(Words and Chords to Nearly 1200 Songs 9x12 Spiral Bound). Edited by Annie Patte...(+)
(Words and Chords to
Nearly 1200 Songs 9x12
Spiral Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
(Words and Chords to Nearly 1200 Songs Spiral-Bound). Edited by Annie Patterson ...(+)
(Words and Chords to
Nearly 1200 Songs
Spiral-Bound). Edited by
Annie Patterson and Peter
Blood. For Vocal. Vocal.
Softcover. 304 pages.
Published by Hal Leonard
Guitare notes et tablatures Guitare classique [Partition + Accès audio] - Facile Cherry Lane
Composed by Johann Sebastian Bach (1685-1750). Arranged by Mark Phillips. Easy G...(+)
Composed by Johann
Sebastian Bach
(1685-1750). Arranged by
Mark Phillips. Easy
Guitar. Classical.
Softcover Audio Online.
With guitar tablature. 76
pages. Published by
Cherry Lane Music
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522).
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001.
By Nicolas Horvath. By Robert Orledge and Claude Debussy (1862-1918). Redi...(+)
By Nicolas Horvath. By
Robert Orledge and Claude
Debussy (1862-1918).
Rediscoverd Debussy.
Christmas. Score. Musik
Fabrik #MFCD017A.
Published
by Musik Fabrik
Books and Journals SKU: UT.LB-8 Composed by Giovanni Andrea Angelini Bont...(+)
Books and Journals
SKU: UT.LB-8
Composed by Giovanni
Andrea Angelini Bontempi.
Edited by Biancamaria
Brumana. Paperback (Soft
Cover). Classical. Books
and Journals. Ut Orpheus
#LB 8. Published by Ut
Orpheus (UT.LB-8).
ISBN 9788881094660.
6.5 x 9.5
inches.
L’
Historia musica di
Giovanni Andrea Angelini
Bontempi (1625-1705),
edita nel 1695, non
è la
‘narrazione’
delle vicende legate a
quest’arte, ma una
esposizione sistematica
dei principi della
musica; un trattato di
teoria musicale
riconducibile alla
tipologia della
Historia
naturalis, intesa
come conoscenza
scientifica acquisita
attraverso
l’indagine e la
ricerca. Cantante,
compositore e teorico
musicale, Bontempi fu
anche letterato (autore
dei testi delle proprie
opere), storico,
architetto teatrale e
scenografo, pittore,
costruttore di strumenti
musicali e di orologi,
nonché abile
intagliatore di pietre
dure. In sostanza,
Bontempi fu un uomo
eclettico nel senso
rinascimentale del
termine e con la
pubblicazione
dell’Historiamusica ottenne
il riconoscimento della
sua appartenenza alla
‘res publica’
letteraria
dell’Europa di fine
Seicento.
Dall’oratorio
filippino di Perugia,
dove ricevette la prima
formazione musicale,
passò a Roma sotto
la protezione del
cardinale Francesco
Barberini. Attivo nella
cappella di S. Marco a
Venezia all’epoca
di Monteverdi, trascorse,
poi, circa trenta anni al
servizio della corte di
Dresda. Nella Prima e
seconda parte della
teorica è dato
ampio spazio alla musica
greca, ma la musica
antica è vista
sempre in funzione della
moderna. E così vi
troviamo l’analisi
dei vari tipi di versi e
dei corrispondenti valori
musicali in una perfetta
armonia tra parola e
musica; il testo
dell’oratorio di S.
Emiliano; note sulla
costruzione dei
clavicembali di Girolamo
Zenti;
l’organizzazione
della scuola di canto a
Roma; una piccola
monografia sul cantante
evirato Baldassarre
Ferri; esempi di
composizioni polifoniche.
