Greater Steps To Success Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.024-4708-00 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.024-4708-00
Composed by Benson and
Swearingen. Young Concert
Band. Score and set of
parts. C.L. Barnhouse
#024-4708-00. Published
by C.L. Barnhouse
(CL.024-4708-00).
Create a
routine that will instill
a lifelong understanding
of why warming up is
important and carry over
from group to individual
practice. This quick, yet
highly efficient warm up
is a perfect way to start
your rehearsal. Students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Grade 1 SKU: CL.023-4670-01 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.023-4670-01
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Extra full score.
Composed 2018. Duration 2
minutes, 37 seconds. C.L.
Barnhouse #023-4670-01.
Published by C.L.
Barnhouse
(CL.023-4670-01).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Steps To Success Orchestre d'harmonie [Conducteur] C.L. Barnhouse
Pre 1 SKU: CL.023-4647-01 Composed by Benson and Swearingen. Young Concer...(+)
Pre 1
SKU:
CL.023-4647-01
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Extra full score.
Composed 2018. Duration 2
minutes, 17 seconds. C.L.
Barnhouse #023-4647-01.
Published by C.L.
Barnhouse
(CL.023-4647-01).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Steps To Success Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Pre 1 SKU: CL.023-4647-00 Composed by Benson and Swearingen. Young Concer...(+)
Pre 1
SKU:
CL.023-4647-00
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Score and set of
parts. Composed 2018.
Duration 2 minutes, 17
seconds. C.L. Barnhouse
#023-4647-00. Published
by C.L. Barnhouse
(CL.023-4647-00).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
More Steps To Success Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant C.L. Barnhouse
Grade 1 SKU: CL.023-4670-00 Composed by Benson and Swearingen. Young Conc...(+)
Grade 1
SKU:
CL.023-4670-00
Composed by Benson and
Swearingen. Young Concert
Band. Sound Foundations
Series. Score and set of
parts. Composed 2018.
Duration 2 minutes, 37
seconds. C.L. Barnhouse
#023-4670-00. Published
by C.L. Barnhouse
(CL.023-4670-00).
Are you
searching for a quick,
yet highly efficient
warm-up routine for your
younger players? Then
search no more. In less
than five minutes, lip
slurs, mini-scales,
intervals, rhythm
patterns and chorales can
all be addressed. Using
these exercises will
instill a lifelong
understanding of why
warming up is important.
In addition, students
will instantly become
more focused as you
transition into your
valuable
rehearsal/teaching time.
Kim Benson and James
Swearingen, two
well-respected music
educators, have teamed up
to make your instruction
more effective, your
musicians stronger and
your program highly
successful. A must-have
for today’s
approach to teaching
instrumental music!
Guitar - Beginning SKU: CZ.9798883803436 Composed by Larry Newman. Book. ...(+)
Guitar - Beginning
SKU:
CZ.9798883803436
Composed by Larry Newman.
Book. Children's Music
Workshop #9798883803436.
Published by Children's
Music Workshop
(CZ.9798883803436).
ISBN
9798883803436.
Best
Beginning Guitar Book for
Teens and Adults is an
easy, learn-how-to-play
guitar method book for
beginning students.
Designed specifically for
beginners, this
comprehensive method book
is packed with all the
essential tools and
resources you'll need to
learn how to play the
guitar with ease and
excitement.
With
the power of online video
tutorials, this book
brings a music teacher
right into your home,
ready to guide you
whenever you are ready to
strum and pluck your
first chords. The
companion YouTube videos
offer a dynamic and
engaging learning
experience, featuring
beautiful, professionally
produced 4K videos. These
videos include live
playing demonstrations of
every song featured in
the book, ensuring that
you can see and hear
exactly how each tune is
meant to
sound.
The
extra-large notation,
simplified arrangements,
and letter names inside
the note heads help you
easily navigate through
the music. With limited
material per page, you
won't feel overwhelmed,
allowing for a gradual
and steady
progression.
The
book not only teaches you
how to play the guitar
but also instills
important music
fundamentals. From
learning how to read
notes and mastering
proper guitar technique
to understanding basic
music theory and
fostering creativity and
expression, this book
covers it all.
