(Book) SKU: HL.50580815 Update 2008-2012. By M.M. Novati. Ricordi....(+)
(Book)
SKU:
HL.50580815
Update
2008-2012. By M.M.
Novati. Ricordi. Books on
Music. Book [Softcover].
Composed 2012. Ricordi
#NR140714. Published by
Ricordi (HL.50580815).
ISBN 9788875929183.
6.5x9.25x0.93 inches.
Italian.
In 2008,
the whole Studio di
Fonolgia di Milano della
Rai - including
equipment and furniture -
was completely
reconstructed inside the
XXXVI room of the Museum
of Musical Instruments at
the Sforza Castle in
Milan. For the first
time, all the productions
of the Studio (including
not only electronic music
compositions but also
original soundtracks for
radio programmes) were
systematically catalogued
and made available in
this publication.The book
contains several updates
to the old contributions.
In addition, it presents
three new essays that
provide an interesting
reflection on the the
preservation of
electroacoustic music and
its instruments, as well
as documentingrecent
research that led to the
realization of the sounds
and the physical
interfaces that embody
the original instruments
of the Studio.The second
part of the book contains
the catalogue of the
musical production at the
Studio enriched with a
great deal of new data,
as well as part of the
video productions whose
soundtracks were produced
or edited at the
Studio.This new edition
will provide a complete
and valuable tool to
anyone looking for a
better understanding,
from both the technical
and the musical
viewpoint, of an
extremely dynamic - if
not contradictory -
period of Italian and
European music history: a
very short moment after
all, less than thirty
years long.
Als
2008 das beruhmte
Studio Di
Fonologia des
Mailander Radios RAI
Milano, 1954 von Bruno
Maderna und Luciano Berio
gegrundet, ins
Musikinstrumentemuseum
des Castello Sforzesco
umzog, ergriff man die
Gelegenheit, nicht nur
die elektronischen
Instrumente und Anlagen,
sondern auch die dort
entstandenen Aufnahmen zu
katalogisieren und einem
breiteren Publikum
zuganglich zu machen. Das
Buch enthalt im ersten
Teil eine genaue
Beschreibung der
elektrotechnischen
Anlagen und Instrumente
mit vielen Abbildungen,
im zweiten Teil den
Katalog der Audio- und
Videoaufnahmen.Die hier
vorliegende neue Ausgabe
gewahrt einen moglichst
vollstandigen Einblick in
die technische
undmusikalische
Entwicklung einer hoch
dynamischen, wenn auch
recht kurzen, Phase der
italienischen und
europaischen
Experimentalmusik.
A Merry Christmas Party Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1196174-010 Arranged by Sim...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1196174-010
Arranged by Simon
Fahnholz. DHP Pop, Film
and Show. Christmas. Set
(Score & Parts). Composed
2019. De Haske
Publications #DHP
1196174-010. Published by
De Haske Publications
(BT.DHP-1196174-010).
When Christmas
is coming, a nice medley
should always be in your
programme. This
accessible medley by
Simon Fahnholz includes
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ and
‘Thank God
It’s
Christmas’. A nice
alternative to the usual
Christmas anthems!
Als Kerstmis weer
in aantocht is, hoort er
natuurlijk weer een
fraaie medley op uw
programma te staan. Deze
toegankelijke potpourri
van Simon Fahnholz omvat
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ en
‘Thank God
It’s
Christmas’. Een
fijn alternatief voor de
gebruikelijke
kersttoppers!
Für
Weihnachten sollte man
immer ein schönes
Medley im Programm haben.
Dieses ansprechende
Medley von Simon Fahnholz
beinhaltet All I Want for
Christmas Is You“,
Christmas Time“,
Feliz Navidad“ und
Thank God It’s
Christmas“. Eine
schöne Alternative zu
den üblichen
Weihnachtsliedern!
Dovreste sempre
avere nel vostro
repertorio un bel medley
quando arriva il Natale.
Il medley di Simon
Fahnholz include: All I
Want for Christmas Is
You, Christmas Time,
Feliz Navidad e Thank God
It's Christmas. Una bella
alternativa ai soliti
canti natalizi!
