. Dit
zorgde voor een heel
speciale sound. En juist
dit bijzondere geluid
weet Peter Kleine Schaars
heel goed te behouden in
zijn bewerking voor
orkest.
Somebody to
Love ist eine
Rockballade aus dem Album
A Day at the Races
von 1976. Inspiriert vom
Gesang von
Gospelchören, wurden
fu r die Aufnahme die
Stimmen von Freddie
Mercury, Brian May und
Roger Taylor zu einem
riesigen Chor
vervielfacht, was fu r
den speziellen Sound des
Titels sorgte. Dieses
besondere Feeling ist
auch in der
Fanfarebearbeitung von
Peter Kleine Schaars sehr
schön erhalten.
Trombone and Piano - advanced SKU: CY.CC2663 Composed by Arnold Schoenber...(+)
Trombone and Piano -
advanced
SKU:
CY.CC2663
Composed by
Arnold Schoenberg.
Arranged by Ralph Sauer.
20th Century. Solo part
and Piano accompaniment.
Published by Cherry
Classics (CY.CC2663).
Arnold
Schoenberg's Six Little
Pieces, Opus 19,
originally for Piano,
were published in 1913 at
a time when the composer
was reacting to his
feelings of the excesses
of the Romantic Period.
They were composed
concurrently with his
gigantic work
Gurre-Lieder. The first
five pieces were written
in one day and the last
one shortly after the
death of Gustav Mahler as
a rumored tombeau or
memorial. Mr. Sauer has
deftly arranged these six
short pieces of around 5
minutes in length for
advanced performers.
Symphony No. 3 for Band Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé Alfred Publishing
By Vittorio Giannini. By Vittorio Giannini. For Concert Band. Concert Band. Belw...(+)
By Vittorio Giannini. By
Vittorio Giannini. For
Concert Band. Concert
Band. Belwin Classic
Band. Level: Medium
Advanced (grade V).
Conductor Score and
Parts. 832 pages.
Duration 23:40. Published
by Alfred Publishing.
Stonehenge Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire/avancé De Haske Publications
Concert Band/Harmonie - Grade 6 SKU: BT.DHP-1053805-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 6
SKU:
BT.DHP-1053805-010
Composed by Jan Van der
Roost. Arranged by Tohru
Takahashi. Sovereign
Series. Concert Piece.
Set (Score & Parts).
Composed 2005. De Haske
Publications #DHP
1053805-010. Published by
De Haske Publications
(BT.DHP-1053805-010).
9x12 inches.
English-German-French-Dut
ch.
This piece
attempts to portray
atmospheric pictures
through music. The
opening section evokes
the somewhat misty and
hazy early morning
atmosphere surrounding
the ancient monument.
When the band reaches its
first dynamic climax it
is as if the massive
boulders are audible,
even touchable through
the use of minor 3rd
chords. The main theme -
constructed on the notes
CAFBG symbolises the
arrangement of the
central boulders in the
shape of a horseshoe,
which forms the focal
point of this huge
collection of stones.
Towards the end of the
work you will experience
a fantastic effect when
five soloists play a five
part hymn whilst other
members of the band
create a
specialatmosphere by
imitating a choir of
monks and druids. A
fantastic major new
concert work for advanced
bands.
Een enorme
cirkel van gigantische
rechtopstaande stenen
staat al zo’n 3500
jaar lang in het
zuidwesten van Engeland.
In dit werk zijn
sfeerbeelden omgezet in
muziek. Hoewel er geen
concreet verhaal aan ten
grondslag ligt en er
geenduidelijk scenario is
gebruikt, verklankt deze
compositie het mysterie
en de grootsheid van het
eeuwenoude geheimzinnige
monument Stonehenge op
voortreffelijke
wijze.
Im
Südwesten Englands
steht seit fast 3500
Jahren ein Ring riesiger
Steine: Stonehenge. Das
gleichnamige Werk von Jan
Van der Roost bringt
mystische Stimmungen und
Bilder rund um die alte
Stätte auf
musikalische Weise zum
Klingen. Das Hauptmotiv
aus fünf Tönen
zieht sich durch das
gesamte Werk und
symbolisiert den
hufeisenförmigen
inneren Ring des riesigen
Steinkreises. Später
gemahnen fünf
Vokalsolisten sowie ein
gesungener Druiden- und
Mönchs-Chor an Stimmen
aus einer fremden Welt.
Stonehenges
ungelüftetes Geheimnis
schlug den Komponisten in
seinen Bann und
inspirierte ihn zu diesem
ebenso unwiderstehlichen
Werk, das Tohru Takahashi
nun für Blasorchester
transkribierte.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Clive Brown.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
Ludwig van Beethoven
composed the Choral
Fantasy op. 80 for the
gigantic concert event
that took place at the
Theater an der Wien on 22
December 1808. Solo
concerto; Classical.