The
book
includes: Extra-large
notation Simplified
arrangements Letter
names inside the note
heads Limited material
per page Chords,
lyrics and notes Easy
to read sheet
music Large selection
of classic and
time-tested
songs
The book
teaches important music
fundamentals
including: How to read
notes Proper guitar
technique Chord and
single note
playing Basic music
theory Creativity and
expression Music
appreciation The
YouTube videos support
learning
with: Beautiful,
professionally produced
4K videos Live playing
demonstrations of every
song in the book.
Hail! Bright
Cecilia. Composed by
Henry Purcell. Stapled.
Eulenburg Orchestral
Series. Renaissance/early
Baroque; Baroque. Part.
20 pages. Duration 60'.
Breitkopf and Haertel
#EOS 8063-26. Published
by Breitkopf and Haertel
(BR.EOS-8063-26).
ISBN
9790004789810. 8.5 x 11.5
inches.
The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Chorus (with soloists) and piano (solos: SAATBB - choir: SSAATB - 2rec.B-fl.2.0....(+)
Chorus (with soloists)
and piano (solos: SAATBB
- choir: SSAATB -
2rec.B-fl.2.0.0. -
0.2.0.0. - timp - str -
bc)
SKU:
BR.ED-10296
Hail!
Bright Cecilia.
Composed by Henry
Purcell. Edited by
Christopher Hogwood.
Choir; stapled.
Renaissance/early
Baroque; Baroque.
Piano/Vocal Score. 80
pages. Duration 60'.
Breitkopf and Haertel #ED
10296. Published by
Breitkopf and Haertel
(BR.ED-10296).
ISBN
9790220101977. 7.5 x 11
inches.
The Ode was
admirably set by Mr.
Henry Purcell, and
performed twice with
universal applause.
(The Gentlemen's
Journal, 1692)
The
popularity of Purcell's
setting is apparent from
the many sources that
survive and from the
printed extracts which
appeared almost
immediately after its
first performance. The
primary source for this
edition is the largely
autograph manuscript in
the Bodleian Library.
Rather to reduce the
orthography to a norm,
the capitalization of the
vocal text favours
Purcell's
preferences. (Christop
her Hogwood)
Vokalensemble Stuttgart
und den Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Tuba (trombone) SKU: M7.AHW-412 Composed by Bob Stewart. Sheet music. 21 ...(+)
Tuba (trombone)
SKU:
M7.AHW-412
Composed
by Bob Stewart. Sheet
music. 21 pages. Charles
Colin Corp. #AHW 412.
Published by Charles
Colin Corp. (M7.AHW-412).
English.
In the
jazz tradition the Tuba
was the bass in the
rhythm section up until
the mid-twenties. It was
then the upright bass
replaced the Tuba in many
ensembles as the jazz
music moved north and
continued to develop.
After this period the
Tuba's roll, as bass in
the rhythm section, was
at a standstill and did
not develop through Swing
and Bebop. It wasn't
until Cool Jazz of the
1950's when the Tuba was
used by Miles Davis and
Gil Evans in 'Birth of
the Cool' as an ensemble
horn. The Tuba, like
swimming, is something
you can't do any longer
than you can hold your
breath. In order to
maintain a steady beat
while playing in the
rhythm section I have
developed a system of
breathing called Pant
Breathing. Using this
method, the player can
maintain a steady beat
within the rhythm
section, without losing
time while taking deep
breaths.
Chorus (with soloists) and piano (solos: TTB - choir: SST(A)TBB - 2.0.0.0. - 0.0...(+)
Chorus (with soloists)
and piano (solos: TTB -
choir: SST(A)TBB -
2.0.0.0. - 0.0.0.0. -
vl.2va.vc/db)
SKU:
BR.ED-12658
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softbound. Mass;
Requiem; Baroque.
Piano/Vocal Score. 70
pages. Duration 55'.
Breitkopf and Haertel #ED
12658. Published by
Breitkopf and Haertel
(BR.ED-12658).
ISBN
9790220121760. 7.5 x 11
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; stapled. Eulenburg
Orchestral Series. Mass;
Requiem; Baroque. Part.
12 pages. Duration 55'.