Non mancano, poi,
suggestivi riferimenti
all’astrologia e
alla consonanza tra
Musica mondana e
Musica humana
oppure all’anatomia
e al contrasto tra anima
e corpo. La presente
edizione conserva tutto
il sapore
dell’originale, ivi
comprese le grafie
erudite o quelle
oscillanti di alcuni
termini, ma permette al
tempo stesso la lettura
agevole di un testo
fondamentale nella storia
del pensiero
musicale. Biancamaria
Brumana è
professore ordinario di
Musicologia e Storia
della musica
all’Universit&agrav
e; di Perugia. Laureata
in Lettere e diplomata in
Pianoforte, ha
successivamente condotto
studi di specializzazione
presso la Scuola di
Paleografia e Filologia
Musicale
dell’Universit&agra
ve; di Pavia ed ha fruito
di borse di studio a
Parigi e a Londra.
È stata docente di
ruolo nei Conservatori ed
ha insegnato in varie
università. Ha
pubblicato numerosi
volumi e articoli editi
in sedi specializzate in
Italia e
all’estero. Essi
riguardano vari aspetti
della storia della musica
dal Medioevo agli inizi
del Novecento, con
particolare riferimento
alla musica italiana e
francese,
all’oratorio
musicale, alla storia di
istituzioni, ai rapporti
tra letteratura e musica,
all’iconografia
musicale. Ha redatto
cataloghi di fondi
musicali e di singoli
autori in collegamento
con il
Répertoire
International des Sources
Musicales. Tra i
volumi pubblicati:
Orvieto. Una
cattedrale e la sua
musica (1450-1610),
Teatro musicale e
accademie a Perugia tra
dominazione francese e
restaurazione
(1801-1830), Catalogo
delle composizioni
musicali di Francesco
Morlacchi (1784-1841),
Frammenti musicali del
Trecento
nell’incunabolo
Inv. 15755 N. F. della
Biblioteca del Dottorato
dell’Universit&agra
ve; degli Studi di
Perugia. È
direttore della rivista
Esercizi. Musica e
Spettacolo, della
acclusa collana di
quaderni monografici e
della collana di edizioni
musicali «Note di
passaggio». Ha
promosso la prima ripresa
moderna di musiche
inedite anche in
collegamento con
importanti festival e
istituzioni musicali,
presso le quali ha
talvolta ricoperto
incarichi organizzativi.
Ha diretto ricerche
finanziate dal CNR, dal
MURST e dal MIUR.
Itâ
s a beautiful journey
through the tones that I
offer you with these two
pieces.
The first
The Stations of the Cross
express the 14 scenes of
the Passion of Christ
through a simple arpeggio
and 14 different tones.
The 12 minor keys which
begin the work in a
perfectly natural way (D,
A, E, B, F#, C#, G#, D#,
Bb, F, C, G) are followed
by two major keys (D and
the) who come conclude
the work as a triumphant
deliverance.
The
second piece Labyrinthe
uses the same principle,
but in a different way.
With another arpeggio and
major and minor tones
which follow one another
alternating in a natural
way through a slight
mutation, leading us
astray in the meanders of
the tones, to finally
find ourselves in the
original tone, we thus
delivering from this
great labyrinth (do, lam,
re, sim, mi, do#m, fa#,
re#m, ab, fam and
do).
I hope that
the discoverers of these
pieces will have the same
pleasure that I had in
composing them for
them.
Band Concert Band SKU: PR.465000130 For Large Wind Ensemble. Compo...(+)
Band Concert Band
SKU:
PR.465000130
For
Large Wind Ensemble.
Composed by Dan Welcher.
Sws. Contemporary. Full
score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013. Published by
Theodore Presser Company
(PR.465000130).
ISBN
9781598064070. UPC:
680160600144. 9x12
inches.
Following a
celebrated series of wind
ensemble tone poems about
national parks in the
American West, Dan
Welcher’s Upriver
celebrates the Lewis &
Clark Expedition from the
Missouri River to
Oregon’s Columbia
Gorge, following the
Louisiana Purchase of
1803. Welcher’s
imaginative textures and
inventiveness are freshly
modern, evoking our
American heritage,
including references to
Shenandoah and other folk
songs known to have been
sung on the expedition.
For advanced players.
