Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet
SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720).
UPC:
680160573042. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S).
UPC:
680160588442. 8.5 x 11
inches.
My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet.
String Quartet (Score) SKU: HL.284555 String Quartet. Composed by ...(+)
String Quartet (Score)
SKU: HL.284555
String Quartet.
Composed by John Luther
Adams. Music Sales
America. Classical.
Softcover. Composed 2018.
74 pages. Chester Music
#CH87868. Published by
Chester Music
(HL.284555).
UPC:
888680912901. 9x12
inches.
Composers
note:
I never
imagined I would write a
string quartet. Then I
heard the JACK Quartet,
and I understood how I
might be able to make the
medium my own. The result
was The Wind in High
Places - a twenty-minute
work composed entirely on
natural harmonics and
open strings.
Over
the next few years, two
more quartets followed.
The second quartet,
untouched, is a further
exploration of the
aeolian sound world of
the first. Then, in
Canticles of the Sky, the
musicians finally touch
the fingerboards of their
instruments.
And
now comes Everything That
Rises.
This fourth
quartet is more
expansive, both in time
and in space. It grows
out of Sila: The Breath
of the World - a
performance-length
choral/orchestral work
composed on a rising
series of sixteen
harmonic
clouds.
Everything
That Rises traverses this
same territory, but in a
much more melodic
way.
Each musician
is a soloist, playing
throughout. They surround
the audience. Time
floats.
Over the
course of an hour, the
lines spin out - always
rising - in acoustically
perfect intervals that
grow progressively
smaller as they spiral
upward... until the music
dissolves into the soft
noise of the bows,
sighing.
Born in Bicester in 1931, Anthony Hedges studied music at Keble College, Oxford,...(+)
Born in Bicester in 1931,
Anthony Hedges studied
music at Keble College,
Oxford, and left
university with a first
class honours degree and
a post-graduate degree in
composition. Following
National Service as solo
pianist and arranger with
the Royal Signals Band,
he spent the next five
years as a lecturer at
the Royal Scottish
Academy of music. During
that time he was a
regular contributor on
music to many national
newspapers and journals.
In 1962 he moved to Hull
University where, he
became, until his
retirement in 1995,
Reader in Composition. In
1972 he was elected
Chairman of The
Composers' Guild of Great
Britain, served as
joint-Chairman in 1973
and was subsequently
elected to the Guild's
Council. He has been a
member of the music
panels of Yorkshire Arts
and Lincolnshire and
Humberside Arts, the
Music Board of C.N.N.A.,
and a Council member of
the S.P.N.M. A Council
member of Westminster
Central Music Library for
15 years, he instituted
its publishing scheme for
contemporary British
scores. As a pianist he
has given regular solo
recitals, and as an
accompanist has worked
with many leading
performers. In the late
1970s he founded the
Humberside Sinfonia with
whom he gave numerous
successful concerts as
well as recording a
highly-praised LP of his
music. Anthony Hedges is
equally successful in
many types of music. His
serious music has
received wide critical
acclaim; his light music
enjoys numerous
broadcasts, recordings
and public performances.
He has also written much
music for children and
amateurs as well as
having composed for film,
stage, ballet and
television. His works
have been performed by
many major British
orchestras and heard
worldwide in many
hundreds of broadcast and
public performances. In
1991 he was the featured
composer in the Riga
Festival of British Music
and Film and was
subsequently invited back
to Latvia to conduct
further performances of
his works. A prolific
composer, much of his
output has resulted from
commissions - over 60 to
date*. In 1990 Hull
Central Library
established an Archive
collection of all his
compositions and working
sketches. A CD of his
light orchestral music
was issued in 1997
(Naxos/Marco Polo) and
many CD recordings have
followed on various
labels. In the same year
he was awarded an
honorary D.Mus. by the
University of Hull
Simply the Best Ensemble de cuivres - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1094650-030 As performed by Tina Turn...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1094650-030
As performed by Tina
Turner. Composed by
Holly Knight and Mike
Chapman. Arranged by Ron
Sebregts. DHP Pop, Film
and Show. Pop and Rock.
Set (Score and Parts).
Composed 2009. De Haske
Publications #DHP
1094650-030. Published by
De Haske Publications
(BT.DHP-1094650-030).
9x12 inches.
English-German-French-Dut
ch.
Simply the
Best was first
performed by the little
known Bonnie Tyler in
1988, but did not gain
wide-spread popularity
until Tina Turner
recorded it barely one
year later. The song has
become one of Tina
Turnerâ??s all time
greatest hits and is a
favourite around the
world when something
needs celebrating. Ron
Sebregtsâ?? arrangement
really rocks and will
make sure your next
concert is Simply the
Best!
Simply the
Best wurde 1988
zunächst von Bonnie
Tyler veröffentlicht -
richtig bekannt wurde es
jedoch in der nur ein
Jahr jüngeren Version
von Tina Turner, die
heute noch jeder im Ohr
hat. Diese Interpretation
war auch die Grundlage
der rockigen Bearbeitung
von Ron Sebregts. Der
perfekte Titel, um im
unterhaltsamen Rahmen
jemandem einen Tribut zu
zollen oder einfach nur
das Publikum in Fahrt zu
bringen!
A met
degli anni â??70, Anna
Mae Bullock (alias Tina
Turner) inizia la
carriera da solista e
riesce ben presto a
divenire la superstar del
rock femminile. La
leonessa dalla voce soave
regala ai suoi fan
concerti unici nel suo
genere nei quali canta e
si scatena. Simply the
Best è senza
dubbio uno dei suoi
più grandi
successi.