Breitkopf and Haertel
#EOS 8047-20. Published
by Breitkopf and Haertel
(BR.EOS-8047-20).
ISBN
9790004789759. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; Softcover.
Eulenburg Orchestral
Series. Mass; Requiem;
Baroque. Part. 24 pages.
Duration 55'. Breitkopf
and Haertel #EOS 8047-15.
Published by Breitkopf
and Haertel
(BR.EOS-8047-15).
ISBN
9790004789735. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Urtext edition based on HN 7248 (G. Henle Verlag, Munich). Composed by Richard...(+)
Urtext edition based on
HN
7248 (G. Henle Verlag,
Munich). Composed by
Richard
Strauss (1864-1949).
Edited
by Hansjorg
Schellenberger.
The piano reduction and
study
edition corresponding to
this
edition have been
published
by G. Henle Verlag,
Munich.
Score. Breitkopf and
Haertel
#PB 15161. Published by
Breitkopf and Haertel
Brass Band - Grade 3 SKU: BT.AMP-281-130 Composed by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-281-130
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2009. Anglo
Music Press #AMP 281-130.
Published by Anglo Music
Press (BT.AMP-281-130).
9x12 inches.
English-German-French-Dut
ch.
In 2006, a
long-time dream of Philip
Sparke finally became
reality: to compose a set
of variations on the
famous chorale from
Saint-Saëns’
renowned Organ Symphony.
In 2009 the composer
reworked the piece for
brass band. The resulting
Saint-Saëns
Variations has been
simplified, shortened and
in many places completely
recomposed, to distill
the essence of the
symphony even further and
allow younger bands to
enjoy the power of
Saint-Saëns’
masterpiece in an
approachable, yet
completely faithful,
work.
2006
erfüllte sich Philip
Sparke den lang gehegten
Wunsch, eine Reihe von
Variationen über den
berühmten Choral aus
Saint-Saëns’
Orgelsinfonie zu
schreiben. Die 2009
daraus entstandenen
Saint-Saëns
Variations sind
vereinfacht, gekürzt
und an manchen Stellen
auch völlig neu
komponiert, um die Essenz
der Sinfonie noch besser
herauszukristallisieren
und tiefer besetzten
Brass Bands einen gut
spielbaren und dennoch im
Kern originalgetreuen
Zugang zu dem kraftvollen
Meisterwerk von
Saint-Saëns zu
ermöglichen.
Brass Band - Grade 3 SKU: BT.AMP-281-030 Composed by Philip Sparke. Anglo...(+)
Brass Band - Grade 3
SKU:
BT.AMP-281-030
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score and
Parts). Composed 2009.
Anglo Music Press #AMP
281-030. Published by
Anglo Music Press
(BT.AMP-281-030).
9x12
inches.
English-German-French-Dut
ch.
In 2006, a
long-time dream of Philip
Sparke finally became
reality: to compose a set
of variations on the
famous chorale from
Saint-Saënsâ??
renowned Organ Symphony.
In 2009 the composer
reworked the piece for
brass band. The resulting
Saint-Saëns
Variations has been
simplified, shortened and
in many places completely
recomposed, to distill
the essence of the
symphony even further and
allow younger bands to
enjoy the power of
Saint-Saënsâ??
masterpiece in an
approachable, yet
completely faithful,
work.
Gebaseerd op
de bekende Orgelsymfonie
van de Franse componist
Camille Saint-Saëns
een waar meesterwerk.
2006 erfüllte
sich Philip Sparke den
lang gehegten Wunsch,
eine Reihe von
Variationen über den
berühmten Choral aus
Saint-Saënsâ??
Orgelsinfonie zu
schreiben. Die 2009
daraus entstandenen
Saint-Saëns
Variations sind
vereinfacht, gekürzt
und an manchen Stellen
auch völlig neu
komponiert, um die Essenz
der Sinfonie noch besser
herauszukristallisieren
und tiefer besetzten
Brass Bands einen gut
spielbaren und dennoch im
Kern originalgetreuen
Zugang zu dem kraftvollen
Meisterwerk von
Saint-Saëns zu
ermöglichen.
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; stapled. Eulenburg
Orchestral Series. Mass;
Requiem; Baroque. Part.
12 pages. Duration 55'.