A Merry Christmas Party Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 3.5 SKU: BT.DHP-1196174-140 Arranged by Sim...(+)
Concert Band/Harmonie -
Grade 3.5
SKU:
BT.DHP-1196174-140
Arranged by Simon
Fahnholz. DHP Pop, Film
and Show. Christmas.
Score Only. Composed
2019. 28 pages. De Haske
Publications #DHP
1196174-140. Published by
De Haske Publications
(BT.DHP-1196174-140).
When Christmas
is coming, a nice medley
should always be in your
programme. This
accessible medley by
Simon Fahnholz includes
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ and
‘Thank God
It’s
Christmas’. A nice
alternative to the usual
Christmas anthems!
Als Kerstmis weer
in aantocht is, hoort er
natuurlijk weer een
fraaie medley op uw
programma te staan. Deze
toegankelijke potpourri
van Simon Fahnholz omvat
‘All I Want for
Christmas Is You’,
‘Christmas
Time’,
‘Feliz
Navidad’ en
‘Thank God
It’s
Christmas’. Een
fijn alternatief voor de
gebruikelijke
kersttoppers!
Für
Weihnachten sollte man
immer ein schönes
Medley im Programm haben.
Dieses ansprechende
Medley von Simon Fahnholz
beinhaltet All I Want for
Christmas Is You“,
Christmas Time“,
Feliz Navidad“ und
Thank God It’s
Christmas“. Eine
schöne Alternative zu
den üblichen
Weihnachtsliedern!
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115151-140 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115151-140
As performed by Chris
de Burgh. Arranged by
Simon Fahnholz. DHP Pop,
Film and Show. Pop &
Rock. Score Only.
Composed 2011. 12 pages.
De Haske Publications
#DHP 1115151-140.
Published by De Haske
Publications
(BT.DHP-1115151-140).
9x12 inches.
English-German-French-Dut
ch.
“The idea
behind this song is to
remind everyone, for all
those who have forgotten,
how colourful and
exciting Christmas was
during their childhood.
Christmas is a magical
time and, after all, no
matter how old we are, we
are all still children at
heart.†These words
were written by Chris de
Burgh about his 2009 hit,
The Bells of Christmas,
inspired by
Dickens’ A
Christmas Carol. Simon
Fahnholz has now made an
excellent version of this
Christmas hit for concert
band.
Voor
iedereen die vergeten is
hoe bont en levendig de
kerst in zijn jeugdjaren
was. Kerst is een
betoverend feest. Diep in
ons hart zijn we allemaal
nog kinderen, ook al zijn
we al lang
volwassenen.†Dit
zei Chris de Burgh over
zijnkersthit van 2009
waarin hij zich liet
inspireren door de
prachtige kerstverhalen
van Charles
Dickens.
Die Idee
dieses Songs ist, allen
die vergessen haben, wie
bunt und lebendig
Weihnachten in ihrer
Kinderzeit war, dies noch
einmal vor Augen zu
führen. Weihnachten
ist ein Zauber und wir
sind im tiefsten Herzen
doch alle große
Kinder, auch wenn wir
längst erwachsen
sind.“ Dies sind
Chris De Burghs Worte
über seinen
Weihnachts-Hit von 2009,
zu dem er sich von
Charles’ Dickens
Weihnachtsgeschichte
inspirieren ließ.
“Il
messaggio di questa
canzone è di ricordare
a coloro che
l’avessero
dimenticato,
com’era il Natale
quando erano bambini, una
festa vivace e calda.
Anche se siamo cresciuti
e divenuti adulti,
abbiamo mantenuto il
cuore di bambini, non
dimentichiamo allora che
il Natale è una festa
magicaâ€. Ecco un
estratto del testo della
ballata The Bells of
Christmas, divenuta un
grande successo del
Natale 2009 e cantata da
Chris de Burgh che si era
ispirato al celebre
romanzo di Charles
Dickens.
The Bells of Christmas Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1115151-010 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1115151-010
As performed by Chris
de Burgh. Arranged by
Simon Fahnholz. DHP Pop,
Film and Show. Christmas.
Set (Score & Parts).
