The Heart of Lithuania Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1074231-010 Composed by Jacob...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1074231-010
Composed by Jacob De
Haan. Inspiration Series.
Set (Score & Parts).
Composed 2007. De Haske
Publications #DHP
1074231-010. Published by
De Haske Publications
(BT.DHP-1074231-010).
9x12 inches.
English-German-French-Dut
ch.
Composer Jacob
de Haan has based The
Heart of Lithuania on
five folk melodies from
Lithuania, a country that
despite its small size
has a rich cultural
heritage. The choice and
diversity of emotions,
largely determined by the
characteristic melodies,
take the listener
straight to the heart of
the Lithuanian people.
Litouwen, de
grootste van de drie
Baltische staten, is
gezegend met een rijk
cultureel erfgoed.
Componist Jacob de Haan
heeft The Heart of
Lithuania gebaseerd
op vijf volksmelodieën
die met name geliefd
waren in de tweede
helftvan de twintigste
eeuw. Hoewel alle vijf de
liederen afkomstig zijn
uit de
Auk¹taitija-regio,
zijn ze populair in heel
Litouwen, ze worden nog
altijd gezongen door
jonge mensen in de steden
en dorpen. Dit
schitterende werk voertde
luisteraar rechtstreeks
naar de ziel van het
Litouwse volk.
In
The Heart of
Lithuania verwendete
Jacob de Haan Volkslieder
aus Litauen, das trotz
seiner relativ geringen
Größe doch über
ein vielfältiges
kulturelles Erbe
verfügt. Eine sehr
reichhaltige Quelle der
Inspiration für Jacob
de Haan, der sich fünf
traditionelle Lieder, die
voller Freude, Hoffnung
oder auch Melancholie von
der Liebe erzählen,
als Basis für seine
Komposition wählte.
Diese Musik wird den
Zuhörer direkt ins
Herz des litauischen
Volkes
führen!
Poema Sinfonico per
Orchestra. Composed
by Ottorino Respighi. The
Great Classics.
Transcription. Score
Only. Composed 2006. 54
pages. De Haske
Publications #DHP
1063989-140. Published by
De Haske Publications
(BT.DHP-1063989-140).
9x12 inches.
English-German-French-Dut
ch.
Italian
composer Ottorino
Respighi wrote several
operas, ballet
music,chamber music,
piano and organ works as
well as Cantatas in a
stylemuch influenced by
the French Impressionists
mixed with his
uniquepersonal style. The
Japanese arranger
Yoshihiro Kimura has
skilfullyadapted
Respighi?s symphonic poem
Fontane di Roma for
concertbands of an
advanced level.
De roem van de
Italiaanse violist en
componist Ottorino
Respighi (1879-1936)
berust vooral op zijn
instrumentale werken, met
name het orkestrale
drieluik van symfonische
gedichten: Fontane di
Roma, Pini di Roma en
FesteRomane. Zijn
stijl is be nvloed door
de Franse
impressionisten,
Rimsky-Korsakov en
Richard Strauss, maar met
een geheel eigen tintje.
De Japanse arrangeur
Yoshihiro Kimura heeft
het symfonische gedicht
Fontane di Roma
vanRespighi op vakkundige
wijze bewerkt voor
harmonieorkest.
Ot
torino Respighi schrieb
mehrere Opern,
Ballettmusik,
Kammermusik, Klavier- und
Orgelwerke sowie Kantaten
in einem vom
französischen
Impressionismus
geprägten, jedoch auch
sehr eigenständigen
Stil. Auch das
sinfonische Gedicht
Fontane di Roma,
das Yoshihiro Kimura
geschickt für
Blasorchester umsetzte,
hat eine ganz eigene
Note, die es interessant
für Spieler und
Zuhörer macht.
(Cantolopera Collection). Composed by Giuseppe Verdi (1813-1901). For Vocal, Pia...(+)
(Cantolopera Collection).
Composed by Giuseppe
Verdi (1813-1901). For
Vocal, Piano
Accompaniment. Vocal
Collection. Softcover
with CD. 221 pages.
Ricordi #NR141007.
Published by Ricordi
Two is a Team Cor et Piano [Partition + CD] - Facile De Haske Publications
Horn and Piano - early intermediate SKU: BT.DHP-1125295-400 Composed by E...(+)
Horn and Piano - early
intermediate
SKU:
BT.DHP-1125295-400
Composed by Ed Wennink
and Nettie Vening. Two is
a team. Book with CD.