Part. 4 pages. Breitkopf
and Haertel #OB 5230-16.
Published by Breitkopf
and Haertel
(BR.OB-5230-16).
ISBN
9790004331521. 10 x 12.5
inches.
The history
of the origins and
sources of Beethovens
Choral Phantasy is
complex and poses
considerable difficulties
to todays researchers. A
definitive final version
is not extant. Instead,
there are contemporary
printed editions which
diverge from each other
in many details. The
English musicologist
Clive Brown thus also
based part of his
text-critical work on his
comprehensive knowledge
of the performance and
notation practice of
Beethovens time.Fur
Orchester, die
gelegentlich mit einem
Chor zusammenarbeiten,
auf jeden Fall zu
empfehlen. Ein gerade in
seiner Einmaligkeit
interessantes Stuck - und
auch nicht besonders
schwer. Verwiesen sei
noch auf das vorzugliche
Vorwort des Herausgebers.
(Plischke, Das
Liebhaberorchester).
First Sonata on Shakespearean Characters Solo Guitar. Composed by Hans Werner ...(+)
First Sonata on
Shakespearean
Characters Solo Guitar.
Composed by Hans Werner
Henze
(1926-). Edited by Marco
Minà.
Guitar. Classical.
Softcover.
48 pages. Duration 1500
seconds. Schott Music
#GA580.
Published by Schott Music
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Bandwidth Orchestre d'harmonie [Conducteur] - Facile Alfred Publishing
Concert Band - Grade 2 SKU: AP.49515S Composed by Vince Gassi (SOCAN). Co...(+)
Concert Band - Grade 2
SKU: AP.49515S
Composed by Vince Gassi
(SOCAN). Concert Band;
MakeMusic Cloud;
Performance Music
Ensemble. Young
Symphonic. Score.
Duration 2:14. Alfred
Music #00-49515S.
Published by Alfred Music
(AP.49515S).
ISBN
9781470649555. UPC:
038081570334.
English.
Bandwidth,
according to Webster's
Dictionary, is the
maximum data transfer
rate of an electronic
communications system. In
Bandwidth by Vince Gassi,
waves of sound and
rhythmic energy (1.21
gigawatts to be exact)
are transferred to you
and your audiences. Right
from the first measure
this piece will power on
and power you up.
Syncopated figures
contrast with legato
lines while the momentum
build throughout. Not too
complicated, just fun to
play and easy to listen
to. (2:14) This title is
available in MakeMusic
Cloud.
Piano SKU: BR.MN-12054 Mit CD. Composed by Jurg Hanselmann. Solo i...(+)
Piano
SKU:
BR.MN-12054
Mit
CD. Composed by Jurg
Hanselmann. Solo
instruments; Softcover.
Musikverlag Nepomuk.
Music pedagogy; Romantic.
Score. 44 pages.
Breitkopf and Haertel #MN
12054. Published by
Breitkopf and Haertel
(BR.MN-12054).
ISBN
9790004791806. 9 x 12
inches.
Wer bringt
sie zum Klingen - die
legendaren Luxuszuge und
die gigantischen,
donnernden
Dampflokomotiven? Der
Pianist und Komponist
Jurg Hanselmann legt hier
sechs wahrlich
hinreissende Stucke vor -
fur versierte
Spieler/innen ein Fest!
Musik und Eisenbahn
faszinierten Jurg
Hanselmann schon seit
fruher Kindheit. Wie sich
diese scheinbar
gegensatzlichen Passionen
erganzen konnen, zeigen
einerseits diese
<>, andererseits
aber auch seine CD ,,Die
Eisenbahn in der
Klaviermusik (Prezioso CD
800.062).
String quartet and marimba - difficult SKU: HL.49018066 For marimba an...(+)
String quartet and
marimba - difficult
SKU: HL.49018066
For marimba and string
quartet. Composed by
Steve Martland. This
edition: Folder. Sheet
music. Ensemble. Van
Gogh's visionary painting
The Starry Night provides
the title, if not the
stimulus, for this music.
Rather, personal memories
of Africa are recalled
and in particular the
sound of music and
dancing both near and in
the distance all taking
place under. Set of
parts. Composed
2007-2008. Duration 20'.
Schott Music #ED13276-10.
Published by Schott Music
(HL.49018066).
ISBN
9790220131592. UPC:
884088567309.
9.0x12.0x0.339
inches.
A virtuoso
work for an increasingly
popular instrumental
combination, the title
(after Van Gogh's
visionary painting The
Starry Night) gives a
sense of the intensity of
this music. Personal
memories of Africa are
recalled and in
particular the sound of
music and dancing both
near and in the distance
all taking place under
the vivid starry night
sky.
Van Gogh's
visionary painting The
Starry Night provides the
title, if not the
stimulus, for this music.