Composed 2011. De Haske
Publications #DHP
1115151-010. Published by
De Haske Publications
(BT.DHP-1115151-010).
9x12 inches.
English-German-French-Dut
ch.
“The idea
behind this song is to
remind everyone, for all
those who have forgotten,
how colourful and
exciting Christmas was
during their childhood.
Christmas is a magical
time and, after all, no
matter how old we are, we
are all still children at
heart.†These words
were written by Chris de
Burgh about his 2009 hit,
The Bells of Christmas,
inspired by
Dickens’ A
Christmas Carol. Simon
Fahnholz has now made an
excellent version of this
Christmas hit for concert
band.
Voor
iedereen die vergeten is
hoe bont en levendig de
kerst in zijn jeugdjaren
was. Kerst is een
betoverend feest. Diep in
ons hart zijn we allemaal
nog kinderen, ook al zijn
we al lang
volwassenen.†Dit
zei Chris de Burgh over
zijnkersthit van 2009
waarin hij zich liet
inspireren door de
prachtige kerstverhalen
van Charles
Dickens.
Die Idee
dieses Songs ist, allen
die vergessen haben, wie
bunt und lebendig
Weihnachten in ihrer
Kinderzeit war, dies noch
einmal vor Augen zu
führen. Weihnachten
ist ein Zauber und wir
sind im tiefsten Herzen
doch alle große
Kinder, auch wenn wir
längst erwachsen
sind.“ Dies sind
Chris De Burghs Worte
über seinen
Weihnachts-Hit von 2009,
zu dem er sich von
Charles’ Dickens
Weihnachtsgeschichte
inspirieren ließ.
“Il
messaggio di questa
canzone è di ricordare
a coloro che
l’avessero
dimenticato,
com’era il Natale
quando erano bambini, una
festa vivace e calda.
Anche se siamo cresciuti
e divenuti adulti,
abbiamo mantenuto il
cuore di bambini, non
dimentichiamo allora che
il Natale è una festa
magicaâ€. Ecco un
estratto del testo della
ballata The Bells of
Christmas, divenuta un
grande successo del
Natale 2009 e cantata da
Chris de Burgh che si era
ispirato al celebre
romanzo di Charles
Dickens.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle Merion Music
Chamber Music String Quartet SKU: PR.144407270 Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.144407270
Composed
by Sydney F. Hodkinson.
Sws. Set of Score and
Parts. 44+16+16+16+16
pages. Duration 22
minutes. Merion Music
#144-40727. Published by
Merion Music
(PR.144407270).
UPC:
680160681891. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.
Violin - Concerto Orchestre, Violon SATB, Orchestre Editorial de Musica Boileau
Violin and orchestra SKU: BO.B.3340 Composed by Jordi Cervello. Instrumen...(+)
Violin and orchestra
SKU: BO.B.3340
Composed by Jordi
Cervello. Instrumental
Sets. Duration 29:00.
Published by Editorial de
Musica Boileau
(BO.B.3340).
ISBN
9788480207591.
Engl
ish comments: My
dedication to the string
instruments has been a
constant throughout my
compositional career and
I knew that sooner or
later the time would come
to compose a concerto for
violin and orchestra.
That moment came in the
autumn of 2002 and after
ten months of
uninterrupted work I
finished it in August of
2003. It is a work
structured similarly to
the traditional
concertos. An important
impetus for the
elaboration of my
concerto was due to the
ill-fated violinist
Ginette Neveu. Her
version of Sibelius'
Concerto has always
stayed with me. For this
reason the first
movement,
Moderato-Allegro, begins
with a contemplative
atmosphere similar to
that of Sibelius'
Concerto in which the
principal thematic ideas
appear tentatively. These
ideas, two rhythmic and
two melodic, are
reaffirmed through a
broad development that
culminates in an
orchestral fullness. A
calm, mysterious passage
recalls the introduction
and after becoming
blurred, three bars burst
in leading to the rapid
section of the movement.