Composed 2013. 56 pages.
De Haske Publications
#DHP 1125295-400.
Published by De Haske
Publications
(BT.DHP-1125295-400).
ISBN 9789043141819.
9x12 inches.
English-German-French-Dut
ch.
Performance
pieces for piano and horn
in which the level of
difficulty for both
players is similar are
always in demand. The 20
pieces in this book
— arrangements of
well-known tunes as well
as original compositions
— are aimed at
pupils who have been
playing for approximately
three years. Both players
will learn a great deal
and will have double the
playing fun. Two is a
Team — after
all playing together is
almost always at the
heart of music!
Er
blijkt steeds weer
behoefte te zijn aan
samenspeelstukken voor
piano en hoorn waarin
beide partijen een
vergelijkbare
moeilijkheidsgraad
hebben. De 20 stukken in
dit boek — zowel
bewerkingen van bekende
liedjes als originele
composities — zijn
bedoeld voor leerlingen
die ongeveer drie jaar
spelen. Beiden zullen er
veel van leren en er
dubbel plezier aan
beleven. Two is a
Team — in de
muziek draait het immers
vrijwel altijd om
samenspel!
Es gibt
immer Bedarf an
Stücken für
Klavier und Horn, in
denen die Stimmen
für beide Spieler
ähnlich schwer sind.
Die 20 Stücke in
diesem Buch — die
sowohl bekannte Melodien
als auch originale
Kompositionen umfassen
— richten sich an
Instrumentalschüler
, die bereits etwa drei
Jahre Unterricht hatten.
So können beide etwas
lernen und haben doppelt
Spaß. Two is a
Team — denn
schließlich geht es
beim Musizieren doch fast
immer um das gemeinsame
Musikerlebnis!
Two is a
Team raccoglie
composizioni originali e
brani del repertorio
classico noto al
pubblico, indirizzati
agli strumentisti con
circa tre anni di studio
alle spalle. Il livello
di difficolt dei brani
contenuti nella
pubblicazione è molto
simile per entrambi gli
strumentisti, rendendo
così più facile
un’esecuzione con
l’accompagnamento
del piano.
Renaissance & Baroque Treasures. Edited by Peter Manning. Fentone Instru...(+)
Renaissance & Baroque
Treasures. Edited by
Peter
Manning. Fentone
Instrumental
Books. Baroque,
Classical,
Renaissance. Softcover
with
CD. Composed 2007. 20
pages.
Fentone Music #F944.
Published
by Fentone Music
Stonehenge Ensemble de cuivres [Conducteur] - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 6 SKU: BT.DHP-0920462-130 Composed by Jan Van der Roos...(+)
Brass Band - Grade 6
SKU:
BT.DHP-0920462-130
Composed by Jan Van der
Roost. Concert and
Contest Collection Brass
Band en Fanfare. Concert
Piece. Score Only.
Composed 1992. De Haske
Publications #DHP
0920462-130. Published by
De Haske Publications
(BT.DHP-0920462-130).
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.
Chaconne. Composed by Gyorgy Ligeti (1923-2006). This edition: Saddle stitching....(+)
Chaconne. Composed by
Gyorgy Ligeti
(1923-2006). This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Composed 1978.
16 pages. Duration 5'.
Schott Music #ED6805.
Published by Schott Music
Fanfare Band - Grade 3 SKU: BT.DHP-0970960-120 Composed by Andrew Lloyd W...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-0970960-120
Composed by Andrew Lloyd
Webber. Arranged by Ron
Sebregts. De Haske Pop
Collection. Pop & Rock.
Score Only. Composed
1997. De Haske
Publications #DHP
0970960-120. Published by
De Haske Publications
(BT.DHP-0970960-120).
Don’t
Cry for me Argentina
is the best-known song
from the 1976 musical
Evita. It was sung
by Eva Peron when she was
addressing the crowds
amassed in the square
below her balcony. More
recently it was a hit for
Madonna, who sang it in
the 1996 film version of
Evita. This
arrangement retains the
broad emotive melody of
the original together
with its intense emotion.
Julie Covington
maakte dit lied uit de
musical Evita in
1976 onsterfelijk.