Duration:
14’. In 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William
Clark’s Corps of
Discovery to find a water
route to the Pacific and
explore the uncharted
West. He believed woolly
mammoths, erupting
volcanoes, and mountains
of pure salt awaited
them. What they found was
no less mind-boggling:
some 300 species unknown
to science, nearly 50
Indian tribes, and the
Rockies.Ihave been a
student of the Lewis and
Clark expedition, which
Thomas Jefferson called
the “Voyage of
Discovery,†for as
long as I can remember.
This astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri —
and took the travelers up
more than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
— hired trappers
and explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing — and
along with other
trinkets, a box of 200
jaw harps to be used in
trading with the Indians.
Their trip was long,
perilous to the point of
near catastrophe, and
arduous. The dream of a
Northwest Passage proved
ephemeral, but the
northwestern quarter of
the continent had finally
been explored, mapped,
and described to an
anxious world. When the
party returned to St.
Louis in 1806, and with
the Louisiana Purchase
now part of the United
States, they were greeted
as national heroes.Ihave
written a sizeable number
of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks,
doesn’t try to
tell a story. Instead, it
captures the flavor of a
certain time, and of a
grand adventure. Cast in
one continuous movement
and lasting close to
fourteen minutes, the
piece falls into several
subsections, each with
its own heading: The
Dream (in which
Jefferson’s vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III .The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate “river
song,†and which
becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by
Cruzatte’s fiddle.
From various journals and
diaries, we know the men
found enjoyment and
solace in music, and
almost every night
encampment had at least a
bit of music in it. In
addition to Cruzatte,
there were two other
members of the party who
played the fiddle, and
others made do with
singing, or playing upon
sticks, bones, the
ever-present jaw harps,
and boat horns. From
Lewis’ journals, I
found all the tunes used
in Upriver: Shenandoah
(still popular after more
than 200 years),
V’la bon vent,
Soldier’s Joy,
Johnny Has Gone for a
Soldier, Come Ye Sinners
Poor and Needy (a hymn
sung to the tune
“Beech
Springâ€) and
Fisher’s Hornpipe.
The work follows an
emotional journey: not
necessarily step-by-step
with the Voyage of
Discovery heroes, but a
kind of grand arch.
Beginning in the mists of
history and myth,
traversing peaks and
valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of
Jefferson’s
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate
SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1084444-140 Le dernier RÃ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1084444-140
Le dernier Rêve du
Chêne. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2007. 32
pages. De Haske
Publications #DHP
1084444-140. Published by
De Haske Publications
(BT.DHP-1084444-140).
9x12 inches.
English-German-French-Dut
ch.
Der letzte
Traum der alten Eiche
schrieb der dänische
Schriftsteller und
Dichter Hans Christian
Andersen, dessen zeitlose
Märchen in über
achtzig Sprachen
übersetzt wurden
und schon zahllose
Künstler aller
Sparten inspirierten. So
auch Maxime Aulio, dessen
kunstvolle Art,
verschiedene Klangfarben
und Stimmungen
miteinander zu
verknüpfen, die
Fantasie von Musikern und
Zuhörern anregt.
The Last Dream of the Old Oak Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1084444-010 Le dernier RÃ...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1084444-010
Le dernier Rêve du
Chêne. Composed by
Maxime Aulio. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2007.
De Haske Publications
#DHP 1084444-010.
Published by De Haske
Publications
(BT.DHP-1084444-010).
9x12 inches.
English-German-French-Dut
ch.
Der letzte
Traum der alten Eiche
schrieb der dänische
Schriftsteller und
Dichter Hans Christian
Andersen, dessen zeitlose
Märchen in über
achtzig Sprachen
übersetzt wurden
und schon zahllose
Künstler aller
Sparten inspirierten. So
auch Maxime Aulio, dessen
kunstvolle Art,
verschiedene Klangfarben
und Stimmungen
miteinander zu
verknüpfen, die
Fantasie von Musikern und
Zuhörern anregt.
