Cantolopera Collection. By Giuseppe Verdi. This edition: R139599. Cantolopera Se...(+)
Cantolopera Collection.
By Giuseppe Verdi. This
edition: R139599.
Cantolopera Series.
Collection and
Performance/Accompaniment
CD. Published by Ricordi.
Fanfare - HAYABUSA Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115085-140 Composed by Satos...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115085-140
Composed by Satoshi
Yagisawa. Concert and
Contest Collection CBHA.
Opening Pieces. Score
Only. Composed 2011. 16
pages. De Haske
Publications #DHP
1115085-140. Published by
De Haske Publications
(BT.DHP-1115085-140).
9x12 inches.
English-German-French-Dut
ch.
On June 13,
2010 the capsule from the
Hayabusa satellite
successfully returned to
earth after enduring a
grueling six billion
kilometer, seven year
journey to retrieve
samples from the Hayabusa
meteor. Composer Satoshi
Yagisawa was asked to
write a piece to
commemorate this
momentous occasion.
Fanfare -
HAYABUSA’s
premiere was so
successful that the piece
was performed a second
time in response to the
audience’s
standing ovation. Out of
this World!
Op 13
juni 2010 keerde de
ruimtecapsule van de
ruimtesonde Hayabusa
terug op aarde. Dit was
na een bijzondere reis
waarbij ze onder
moeilijke omstandigheden
bodemmonsters had genomen
van de meteoriet
Hayabusa. De reis had
zeven jaargeduurd en er
was zes miljard kilometer
afgelegd! De componist
Satoshi Yagisawa kreeg de
opdracht een werk te
schrijven ter herinnering
aan deze succesvolle
missie. Na de première
werd Fanfare HAYABUSA op
wens van het publiek
onderstaande ovatie nog
een keer
gespeeld.
Die
Kapsel der Raumsonde
Hayabusa kehrte am 13.
Juni 2010 zur Erde
zurück - nachdem
sie unter diversen
Schwierigkeiten
Bodenproben vom
Meteoriten Hayabusa
gesammelt und eine
siebenjährige Reise
von sechs Milliarden
Kilometern
zurückgelegt hatte!
Der Komponist Satoshi
Yagisawa wurde gebeten,
ein Stück zur
Erinnerung an die
erfolgreiche Mission, zu
schreiben. Nach der
Premiere wurde Fanfare
- HAYABUSA auf Wunsch
des Publikums noch einmal
als Zugabe unter
stehenden Ovationen
wiederholt.
La sonda
spaziale Hayabusa è
rientrata
nell’atmosfera
terrestre il 13 giugno
2010 cadendo nel deserto
australiano, dopo un
viaggio di circa due
miliardi di chilometri.
Lanciata nello spazio nel
2003, è atterrata su
un asteroide due anni
più tardi per
raccogliere campioni di
roccia. Satoshi Yagisawa
è stato incaricato di
comporre un brano per
celebrare il successo
della missione. La prima
esecuzione mondiale
dell’opera si è
rivelata un successo
straordinario.
Camel Ride Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band - Grade 2 SKU: BT.DHP-1084643-015 Comp...(+)
Concert
Band/Harmonie/Fanfare
Band - Grade 2
SKU:
BT.DHP-1084643-015
Composed by Jan de Haan.
De Haske Easy Band
Series. Concert Piece.
Set (Score & Parts).
Composed 2008. De Haske
Publications #DHP
1084643-015. Published by
De Haske Publications
(BT.DHP-1084643-015).
9x12 inches.
English-German-French-Dut
ch.
In Camel
Ride you will
experience the magic of a
colourful Arabic caravan
as it slowly passes by.
With this short work for
a flexible ten part
instrumentation, composer
Jan de Haan has
brilliantly reflected the
atmosphere of the parade
and carefully capturing
the mysticism of the
East. Camel Ride
will make a great
interlude in your concert
performances.
In
Camel Ride horen
we een karavaan
voorbijtrekken. In
rustige tred schrijdt de
kleurige stoet voort.
Componist Jan de Haan
heeft met dit korte werk
deze sfeer voortreffelijk
weten te
treffen.
Der im
Titel dieses Werkes
genannte Kamelritt ist
durchaus wörtlich zu
nehmen: Die Musik
beschreibt eine
vorüber ziehende
Karawane. Ruhig, mit
gleichmäßigem
Schritt, hört man die
Wüstenschiffe inmitten
eines bunten
Menschengewimmels stetig
voranschreiten. Jan de
Haan ist es in diesem
kurzen Werk für zehn
Stimmen ausgezeichnet
gelungen, die
Atmosphäre dieser
exotischen Szenerie in
diesem Stück für
eine zehnstimmig variable
Besetzung
einzufangen.
Una
passeggiata musicale nel
deserto in groppa ai
cammelli: atmosfere
esotiche e mozzafiato,
accompagnati dal vento
tra le dune fermandosi in
splendide oasi. Camel
Ride: un brano
insolito!
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SET Composed by Giuseppe Verd...(+)
(1.1.1.2/4.0.0.0,str,Bar
solo)
SKU:
TM.02172SET
Composed
by Giuseppe Verdi. Set
Type: D. Set of parts.
Lucks Music Library
#A3079. Published by
Lucks Music Library
(TM.02172SET).
Includes
recitative: Tutto e
deserto. Act II Scene 3
No. 7 Scena ed Aria. Key
of Bb. Score pages
179-184. Sung by Count di
Luna (contains 1 line
sung by Ferrando (Bass)).
See #14133 for longer
extraction.
Baritone, Piano Accompaniment (Baritone/Bass) SKU: HL.50602120 Bariton...(+)
Baritone, Piano
Accompaniment
(Baritone/Bass)
SKU:
HL.50602120
Baritone. Composed
by Various. Edited by
Ilaria Narici. Vocal
Collection. Opera.