Soloist and orchestra
engage in a dialectic
struggle of a dramatic
nature. The agitation
subsides leaving only a
tranquil and suggestive
clarinet phrase. This
will be taken up by the
soloist who leads up to
the movement's most
dramatic moment playing
an accelerating triplet
figure supported by an
orchestral pedal in
crescendo. From here the
soloist's cadenza emerges
beginning with soft
double notes. It finishes
with an ascending
progression and the
soloist settles into the
high register to elicit
the orchestra's
intervention in a soft
and transfigured
atmosphere. Once
internalised the second
movement, Adagio poco
sostenuto e leggero
begins. It has a solemn
character and opens with
two trumpet calls
answered by the
violoncellos and the
contrabasses. The violin
soloist introduces and
plays two nostalgic
themes, the first in the
low register and the
second, more extensive,
in the middle register.
The soft and delicate
Misterioso e leggero
begins with the violin
singing on high. The
rhythm of the constant
quaver figures gradually
accelerates until the
soloist provokes a
dramatic full orchestra
as in a cadenza. Once
again, the Calmo, in
which the soloist with
less and less orchestral
attire serenely bids
farewell. A rising series
of double stops by the
soloist serves to
initiate the
Finale-Scherzo. In 6/8
rhythm and with the
character of a rondo it
carries us along in a
carefree, virtuosic
ambiance. The principal
motives, brief and
concise, emerge from the
happy, playful theme
presented by the soloist.
With an intricate
progression of rapid
sixths in double stops it
reaches a tense and
somewhat combative
moment. However this
resolves itself in a
diminuendo that the
soloist peacefully takes
up with the notes re-la
to commence the cadenza.
This culminates in a
series of tied notes to
reintroduce the principal
theme. A moment of
melodic suspension serves
as a farewell before the
brief and jovial final
coda. --The
author
Comentari
os del Espanol: A lo
largo de mi carrera
compositiva mi dedicacion
a los instrumentos de
cuerda ha sido constante
y sabia que, tarde o
temprano, llegaria el
momento de componer un
concierto para violin y
orquesta. Este llego en
otono de 2002 y, tras
diez meses de trabajo
ininterrumpido, lo
termine en agosto de
2003. Se trata de una
obra estructurada de
manera similar a los
conciertos tradicionales.
Un importante impulso a
la elaboracion de mi
concierto lo debo al
recuerdo de la malograda
violinista Ginette Neveu.
Su version del concierto
de Sibelius ha
permanecido siempre
dentro de mi. Por ese
motivo, el primer
movimiento
Moderato-Allegro se
inicia con una atmosfera
contemplativa cercana a
la del mencionado
Concierto, en la que
aparecen cautamente las
principales ideas
tematicas. Con un amplio
desarrollo se llega a un
lleno orquestal en el que
estas ideas -dos ritmicas
y dos melodicas- quedan
reafirmadas. Un pasaje
calmo y misterioso
rememora la introduccion.
Tras desdibujarse,
irrumpen tres compases
que nos llevan a la parte
rapida del movimiento.
Solista y orquesta
establecen un combate
dialectico de caracter
dramatico. La inquietud
desaparece hasta una
tranquila e insinuante
frase del clarinete. Esta
sera recogida por el
solista, quien, a base de
una figuracion de
tresillos cada vez mas
rapidos apoyada por un
pedal de la orquesta in
crescendo, conduce hacia
el momento mas dramatico
del movimiento. De aqui
nace la cadenza del
solista, que se incia con
suaves notas dobles.
Finaliza con una
progresion ascendente y
el solista se coloca en
el registro agudo para
llamar la intervencion de
la orquesta dentro de una
atmosfera suave y
transfigurada.
Interiorizado es el
segundo movimiento Adagio
poco sostenuto e leggero.
Con dos llamadas de las
trompas respondidas por
los violonchelos y
contrabajos inicia el
Adagio de caracter grave.
El violin solista
introduce y canta dos
temas nostalgicos. El
primero en el registro
grave y el segundo, mas
amplio, en el medio.
Inicia el Misterioso e
leggero, de caracter
suave y delicado. Con el
violin cantando en agudo.