Band Concert Band SKU: PR.46500013L For Wind Ensemble. Composed by...(+)
Band Concert Band
SKU:
PR.46500013L
For
Wind Ensemble.
Composed by Dan Welcher.
Contemporary. Large
Score. With Standard
notation. Composed 2010.
Duration 14 minutes.
Theodore Presser Company
#465-00013L. Published by
Theodore Presser Company
(PR.46500013L).
UPC:
680160600151. 11 x 14
inches.
I n 1803,
President Thomas
Jefferson sent Meriwether
Lewis and William Clarks
Corps of Discovery to
find a water route to the
Pacific and explore the
uncharted West. He
believed woolly mammoths,
erupting volcanoes, and
mountains of pure salt
awaited them. What they
found was no less
mind-boggling: some 300
species unknown to
science, nearly 50 Indian
tribes, and the Rockies.
I have been a student of
the Lewis and Clark
expedition, which Thomas
Jefferson called the
Voyage of Discovery, for
as long as I can
remember. This
astonishing journey,
lasting more than
two-and-a-half years,
began and ended in St.
Louis, Missouri and took
the travelers up more
than a few rivers in
their quest to find the
Northwest Passage to the
Pacific Ocean. In an age
without speedy
communication, this was
akin to space travel out
of radio range in our own
time: no one knew if,
indeed, the party had
even survived the voyage
for more than a year.
Most of them were
soldiers. A few were
French-Canadian voyageurs
hired trappers and
explorers, who were
fluent in French (spoken
extensively in the
region, due to earlier
explorers from France)
and in some of the Indian
languages they might
encounter. One of the
voyageurs, a man named
Pierre Cruzatte, also
happened to be a
better-than-average
fiddle player. In many
respects, the travelers
were completely on their
own for supplies and
survival, yet,
incredibly, only one of
them died during the
voyage. Jefferson had
outfitted them with food,
weapons, medicine, and
clothing and along with
other trinkets, a box of
200 jaw harps to be used
in trading with the
Indians. Their trip was
long, perilous to the
point of near
catastrophe, and arduous.
The dream of a Northwest
Passage proved ephemeral,
but the northwestern
quarter of the continent
had finally been
explored, mapped, and
described to an anxious
world. When the party
returned to St. Louis in
1806, and with the
Louisiana Purchase now
part of the United
States, they were greeted
as national heroes. I
have written a sizeable
number of works for wind
ensemble that draw their
inspiration from the
monumental spaces found
in the American West.
Four of them (Arches, The
Yellowstone Fires,
Glacier, and Zion) take
their names, and in large
part their being, from
actual national parks in
Utah, Wyoming, and
Montana. But Upriver,
although it found its
voice (and its finale) in
the magnificent Columbia
Gorge in Oregon, is about
a much larger region.
This piece, like its
brother works about the
national parks, doesnt
try to tell a story.
Instead, it captures the
flavor of a certain time,
and of a grand adventure.
Cast in one continuous
movement and lasting
close to fourteen
minutes, the piece falls
into several subsections,
each with its own
heading: The Dream (in
which Jeffersons vision
of a vast expanse of
western land is opened);
The Promise, a chorale
that re-appears several
times in the course of
the piece and represents
the seriousness of the
presidential mission; The
River; The Voyageurs; The
River II ; Death and
Disappointment; Return to
the Voyage; and The River
III . The music includes
several quoted melodies,
one of which is familiar
to everyone as the
ultimate river song, and
which becomes the
through-stream of the
work. All of the quoted
tunes were either sung by
the men on the voyage, or
played by Cruzattes
fiddle. From various
journals and diaries, we
know the men found
enjoyment and solace in
music, and almost every
night encampment had at
least a bit of music in
it. In addition to
Cruzatte, there were two
other members of the
party who played the
fiddle, and others made
do with singing, or
playing upon sticks,
bones, the ever-present
jaw harps, and boat
horns. From Lewis
journals, I found all the
tunes used in Upriver:
Shenandoah (still popular
after more than 200
years), Vla bon vent,
Soldiers Joy, Johnny Has
Gone for a Soldier, Come
Ye Sinners Poor and Needy
(a hymn sung to the tune
Beech Spring) and Fishers
Hornpipe. The work
follows an emotional
journey: not necessarily
step-by-step with the
Voyage of Discovery
heroes, but a kind of
grand arch. Beginning in
the mists of history and
myth, traversing peaks
and valleys both real and
emotional (and a solemn
funeral scene), finding
help from native people,
and recalling their zeal
upon finding the one
great river that will, in
fact, take them to the
Pacific. When the men
finally roar through the
Columbia Gorge in their
boats (a feat that even
the Indians had not
attempted), the
magnificent river
combines its theme with
the chorale of Jeffersons
Promise. The Dream is
fulfilled: not quite the
one Jefferson had
imagined (there is no
navigable water passage
from the Missouri to the
Pacific), but the dream
of a continental
destiny.