Twintig jaar later werd
de versie van Madonna,
die de hoofdrol speelde
in de fraaie verfilming,
een hit. De musical over
Eva Perón, echtgenote
van deArgentijnse
president Juan Perón,
blijft tot de verbeelding
spreken. In 2008 gaat er
een Nederlandse versie in
première. Velen
bekeken het voorafgaande
televisieprogramma Op
zoek naar Evita. Met
Don’t Cry for
Me Argentina>/I>brengt u
zowel een tijdloze,
ontroerende melodie als
een actuele
hit.
Die
Sängerin Julie
Covington machte dieses
Lied aus dem Musical
Evita von Andrew
Lloyd Webber und Tim Rice
unsterblich. Zuletzt
feierte Madonna sowohl
mit dem Lied als auch in
der Rolle der Evita Peron
einen Riesenerfolg.
Ebenso anrührend und
stimmungsvoll wie die
Geschichte des Musicals
ist die Bearbeitung
für Fanfareorchester
von Ron Sebregts!
Questa canzone,
interpretata da Madonna
nella versione
cinematografica diretta
da Alan Parker, è
estratta dalla commedia
musicale Evita,
scritta dal maestro e
inventore
dell’opera-rock
Sir Andrew Lloyd Webber.
Evita riprende il
destino di Eva Peron che
ha incarnato la speranza
di un intero popolo e che
fu la guida spirituale
dell’Argentina
degli anni
’40.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola 2.
Composed circa 1747. 12
pages. Duration 90
minutes. Carus Verlag #CV
35.502/14. Published by
Carus Verlag
(CA.3550214).
ISBN
9790007213459. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
Early
modern. Piano reduction.
44 pages. Duration 20'.
Breitkopf and Haertel #EB
8922. Published by
Breitkopf and Haertel
(BR.EB-8922).
ISBN
9790004185889. 9 x 12
inches.
Welcome
Repertoire Piece Josef
Schelb (b. 1894 in Bad
Krozingen) belongs to
that generation of
composers who had to cope
with two world wars,
severe recessions, and
the fatal effects of the
Third Reich. Schelb
turned to impressionism,
expressionism,
dodecaphony, and
atonality, without,
however, firmly settling
in any direction, but
developing his
distinctive personal
style out of all this. He
is a master of the
polyphonic treatment of
motives and themes. His
Concerto for Englisch
Horn and String Orchestra
was composed in 1970 in
Baden-Baden after he
became acquainted with
Helmut Koch, the solo
English hornist of the
former SWF Symphony
Orchestra Baden-Baden.
The three-movement
concerto interweaves
tonality, dodecaphony,
and polyphony in a
fascinating and yet
discreet manner. A late
work of impressive
cantabile and yearning
poetry, it will quickly
secure its place in the
up-to-now slim
English-horn
repertoire.
In
Memory of an Angel -
Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Stapled.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early modern. Part. 8
pages. Duration 25'.
Breitkopf and Haertel #OB
15113-27. Published by
Breitkopf and Haertel
(BR.OB-15113-27).
ISBN
9790004340226. 10 x 12.5
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue
musikzeitung)
Basso continuo + 2 bassoons SKU: CA.3550215 As a pasticcio by Johann S...(+)
Basso continuo + 2
bassoons
SKU:
CA.3550215
As a
pasticcio by Johann
Sebastian Bach, with
arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Individual part. Composed
circa 1747. 40 pages.
Duration 90 minutes.
Carus Verlag #CV
35.502/15. Published by
Carus Verlag
(CA.3550215).
ISBN
9790007213466. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
In
Memory of an Angel -
Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Folder.
Orchester-Bibliothek
(Orchestral Library). In
Cooperation with G. Henle
Verlag. Solo concerto;
Early modern. Set of
parts. 176 pages.
Duration 25'. Breitkopf
and Haertel #OB 15113-30.
Published by Breitkopf
and Haertel
(BR.OB-15113-30).
ISBN
9790004340233. 10 x 12.5
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue
musikzeitung)
Brass Band - Grade 3 SKU: BT.AMP-371-130 Composed by Bruce Broughton. Arr...(+)
Brass Band - Grade 3
SKU:
BT.AMP-371-130
Composed by Bruce
Broughton. Arranged by
Philip Sparke. Anglo
Music Midway Series.
TV-Film-Musical-Show.
Score Only. Composed
2013. 28 pages. Anglo
Music Press #AMP 371-130.
Published by Anglo Music
Press (BT.AMP-371-130).