Rather, personal memories
of Africa are recalled
and in particular the
sound of music and
dancing both near and in
the distance all taking
place under the vivid
starry night sky. So this
music is dance music and
maybe it tries to emulate
the dancing of Van Gogh's
gigantic stars. Steve
Martland.
Guitar - intermediate SKU: M7.PPV-20046929 Spielen und klingen wie die...(+)
Guitar - intermediate
SKU:
M7.PPV-20046929
Spielen und klingen
wie die Helden.
Edited by Thomas Blug.
Sheet music with DVD. PPV
Medien #PPV 20046929.
Published by PPV Medien
(M7.PPV-20046929).
ISBN
9783955121020.
Rock
Classics - zeitlose
Großtaten
unterschiedlichster
Spielrichtungen So lernt
ihr nicht nur die Riffs
und Licks von
Classic-Rock-Giganten wie
Led Zeppelin und Jimi
Hendrix anhand von
beispielhaften Songs. Auf
der DVD und im Songbook
finden sich außerdem
Artrock im Stil von Pink
Floyd oder bluesiger
Pop-Rock, wie ihn die
Dire Straits
perfektioniert haben.
Außerdem hat auch die
neue Generation des
Stadion-Rocks in Form von
den Foo Fighters einen
Platz gefunden. Damit ist
Rock Classics der bisher
vielseitigste Teil der
Best of school of
rock-Reihe, in der der
renommierte Gitarrist
Thomas Stratking of
Europe Blug nicht nur
jedes Lick Schritt für
Schritt erklärt,
sondern auch auf Sound
und Technik sowie die
einzelnen Funktionen von
Rhythmus- und Leadgitarre
dezidiert eingeht.
Ãœber 107 Minuten
erhaltet ihr einen
umfassenden Einblick in
die vielfältige Welt
des Rock'n'Roll und lernt
die Licks und Tricks von
den Besten der
Besten.
String quartet and marimba - difficult SKU: HL.49018033 For marimba an...(+)
String quartet and
marimba - difficult
SKU: HL.49018033
For marimba and string
quartet. Composed by
Steve Martland. This
edition: Saddle
stitching. Sheet music.
Ensemble. Van Gogh's
visionary painting The
Starry Night provides the
title, if not the
stimulus, for this music.
Rather, personal memories
of Africa are recalled
and in particular the
sound of music and
dancing both near and in
the distance all taking
place under. Score.
Composed 2007-2008. 64
pages. Duration 20'.
Schott Music #ED13276.
Published by Schott Music
(HL.49018033).
ISBN
9790220131240. UPC:
884088567286.
9.0x12.0x0.266
inches.
Van Gogh's
visionary painting The
Starry Night provides the
title, if not the
stimulus, for this music.
Rather, personal memories
of Africa are recalled
and in particular the
sound of music and
dancing both near and in
the distance all taking
place under the vivid
starry night sky. So this
music is dance music and
maybe it tries to emulate
the dancing of Van Gogh's
gigantic stars. Steve
Martland.
Urtext. Composed
by Ludwig van Beethoven.
Edited by Clive Brown.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
Ludwig van Beethoven
composed the Choral
Fantasy op. 80 for the
gigantic concert event
that took place at the
Theater an der Wien on 22
December 1808. Solo
concerto; Classical.
Part. 4 pages. Breitkopf
and Haertel #OB 5230-27.
Published by Breitkopf
and Haertel
(BR.OB-5230-27).
ISBN
9790004331552. 10 x 12.5
inches.
The history
of the origins and
sources of Beethovens
Choral Phantasy is
complex and poses
considerable difficulties
to todays researchers. A
definitive final version
is not extant. Instead,
there are contemporary
printed editions which
diverge from each other
in many details. The
English musicologist
Clive Brown thus also
based part of his
text-critical work on his
comprehensive knowledge
of the performance and
notation practice of
Beethovens time.Fur
Orchester, die
gelegentlich mit einem
Chor zusammenarbeiten,
auf jeden Fall zu
empfehlen. Ein gerade in
seiner Einmaligkeit
interessantes Stuck - und
auch nicht besonders
schwer. Verwiesen sei
noch auf das vorzugliche
Vorwort des Herausgebers.
(Plischke, Das
Liebhaberorchester).
Fanfare Band - Grade 3 SKU: BT.DHP-1053768-020 Composed by Bert Kaempfert...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1053768-020
Composed by Bert
Kaempfert. Arranged by
Roland Kernen. De Haske
Pop Collection. Pop &
Rock. Set (Score &
Parts). Composed 2005. De
Haske Publications #DHP
1053768-020. Published by
De Haske Publications
(BT.DHP-1053768-020).
English-German-French-
Dutch.
Der
Komponist, Arrangeur und
Dirigent Bert Kaempfert
genießt den Ruf eines
Giganten im Bereich der
Easy
Listening“-Musik.