Four Earth Songs Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band and Vocal Solo - Grade 5 SKU: BT.DHP-1094768-010 Poems by...(+)
Concert Band and Vocal
Solo - Grade 5
SKU:
BT.DHP-1094768-010
Poems by Graeme
King. Composed by
Marco Putz. Concert and
Contest Collection CBHA.
Concert Piece. Set (Score
& Parts). Composed 2010.
De Haske Publications
#DHP 1094768-010.
Published by De Haske
Publications
(BT.DHP-1094768-010).
9x12 inches.
English-German-French-Dut
ch.
The hymn Nun
ruhen alle Wälder (Now
All Forests Rest),
arranged by J.S. Bach
(No. 6, So sei nun,
Seele, deine, from
Cantata BWV 13), is a
guiding light throughout
this four-movement
composition. Pütz
wrote this work as a
musical outcry against
the wilful, profit-driven
destruction of our
environment. When Bach
used the word
“ruhen†(to
rest) over 350 years ago,
it probably had a
different nuance from the
meaning it has today. At
the beginning of the 21st
century - the so-called
age of progress -
“nun ruhen alle
Wälder†should
mean “now all
forests die†.
Massive industrialization
and globalization,
coupled with pure greed,
corruption, political
scandals, an
ever-wideninggap between
the rich and poor, and
other such senseless
human actions, are
pushing our blue planet
closer and closer to the
point of no return. This
work is not intended to
be a ranting accusation.
It should remind us of
the beauty and harmony
that can exist all around
us in nature, if we take
care of it. Pütz
hopes that this will, one
day, help put a greater
emphasis on
humanity’s
survival, and coexistence
with nature rather than
the exploitation
described earlier. All
four texts were created
by Australian poet Graeme
King, whose works were
discovered by Pütz,
by chance on the
internet. Pütz was
especially captivated by
King’s clarity,
and intrigued by the
possibilities of adapting
and melding the strong
rhythmical structure of
King’s writing
with his own musical
language. The four
movements are as follows:
1. Tears of Nature 2.
Grrrevolution 3. Stand
up! 4. Tomorrow The world
première of Four Earth
Songs took place on 7
July 2009 at the 14th
WASBE-Conference in
Cincinnati (USA). This
work is dedicated in
friendship to Jouke
Hoekstra, conductor, and
the Frysk Fanfare Orkest
(the Frisian
Fanfare-Orchestra).
De hymne Nun
ruhen alle Wälder,
gearrangeerd door J.S.
Bach (nr. 6, So sei nun,
Seele, deine, uit cantate
BWV 13), is de leidraad
in deze vierdelige
compositie. Pütz
schreef het werk als een
muzikaal protest tegen de
moedwillige,op winstbejag
gebaseerde vernietiging
van ons milieu. Toen Bach
het woord
‘ruhen’
(rusten) meer dan 350
jaar geleden gebruikte,
lag er waarschijnlijk een
andere nuance in dan
tegenwoordig. Aan het
begin van de 21e eeuw -
dezogenaamde eeuw van de
vooruitgang - zou
‘nun ruhen alle
Wälder’ zelfs
kunnen betekenen:
‘nu sterven alle
bossen’. De
grootschalige
industrialisatie en
globalisering, in
combinatie met pure
hebzucht, corruptie,
politieke schandalen,een
groeiende kloof tussen
arm en rijk, en andere
dwaze menselijke
verrichtingen, brengen
onze blauwe planeet
steeds verder in de
problemen, tot er
misschien geen weg terug
meer is. Dit werk is niet
bedoeld als een
beschuldigendetirade. Het
moet ons wijzen op de
schoonheid en harmonie
die in de natuur om ons
heen kan bestaan, als we
er goed voor zorgen.