Softcover. 302 pages.
Ricordi #NR141592.
Published by Ricordi
(HL.50602120).
ISBN
9781540064479. UPC:
888680966539. 9x12
inches.
VINCENZO
BELLINI I puritani
Or dove fuggo io mai? -
Ah! per sempre io ti
perdei • GEORGES
BIZET Carmen Votre
toast, je peux vous le
rendre - Toréador,
en garde • GAETANO
DONIZETTI Don
Pasquale Bella
siccome un angelo •
L'elisir d'amore
Come Paride vezzoso
• La favorita
Sì, de' malvagi
invan - Vien, Leonora, a'
piedi tuoi •
Lucia di
Lammermoor Cruda,
funesta smania •
UMBERTO GIORDANO
Andrea
Chénier Nemico
della patria?! •
CHARLES GOUNOD
Faust Ô
sainte médaille -
Avant de quitter ces
lieux •
Roméo et
Juliette Mab, la
reine des mensonges
• GEORGE FRIDERIC
HANDEL Rinaldo
Sibilar gli angui
d'Aletto • RUGGERO
LEONCAVALLO
Pagliacci Si
può?... o
Zazà Zazà,
piccola zingara •
JULES MASSENET
Hérodiade
Ce breuvage - Vision
fugitive •
Thaïs
Voilà donc la
terrible cité
• CLAUDIO MONTEVERDI
Orfeo Tu se' morta
• WOLFGANG AMADEUS
MOZART Così fan
tutte Rivolgete a lui
lo sguardo • Donne
mie, la fate a tanti
• Don
Giovanni Fin ch'han
dal vino • Deh,
vieni alla finestra
• Le nozze di
Figaro Hai già
vinta la causa! -
Vedrò, mentr'io
sospiro • Die
Zauberflöte Der
Vogelfänger bin ich
ja • Ein
Mädchen oder
Weibchen • GIACOMO
PUCCINI Edgar
Questo amor, vergogna mia
• La fanciulla
del West Minnie,
dalla mia casa son
partito • Gianni
Schicchi Si corre dal
notaio • Il
tabarro
Nulla!...Silenzio!...
• Le Villi
No! possibil non è
- Anima santa •
GIOACHINO ROSSINI Il
barbiere di Siviglia
Largo al factotum della
città • La
Cenerentola Come
un'ape ne' giorni
d'aprile • PYOTR
IL'YICH TCHAIKOVSKY
Eugene Onegin Vy
mnje pisáli -
Kogdá by zhiz'n'
• AMBROISE THOMAS
Hamlet Ô
vin, dissipe la tristesse
• GIUSEPPE VERDI
Un ballo in
maschera Alzati! -
Eri tu che macchiavi
quell'anima • Don
Carlo Son io, mio
Carlo - Per me giunto
è il dì
supremo • I due
Foscari Eccomi solo
alfin- O vecchio cor, che
batti •
Falstaff È
sogno? o
realtà?...
Rigoletto Pari
siamo! o Cortigiani, vil
razza dannata •
La traviata Di
Provenza il mar, il suol
• Il
trovatore Tutto
è deserto - Il
balen del suo sorriso
• RICHARD WAGNER
Tannhäuser
Wie Todesahnung - O! du
mein holder
Abendstern.
(2.0.2.2/2.0.0.0,str,A solo,SATB chorus) SKU: TM.02394SET Composed by Geo...(+)
(2.0.2.2/2.0.0.0,str,A
solo,SATB chorus)
SKU:
TM.02394SET
Composed
by George Frideric
Handel. Set Type: A. Set
of parts. Lucks Music
Library #A8809. Published
by Lucks Music Library
(TM.02394SET).
Includes
recitative: Tutto e
deserto. Act II Scene 3
No. 7 Scena ed Aria. Key
of Bb. Score pages
179-184. Sung by Count di
Luna (contains 1 line
sung by Ferrando (Bass)).
See #14133 for longer
extraction.
Motette (Nr. 16) aus "Cantiones sacrae 1625." Urtext der Neuen Schutz-...(+)
Motette (Nr. 16) aus
"Cantiones sacrae
1625." Urtext der
Neuen Schutz-Ausgabe
(lateinisch/deutsch). By
Heinrich Schutz. Edited
by Gottfried Grote. For
Mixed Choir-SATB, Basso
continuo ad lib. Singing
Score; Playing Score. SWV
68. Published by
Baerenreiter-Ausgaben
(German import).
(1.1.1.2/4.0.0.0,str,Bar solo) SKU: TM.02172SC Composed by Giuseppe Verdi...(+)
(1.1.1.2/4.0.0.0,str,Bar
solo)
SKU:
TM.02172SC
Composed
by Giuseppe Verdi. Score.
Lucks Music Library
#A3079. Published by
Lucks Music Library
(TM.02172SC).
Includes
recitative: Tutto e
deserto. Act II Scene 3
No. 7 Scena ed Aria. Key
of Bb. Score pages
179-184. Sung by Count di
Luna (contains 1 line
sung by Ferrando (Bass)).
See #14133 for longer
extraction.
Orchestra; Score SKU: HL.49007495 Score. Composed by Gyorgy Ligeti...(+)
Orchestra; Score
SKU:
HL.49007495
Score. Composed by
Gyorgy Ligeti. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical.
Faksimile-Partitur.
Composed 1985-1988. 156
pages. Duration 22'.
Schott Music #ED7746.
Published by Schott Music
(HL.49007495).
ISBN
9790001080644. UPC:
073999686463.
10.5x13.0x0.446
inches.
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).