Er schrieb Lieder für
Stars wie Ella
Fitzgerald, Shirley
Bassey oder Frank Sinatra
und schuf mit dem
Bert-Kaempfert-Orchester
seinen eigenen,
einzigartigen Sound.
Fasziniert von
südafrikanischer
Musik, ließ er sie in
mehrere seiner
Kompositionen und
Bearbeitungen
einfließen.
Afrikanisch für
Blasorchester!
Song of Hope Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115227-010 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115227-010
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Hymns & Chorals. Set
(Score & Parts). Composed
2012. De Haske
Publications #DHP
1115227-010. Published by
De Haske Publications
(BT.DHP-1115227-010).
9x12 inches.
English-German-French-Dut
ch.
2011 was a
disastrous year for
Japan: on March 11 the
northeast of the country
suffered a violent
earthquake, which
triggered a huge tsunami
and caused massive damage
to people and the
environment. The ensuing
problems with the nuclear
reactor atFukushima only
increased the misery: a
black day in the
country's
history... One almost
inevitable consequence of
such dramatic
circumstances is the
particular damage
suffered by the cultural
arts. And so it was in
Japan: various high
school wind orchestras in
the effected areas lost
their practice rooms
and/or instruments.It
will take a long time
before the damage
suffered is repaired -
and it will take great
effort to overcome the
psychological effects,
too. Focusing on the
latter, Yutada Nishida
(director of The
Bandwagon radio program)
asked a few composers
fora simple work that
could be played by many
orchestras. It just so
happened that the Osakan
Philharmonic Winds (with
whom Jan Van der Roost
had conducted a concert
exclusively of his own
works on September 25th)
had had a similar idea.
This concert saw the
baptism of Song of
Hope. This
pieceimmediately struck a
chord with musicians and
audience alike: it begins
bleakly in the low
register and evolves to a
more open, optimistic
close. There really is
hope for better
times!
2011 was
een rampzalig jaar voor
Japan: op 11 maart
teisterde een hevige
aardbeving het
noordoosten van het land,
bracht een enorme tsunami
teweeg en veroorzaakte
zeer grote schade aan
mens en natuur. De
daaruit voortvloeiende
problemenmet
dekernreactor van
Fukushima maakten de
ellende nog groter: een
zwarte pagina in het
bestaan van het land ...
Dat in dergelijke
dramatische
omstandigheden ook (en
vooral) het culturele
bestel een flinke knauw
krijgt, ishelaas een
haastonvermijdelijke
consequentie. Zo ook in
Japan: verschillende high
school bands in de
getroffen regio verloren
hun repetitieruimte en/of
instrumenten: het zal
lang duren voordat de
geleden schade is
hersteld - enhet zal ook
moeite kosten om er
mentaalweer bovenop te
geraken. Met het oog op
dat laatste aspect
verzocht Yutaka Nishida
(samensteller van het
radioprogramma The
Bandwagon) een paar
componisten om een
eenvoudig werkje te
schrijvendat speelbaar is
door een groot aantal
orkesten. Alsbij
toeval kwam een dergelijk
verzoek eveneens van de
kant van de OSAKAN
Philharmonic Winds,
waarmee Jan Van der Roost
op 25 september een
concert dirigeerde,
uitsluitend gewijdaan
eigen werken. Daar werd
Song of Hope dan
ook ten doop gehoudenen
het werkje sloeg meteen
aan bij uitvoerders en
publiek: na een tamelijk
donkere start in het lage
register evolueert het
tot een optimistischer en
opener slot.Er is
inderdaad hoop op betere
tijden!
Am 11.
März 2011 löste ein
heftiges Erdbeben in
Japan einen riesigen
Tsunami mit
desaströsen Folgen
für Mensch, Natur auch
das kulturelle Leben.
Yutaka Nishida vom
Radioprogramm The
Bandwagon bat daher
einige Komponisten,
darunter Jan Van
derRoost, ein einfaches,
für viele Orchester
spielbares Werk zu
schreiben. Song of
Hope beginnt
düster im tiefen
Register, um sich dann zu
einem optimistischeren
Schluss hin zu
entwickeln. Es gibt sie,
die Hoffnung auf bessere
Zeiten... !
Alvamar Overture Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
By James Barnes. By James Barnes. For Concert Band. Concert Band. Belwin Symphon...(+)
By James Barnes. By James
Barnes. For Concert Band.
Concert Band. Belwin
Symphonic Band. Level:
Medium Advanced (grade
V). Conductor Score and
Parts. 292 pages.
Duration 7:41. Published
by Alfred Publishing.
Best of Pixies Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Performed by Pixies. Piano/Vocal/Chords Songbook (Arrangements for piano and voi...(+)
Performed by Pixies.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 72 pages.
Published by Hal Leonard.