Pütz hoopt dat er op
een dag meer nadruk
gelegd zal worden op het
overleven van de mensheid
invreedzame co-existentie
met de natuur, zonder de
eerdergenoemde
uitbuiting. Alle vier de
teksten zijn geschreven
door de Australische
dichter Graeme King,
wiens werk Pütz bij
toeval tegenkwam op het
internet. Hij werd
getroffendoor Kings
helderheid en raakte ge
ntrigeerd door de
mogelijkheid de sterke
ritmische structuur van
Kings teksten om te
zetten in zijn eigen
muzikale taal. De vier
delen zijn de volgende:
1. Tears of Nature 2.
Grrrevolution 3.Stand up!
4. Tomorrow De
wereldpremière van
Four Earth Songs vond
plaats op 7 juli 2009
tijdens de 14e WASBE
Conference in Cincinnati
(VS). Dit werk is in
vriendschap opgedragen
aan dirigent Jouke
Hoekstra en zijn Fryskt
Fanfare
Der Choral
Nun ruhen alle Wälder,
hier in einer Bearbeitung
von J.S. Bach (Nr. 6 So
sei nun, Seele, deine aus
der Kantate BWV 13),
zieht sich wie ein roter
Faden durch diese
viersätzige
Komposition, die als
musikalischer Aufschrei
(Anfang!) gegen die
mutwillige,
profitgesteuerte
Zerstörung unserer
Umwelt gedacht ist.
Sicher hatte das Wort
ruhen“ vor
über 350 Jahren,
als der Liedtext
entstand, eine andere
Bedeutung als heute. Zu
Beginn des 21.
Jahrhunderts, im
sogenannten Zeitalter des
Fortschritts,
müsste es leider
wohl eher heißen: Nun
sterben alle
Wälder“...
Massive
Industrialisierung,
Globalisierung, aber auch
Profitgier, Korruption,
politische
Unfähigkeit,krasse
Unterschiede zwischen arm
und reich, und
schlussendlich die
Uneinsichtigkeit des
einzelnen Menschen haben
dazu geführt, dass
der Blaue Planet“
heute kurz vor dem
Kollaps steht. Dieses
Werk soll jedoch nicht
nur anklagen, es soll
auch die verbliebenen
Schönheiten unserer
Natur aufzeigen, in der
Hoffnung, dass es einmal
gelingen wird, die
Rettung der Natur und den
Schutz der Umwelt
über die oben
genannten Interessen zu
stellen. Alle vier Texte
stammen aus der Feder des
australischen Dichters
Graeme King, dessen Werk
der Komponist durch einen
glücklichen Zufall
im Internet entdeckte.
Besonders inspirierend
war die Direktheit von
Graemes Aussagen, aber
auch die kraftvolle
Rhythmik seiner Verse mit
den daraus resultierenden
Möglichkeiten der
musikalischen Umsetzung.
Die vier Sätze sind
wie folgt
überschrieben: 1.
Tears of Nature 2.
Grrrevolution 3. Stand
up! 4. Tomorrow Die
offizielle
Uraufführung von
Four Earth Songs fand am
7. Juli 2009 statt,
anlässlich der 14.
WASBE-Konferenz in
Cincinnati (USA). Das
Werk ist dem Dirigenten
Jouke Hoekstra und dem
Frysk Fanfare Orkest
(Friesischen
Fanfareorchester) in
aller Freundschaft
gewidmet.