9x12 inches.
English-German-French-Dut
ch.
Released in
cinemas in 1993,
Tombstone is an
American western written
by Kevin Jarre and
directed by George
Cosmatos. Starring Kurt
Russell and Val Kilmer,
it was narrated by Robert
Mitchum and is based on
events relating to the
Gunfight at the OK
Corral, and the
subsequent Wyatt Earp
Vendetta, both of which
took place in Tombstone,
Arizona.The theme is
crime, political
corruption and law
enforcement in the
American west during the
1880s. The score was by
Bruce Broughton, and this
selection features music
from the opening and
closing
credits.
Tombst
one ist ein
amerikanischer Western
aus dem Jahre 1983, der
unter der Regie von Kevin
Jarre nach einem Drehbuch
von George Cosmatos
entstand. Der Film mit
Kurt Russell und Val
Kilmer in den Hauptrollen
sowie Robert Mitchum als
Erzähler basiert auf
den historischen
Ereignissen rund um die
Schießerei am OK
Corral und dem daraus
resultierenden
Rachefeldzug von Wyatt
Earp. Beides fand im Ort
Tombstone im
US-Bundesstaat Arizona
statt. Themen des Films
sind Verbrechen,
politische Korruption und
Strafverfolgung im
Amerika der
1880er-Jahre.Diese
Bearbeitung
präsentiert eine
Auswahl aus der
Eröffnungs- und
Abspannmusik der
originalen Filmmusik von
Bruce Broughton.
Chamber Music Clarinet, Flute, Piano SKU: PR.114417570 For Flute, Bb C...(+)
Chamber Music Clarinet,
Flute, Piano
SKU:
PR.114417570
For
Flute, Bb Clarinet, And
Piano. Composed by
Edvard Grieg. Arranged by
Michael Webster. Sws
each. See the program
notes on pages two and
three of the full score.
Set of Score and Parts.
With Standard notation.
Composed 2008. 40 8 8
pages. Duration 18
minutes. Theodore Presser
Company #114-41757.
Published by Theodore
Presser Company
(PR.114417570).
ISBN
9781491107867. UPC:
680160636013. 9x12
inches.
The famous
set of dances by Norway's
greatest composer were
written for piano duet.
Grieg later created a
piano solo version, but
refused to orchestrate
the set. After some study
of Grieg and his music,
Michael Webster has
arranged the four dances
for Flute, Clarinet, and
Piano in a faithful
setting, using the piano
duet version as a guide.
This lively Grieg classic
will be a welcome new
addition to performance
programs. For advanced
performers.______________
_________________________
Text from the scanned
back cover:Born in 1944,
MICHAEL WEBSTER made his
New York recital debut at
Town Hall in 1968 with
his eminent father,
Beveridge Webster, as
pianist. In the same
year, he won the Young
Concert Artists
International Competition
and succeeded his
teacher, Stanley Hasty,
as Principal Clarinet in
the Rochester
Philharmonic, a position
he held for twenty years.
Webster has performed
with the Chamber Music
Society of Lincoln
Center, the 92nd Street
Y, with the Tokyo,
Cleveland, Muir, Ying,
Enso, and Dover String
Quartets, and with the
festivals of Marlboro,
Santa Fe, Norfolk,
Chamber Music Northwest,
Angel Fire, Steamboat
Springs, Park City,
Sitka, Kapalua, Bowdoin,
Orcas Island,
Skaneateles, La Musica di
Asolo, Stratford,
Victoria, and Domaine
Forget.As soloist he has
appeared with many
orchestras, including the
Philadelphia Orchestra
under Aaron Copland and
the Boston Pops under
John Williams. His
travels have taken him as
performer and teacher to
most of the 50 states, as
well as Canada,
Mexico,Puerto Rico,
Central and South
America, Europe, Japan,
China, Australia, and New
Zealand. Webster was
Acting Principal Clarinet
of the San Francisco
Symphony, and has served
on the clarinet and/or
conducting faculties of
New England Conservatory,
Boston University,
University of Michigan,
and the Eastman School,
from which he earned his
three degrees. Currently
he is Professor of Music
at Rice Universityâ??s
Shepherd School of Music
and Artistic Director of
the Houston Youth
Symphony, which has won
multiple first prizes in
national performance
competitions.With his
wife, flutist Leone
Buyse, and pianist Robert
Moeling, he plays in the
Webster Trio, which has
recorded his arrangements
on Tour de France and
World Wide Webster for
Crystal Records.