La constante figuracion
de corcheas acelerara
poco a poco el ritmo
hasta que el solista a
modo de cadenza provocara
un dramatico lleno
orquestal. De nuevo el
Calmo, donde el solista,
cada vez con menos ropaje
orquestal, se despide
serenamente. Una subida
de dobles cuerdas a cargo
del solista sirve para
iniciar el
Finale-Scherzo. Este, en
ritmo de 6/8 y con
caracter de rondo, nos
transporta en un clima
virtuosistico y
despreocupado. Del tema
alegre y jugueton
presentado por el solista
nacen los principales
motivos, breves y
concisos. Con una
intrincada sucesion de
rapidas sextas en doble
cuerda se llega a un
momento crispado y algo
combativo que, sin
embargo, se resolvera en
un diminuendo que el
solista recoge
apaciblemente con las
notas re-la para inciar
la cadenza. Esta culmina
con un suave rosario de
notas en ligado para
introducir de nuevo el
tema principal. Un
momento de suspension
melodica sirve como
despido antes de la breve
y jovial coda final. La
obra fue estrenada el 23
de septiembre de 2005 en
el Teatre Monumental de
Madrid por la Orquesta
Sinfonica de RTVE con
Markus Placci de solista
y Uwe Mund de director.
Gravacion: RNE y Canal
Clasico de TVE. --El
Autor.
String Quartet No. 8 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Merion Music
Chamber Music String Quartet SKU: PR.14440727S Composed by Sydney F. Hodk...(+)
Chamber Music String
Quartet
SKU:
PR.14440727S
Composed
by Sydney F. Hodkinson.
Sws. Full score. 44
pages. Duration 22
minutes. Merion Music
#144-40727S. Published by
Merion Music
(PR.14440727S).
UPC:
680160681907. 9 x 12
inches.
My Eighth
and Ninth String
Quartets, begun in late
2017, are sonic cousins.
Akin to real cousins,
each piece exhibits
differing natures. They
were requested by two
ensembles that have
become asecond familiesa
to me: The Jupiter
Quartet of Urbana,
Illinois and the Amernet
Quartet based in Miami,
Florida. Their collective
dedication to, and care
for, our art remains a
personal and constant
are-fuelinga for me. The
quartets were
commissioned by, and
dedicated to, Margaret
and Philip Verleger of
Denver, Colorado.
Additional financial
support was provided by
the School of Music at
Stetson University,
Timothy Peter, Dean.
Quartet No.8 is laid out
in a classical
four-movement design. The
work does break somewhat
from conventional
tradition by often
placing quartet members
into soloistic roles as
the movement titles note.
individual The opening
piece presents at the
outset a three-note motto
which is turned over,
tumbled, and
energetically discussed,
primarily by a violin
duet. It is a duel. The
two players part company
only infrequently during
the movement's progress,
pausing briefly for other
commentary by their
alower cohortsa, the
Viola and Cello do not
argue, but abet their
friends' aeffortsa. The
piece's overall character
is fairly bright and
dancelike, closing in an
unresolvedastandoffa. not
Two principal
asound-objectsa stitch
the second movement
scherzo together: sliding
hands (glissandos) and a
plucked ashufflea
(pizzicato) - both
instigated by the (solo)
cellist. The others are
influenced - or are not -
by their aleadera, and
follow - or interrupt -
the cello throughout
their four-voiced
conversation. The third
movement (longest of the
set) is an elegy
dedicated to the memory
of a close personal
friend, the American
composer David Maslanka
(1943 - 2017). Its'
genesis is a simple
5-note melody derived
from my own name
(SaC/DaC/EaC/H). This
line commences in the
(solo) viola and is
obsessively uttered
without relief during the
movement's lamentations.
The closing movement
revisits much of that
opening three-note
material, but now dressed
up for the full quartet
to view. It is a slowly
accelerating romp which -
twice - cannot avoid a
nod to the Amernet and
Jupiter performers by
offering a humble bow to
the 4th movement of
Gustav Holst's PLANETS -
Jupiter: The Bringer of
Jollity. My quartet
serves as an honouring
salute of thanks for the
talent, respect, and
friendship of these two
young quartets. STRING
QUARTET No. 8 is roughly
22 minutes in duration.
It was written as an
homage to Franz Joseph
Haydn, my
adesert-island-composera,
and completed in Holly
Hill, Florida in early
April of 2019. S.H.