Breitkopf and Haertel
#EOS 8047-19. Published
by Breitkopf and Haertel
(BR.EOS-8047-19).
ISBN
9790004789742. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).
Requiem. Composed
by Andre Campra. Edited
by Jean-Paul Montagnier.
Choir; stapled. Eulenburg
Orchestral Series. Mass;
Requiem; Baroque. Part.
16 pages. Duration 55'.
Breitkopf and Haertel
#EOS 8047-26. Published
by Breitkopf and Haertel
(BR.EOS-8047-26).
ISBN
9790004789766. 8.5 x 11.5
inches.
Among
Campra's Latin works, the
,Messe de mort' is
perhaps one of the more
successful and today it
is one of the more
frequently performed. It
is also the most
enigmatic score of his
entire output. Despite
extensive researches, no
evidence of any sort has
yet been brought to light
to document its origin,
purpose, date of
composition, first
performance or reception.
A stylistic analysis
indubitably supports the
contention that the
,Messe de mort' is a late
work, composed perhaps
between 1722 and 1729.
The present edition
is based on the
manuscript from the
Bibliotheque Nationale de
France (Paris). It it the
oldest known source of
the work. The very few
errors have been
corrected. (Jean-Paul
Montagnier) Vokalensemble
Stuttgart und den
Kammerchor des
Kopernikus-Gymnasiums
Wasseralfingen. Fur diese
beiden ganz
unterschiedlichen
Chorformationen hat
Martin Smolka 2012 auch
gezielt seine Partitur
angelegt. Biografisch ist
das Agnus Dei eine Art
kleines Requiem fur
seinen kurz zuvor
verstorbenen Vater. Das
liturgische Agnus Dei
rahmt den deutschen Text
Eh das Madchen entschlief
... der bei Auffuhrungen
in anderen Landern durch
eine Ubersetzung ersetzt
werden soll.
Der
SWR-Redakteur Hans-Peter
Jahn schreibt dazu im
Programmheft: Die fur
Smolka typischen
minimalistischen
Taktzellen schaffen eine
archaische Sinnlichkeit.
Eine einfache und
zugleich streng gebaute
Vokalmusik mit
Tiefenwirkung.
Nac
h der Urauffuhrung war
die Esslinger Zeitung
hellauf begeistert:
Smolka ist ein Meister
der Stimmbehandlung und
der chorischen
Klanggestaltung. Im
Zentrum des Stucks gerat
die Musik zum Stillstand:
im leisen gleichmassigen
Summen uber dem plotzlich
fortissimo ein
tschechisches Kinderlied
erklingt eines das der
Vater seinen Kindern
haufig vorgesungen hat.
Das alles war sehr
beruhrend. Und eigentlich
noch mehr als das. My
father PhDr. Jaroslav
Smolka (1933-2011) was a
leading Czech
musicologist author of
books Czech Cantata and
Oratorium Fuga in Czech
Music Smetana's Orchestra
Music Smetana's Vocal
Music monography of Jan
Dismas Zelenka and many
others. He was a
legendary teacher of
Music History at Prague
Music Academy critic
recording producer
composer; for almost 50
years he was an important
and highly respected
personality of Prague
musical life. My
father devoted a lot of
time and energy to
musical education and
activities of my sister
and me using often quite
original methods such as
teaching of intervals and
counterpoint through
Bartok's Microcosmos ear
training filling all
imaginable moments of
everyday life or lessons
of harmony analysis
starting with Overture to
Tristan and Musorgsky's
Catacombs. The Martinu
song Wondering Maiden was
his solo number in our
home vocal productions
which he used to sing
with amazing devotion
while his huge voice was
audible in several
neighboring
streets. My Agnus Dei
is closely bound to all
this history e.g. by
using canon and
preferring beauty of
dissonant seconds like
Bartok or quoting Martinu
and his refined
neoclassical harmony.
Father would be probably
a bit critical about the
minimalistic monotony of
the main body of the
piece. Nevertheless
firstly he would
improvise a short lecture
of history of Agnus Dei
in Requiem in Czech Music
naming by heart many
dates and all examples of
changes of order of the
traditional text by
composers. Examples would
be sung
probably. (Martin
Smolka).