Otherarrangements were
recorded for Nami and
Camerata Tokyo in Japan
with pianist Chizuko
Sawa. Webster has also
recorded for Albany,
Arabesque, Beaumont,
Bridge, Centaur, CRI, and
New World. He has played
at many ClarinetFests for
the International
Clarinet Association and
written a column entitled
â??TeachingClarinetâ?
in The Clarinet Magazine
since 1998. Michael
Webster is a Buffet
artist-clinician,
performing on Buffet
clarinets
exclusively. NORWEGIAN
DANCES (Grieg)Michael
Websterâ??s
transcriptions for Flute,
Clarinet, and Piano have
created the core
literature for this
instrumental genre.
Working directly from
Griegâ??s original piano
four-hands version of the
charmingly familiar
Norwegian Dances, Webster
has given flutists and
clarinetists another
addition to the
ensembleâ??s
repertoire.
Piano SKU: PR.701175060 Arranged by Edison Quintana. Peermusic Classical ...(+)
Piano
SKU:
PR.701175060
Arranged
by Edison Quintana.
Peermusic Classical
#70117-506. Published by
Peermusic Classical
(PR.701175060).
UPC:
888680101268.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
Violin and orchestra
(solo: vl - 2.2.cor
ang.2.B-clar.A-sax.2.dbl
bsn - 4.2.2.1 -
timp.perc(2) - hp - str)
SKU: BR.PB-15122
In Memory of an Angel
- Urtext. Composed by
Alban Berg. Edited by
Michael Kube. Orchestra;
Softbound.
Partitur-Bibliothek
(Score Library). Solo
concerto; Early modern.
Study Score. Duration
25'. Breitkopf and
Haertel #PB 15122.
Published by Breitkopf
and Haertel
(BR.PB-15122).
ISBN
9790004212721. 6.5 x 9
inches.
The tragic
circumstances surrounding
the origin of the
concerto are well known:
Manon Gropius, the
daughter of Berg's friend
Alma Mahler, died of
polio after the composer
had written the first
sketches to his violin
concerto. In remembrance
of her, he dedicated the
work to the memory of an
angel. Later, Berg
decided to incorporate
into the score the Bach
chorale Es ist genug as a
quote. He also worked on
the solo part directly
and intensely with the
American violinist Louis
Krasner, who had
commissioned the work.
Berg was no longer able
to witness the first
performance and the first
edition of the concerto
since he passed away in
late 1935. This new
edition is the first
Urtext version of Berg's
work, which was created
in the midst of a spate
of epoch-making violin
concertos by Stravinsky
(1931), Schoenberg
(1936), Prokofiev (1937),
Bartok (1938), Hindemith
(1939) a. o. Errors from
the first edition were
corrected after an
in-depth comparison with
the autograph score, the
short score and, in some
cases, with the
twelve-tone row
structure.The entire
performance material can
be purchased; however,
due to copyright reasons,
the score and orchestral
parts are not available
the United States.Werden
die Urtextausgaben von
Breitkopf & Hartel
aufgrund ihres hellblauen
Umschlags augenzwinkernd
die Himmlischen genannt,
so ist dies in Bezug auf
die neu vorgelegte
Partitur Programm.
(Florian Henri Besthorn,
neue musikzeitung).
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. This
edition: Paperbound.
Edition Bach-Archiv
Leipzig - Musical
Monuments. German title:
Markuspassion. Sacred
vocal music, Passions,
Lent and Passiontide,
Holy Week. Single Part,
Organ. Composed circa
1747. 64 pages. Duration
90 minutes. Carus Verlag
#CV 35.502/49. Published
by Carus Verlag
(CA.3550249).
ISBN
9790007141202. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
Lorraine Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115059-140 Tone Poem for ...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115059-140
Tone Poem for
Band. Composed by
Jacob De Haan. Concert
and Contest Collection
CBHA. Concert Piece.
Score Only. Composed
2011. 36 pages. De Haske
Publications #DHP
1115059-140. Published by
De Haske Publications
(BT.DHP-1115059-140).
9x12 inches.
English-German-French-Dut
ch.
This moving
symphonic poem is about
the French region of
Lorraine. Since the time
of the Roman Empire,
Lorraine has been ruled
by either Germany or
France with wars
redrawing national
boundaries many times
over the years. While its
history has been bloody,
folk music from the
region breaks up the
tension in the piece and
offers many uplifting
moments. An optimistic
conclusion features a
mixture of music from the
three countries Lorraine
sits between: Luxembourg,
Germany and
France.
Dit
ontroerende symfonische
gedicht gaat over
Lotharingen, een gebied
aan de oostkant van
Frankrijk. De muzikale
verklanking begint in de
tijd van het Heilige
Roomse Rijk. Een tijd
waarin het land wordt
geteisterd door vele
oorlogen.Een tijd ook
waarin het land nu eens
bij Duitsland, dan weer
bij Frankrijk hoort.
Vrolijke elementen zijn
er echter ook:
volksmuziek uit
Lotharingen en ook een
verzoenend slot dat met
toespelingen op het
volkslied het
drielandenpuntvan
Frankrijk, Duitsland en
Luxemburg
belicht.
Dieses
bewegende symphonische
Gedicht handelt von der
Region Lothringen in
Frankreich. Beginnend mit
der Zeit des heiligen
Römischen Reiches,
über diverse
Kriege, die im Land
wüteten und Wechsel
zwischen deutscher und
französischer
Staatszugehörigkeit
wird die Geschichte
musikalisch
nacherzählt. Für
fröhliche Elemente
sorgen Anklänge der
lothringischen Volksmusik
und der versöhnliche
Schluss, der mittels
Anspielungen auf die
Nationalhymne auf das
Dreiländereck“
Frankreich, Deutschland
und Luxemburg
anspielt.
La Lorena
è l’unica
regione francese che
condivide i confini con
altre tre nazioni:
Belgio, Lussemburgo e
Germania. Questo brano
sottolinea il carattere
cosmopolita della regione
che nel corso della
guerra franco-prussiana
costrinse i francesi a
cederla al neo-nato
impero tedesco, ma che fu
restituita alla Francia
dopo la prima guerra
mondiale a seguito del
trattato di Versailles.
Il brano propone un tema
basato sulla melodia
dell’inno
nazionale tedesco come
anche, con un ritmo
rapido, sule note della
Marsigliese. Segue un
motivo fondato sulle
prime note
dell’inno
nazionale
lussemburghese.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Single Part, Viola 1.
Composed circa 1747. 12
pages. Duration 90
minutes. Carus Verlag #CV
35.502/13. Published by
Carus Verlag
(CA.3550213).
ISBN
9790007213442. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score and part
available separately -
see item CA.3550200.
As a pasticcio by
Johann Sebastian Bach,
with arias from Hande'ls
Brockes-Passion.
Composed by George
Frideric Handel and
fruher zugeschrieben
Reinhard Keiser. Edited
by Christine Blanken.
Arranged by Johann
Sebastian Bach. Edition
Bach-Archiv Leipzig -
Musical Monuments. German
title: Markuspassion.
Sacred vocal music,
Passions, Lent and
Passiontide, Holy Week.
Choral Score. Composed
circa 1747. 16 pages.
Duration 90 minutes.
Carus Verlag #CV
35.502/05. Published by
Carus Verlag
(CA.3550205).
ISBN
9790007213411. Language:
German.
Third
version, first performed
around 1747 in Leipzig.
First version available
under 35.304/00. The St.
Mark Passion, which
probably originated in
the first decade of the
18th century, by a
composer known until now
only as Kaiser, is only
preserved in various
copies. It occupies a
prominent place in Bach's
music library as the only
music for Passion by
another composer which he
performed several times,
usually in different
forms. For the young Bach
in Weimar this St. Mark
Passion was a didactic
piece for learning the
art of the modern
narrative recitative; as
the Leipzig Thomaskantor
he also performed it
(1726). The present
edition reconstructs the
third version, first
performed in Leipzig
(1747), in which Bach
inserted seven arias from
Handel's famous
Brockes-Passion. Only in
this pasticcio did a
direct encounter occur
between him and his
famous compatriot in
London, a real encounter
which Bach longed for,
but which never came
about. Score available
separately - see item
CA.3550200.
Piano SKU: PR.701185010 Arranged by Leticia Gómez-Tagle. Peermusic Class...(+)
Piano
SKU:
PR.701185010
Arranged
by Leticia Gómez-Tagle.
Peermusic Classical
#70118-501. Published by
Peermusic Classical
(PR.701185010).
UPC:
888680101275.
“Th
e idea of writing the
Danzón No.2 originated
in 1993 during a trip to
Malinalco with the
painter Andrés Fonseca
and the dancer Irene
Martínez, both of whom
are experts in salon
dances with a special
passion for the danzón,
which they were able to
transmit to me from the
beginning, and also
during later trips to
Veracruz and visits to
the Colonia Salon in
Mexico City. From these
experiences onward, I
started to learn the
danzón’s rhythms, its
form, its melodic
outline, and to listen to
the old recordings by
Acerina and his Danzonera
Orchestra. I was
fascinated and I started
to understand that the
apparent lightness of the
danzón is only like a
visiting card for a type
of music full of
sensuality and
qualitative seriousness,
a genre which old Mexican
people continue to dance
with a touch of nostalgia
and a jubilant escape
towards their own
emotional world; we can
fortunately still see
this in the embrace
between music and dance
that occurs in the State
of Veracruz and in the
dance parlors of Mexico
City. The Danzón No.2 is
a tribute to the
environment that
nourishes the genre. It
endeavors to get as close
as possible to the dance,
to its nostalgic
melodies, to its wild
rhythms, and although it
violates its intimacy,
its form and its harmonic
language, it is a very
personal way of paying my
respects and expressing
my emotions towards truly
popular music. Danzón
No.2 was written on a
commission by the
Department of Musical
Activities at Mexico’s
National Autonomous
University and is
dedicated to my daughter
Lily.” -- Arturo
Marquez About the danzon
genre, Lidice Valenzuela
writes in Cubanow: The
history of the danzon
goes back to the arrival
in Cuba of the European
contradance. It came in
three different ways:
directly from Spain, the
colonial metropolis; with
the British, who occupied
Havana in 1762; and the
French colonizers and
their slaves who landed
in Cuba's Eastern shores
after fleeing from the
Haitian Revolution. From
all of that
trans-cultural process
the Danzon was born. This
new Cuban dance,
naturalized by the
Creoles, had much more
expressive freedom: the
couple danced in each
other's arms, and the
dancing time was
extended. People began
calling it Danzon and it
was in Matanzas, in the
1870s that figure dancing
also began to be called
Danzon. Thus, Failde, an
outstanding musician,
named his composition
with the generic name of
Danzon..
Music from Tombstone Ensemble de cuivres [Conducteur et Parties séparées] - Facile Anglo Music
Brass Band - Grade 3 SKU: BT.AMP-371-030 Composed by Bruce Broughton. Arr...(+)
Brass Band - Grade 3
SKU:
BT.AMP-371-030
Composed by Bruce
Broughton. Arranged by
Philip Sparke. Anglo
Music Midway Series.
TV-Film-Musical-Show. Set
(Score & Parts). Composed
2013. Anglo Music Press
#AMP 371-030. Published
by Anglo Music Press
(BT.AMP-371-030).
9x12
inches.
English-German-French-Dut
ch.
Released in
cinemas in 1993,
Tombstone is an
American western written
by Kevin Jarre and
directed by George
Cosmatos. Starring Kurt
Russell and Val Kilmer,
it was narrated by Robert
Mitchum and is based on
events relating to the
Gunfight at the OK
Corral, and the
subsequent Wyatt Earp
Vendetta, both of which
took place in Tombstone,
Arizona.The theme is
crime, political
corruption and law
enforcement in the
American west during the
1880s. The score was by
Bruce Broughton, and this
selection features music
from the opening and
closing
credits.
Tombst
one ist ein
amerikanischer Western
aus dem Jahre 1983, der
unter der Regie von Kevin
Jarre nach einem Drehbuch
von George Cosmatos
entstand. Der Film mit
Kurt Russell und Val
Kilmer in den Hauptrollen
sowie Robert Mitchum als
Erzähler basiert auf
den historischen
Ereignissen rund um die
Schießerei am OK
Corral und dem daraus
resultierenden
Rachefeldzug von Wyatt
Earp. Beides fand im Ort
Tombstone im
US-Bundesstaat Arizona
statt. Themen des Films
sind Verbrechen,
politische Korruption und
Strafverfolgung im
Amerika der
1880er-Jahre.Diese
Bearbeitung
präsentiert eine
Auswahl aus der
Eröffnungs- und
Abspannmusik der
originalen Filmmusik von
Bruce Broughton.