Agua de Beber Ensemble de Percussions [Partition + CD-ROM] - Facile Tapspace Publications
(arranged for percussion ensemble). By Antonio Carlos Jobim/Vinicius de Moraes. ...(+)
(arranged for percussion
ensemble). By Antonio
Carlos Jobim/Vinicius de
Moraes. Arranged by Ralph
Hicks. For percussion
ensemble (7 to 12
players: glockenspiel,
vibraphone, xylophone,
marimba [1 low-A
instrument shared by 3
players], drumset [snare,
hi ha
Simply the Best Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1094650-020 As performed by Tina Tu...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1094650-020
As performed by Tina
Turner. Composed by
Holly Knight and Mike
Chapman. Arranged by Ron
Sebregts. DHP Pop, Film
and Show. Pop & Rock. Set
(Score & Parts). Composed
2009. De Haske
Publications #DHP
1094650-020. Published by
De Haske Publications
(BT.DHP-1094650-020).
9x12 inches.
English-German-French-Dut
ch.
Simply the
Best was first
performed by the little
known Bonnie Tyler in
1988, but did not gain
wide-spread popularity
until Tina Turner
recorded it barely one
year later. The song has
become one of Tina
Turner’s all time
greatest hits and is a
favourite around the
world when something
needs celebrating. Ron
Sebregts’
arrangement really rocks
and will make sure your
next concert is Simply
the Best!
Simply the
Best wurde 1988
zunächst von Bonnie
Tyler veröffentlicht -
richtig bekannt wurde es
jedoch in der nur ein
Jahr jüngeren Version
von Tina Turner, die
heute noch jeder im Ohr
hat. Diese Interpretation
war auch die Grundlage
der rockigen Bearbeitung
von Ron Sebregts. Der
perfekte Titel, um im
unterhaltsamen Rahmen
jemandem einen Tribut zu
zollen oder einfach nur
das Publikum in Fahrt zu
bringen!
A met
degli anni ’70,
Anna Mae Bullock (alias
Tina Turner) inizia la
carriera da solista e
riesce ben presto a
divenire la superstar del
rock femminile. La
leonessa dalla voce soave
regala ai suoi fan
concerti unici nel suo
genere nei quali canta e
si scatena. Simply the
Best è senza
dubbio uno dei suoi
più grandi
successi.
Simply the Best Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1094650-120 As performed by Tina Tu...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1094650-120
As performed by Tina
Turner. Composed by
Holly Knight and Mike
Chapman. Arranged by Ron
Sebregts. DHP Pop, Film
and Show. Pop & Rock.
Score Only. Composed
2009. 20 pages. De Haske
Publications #DHP
1094650-120. Published by
De Haske Publications
(BT.DHP-1094650-120).
9x12 inches.
English-German-French-Dut
ch.
Simply the
Best was first
performed by the little
known Bonnie Tyler in
1988, but did not gain
wide-spread popularity
until Tina Turner
recorded it barely one
year later. The song has
become one of Tina
Turner’s all time
greatest hits and is a
favourite around the
world when something
needs celebrating. Ron
Sebregts’
arrangement really rocks
and will make sure your
next concert is Simply
the Best!
Simply the
Best wurde 1988
zunächst von Bonnie
Tyler veröffentlicht -
richtig bekannt wurde es
jedoch in der nur ein
Jahr jüngeren Version
von Tina Turner, die
heute noch jeder im Ohr
hat. Diese Interpretation
war auch die Grundlage
der rockigen Bearbeitung
von Ron Sebregts. Der
perfekte Titel, um im
unterhaltsamen Rahmen
jemandem einen Tribut zu
zollen oder einfach nur
das Publikum in Fahrt zu
bringen!
A met
degli anni ’70,
Anna Mae Bullock (alias
Tina Turner) inizia la
carriera da solista e
riesce ben presto a
divenire la superstar del
rock femminile. La
leonessa dalla voce soave
regala ai suoi fan
concerti unici nel suo
genere nei quali canta e
si scatena. Simply the
Best è senza
dubbio uno dei suoi
più grandi
successi.
Simply the Best Ensemble de cuivres [Conducteur] - Facile De Haske Publications
Brass Band - Grade 3 SKU: BT.DHP-1094650-130 As performed by Tina Turn...(+)
Brass Band - Grade 3
SKU:
BT.DHP-1094650-130
As performed by Tina
Turner. Composed by
Holly Knight and Mike
Chapman. Arranged by Ron
Sebregts. DHP Pop, Film
and Show. Pop & Rock.
Score Only. Composed
2009. 20 pages. De Haske
Publications #DHP
1094650-130. Published by
De Haske Publications
(BT.DHP-1094650-130).
9x12 inches.
English-German-French-Dut
ch.
Simply the
Best was first
performed by the little
known Bonnie Tyler in
1988, but did not gain
wide-spread popularity
until Tina Turner
recorded it barely one
year later. The song has
become one of Tina
Turner’s all time
greatest hits and is a
favourite around the
world when something
needs celebrating. Ron
Sebregts’
arrangement really rocks
and will make sure your
next concert is Simply
the Best!
Simply the
Best wurde 1988
zunächst von Bonnie
Tyler veröffentlicht -
richtig bekannt wurde es
jedoch in der nur ein
Jahr jüngeren Version
von Tina Turner, die
heute noch jeder im Ohr
hat. Diese Interpretation
war auch die Grundlage
der rockigen Bearbeitung
von Ron Sebregts. Der
perfekte Titel, um im
unterhaltsamen Rahmen
jemandem einen Tribut zu
zollen oder einfach nur
das Publikum in Fahrt zu
bringen!
A met
degli anni ’70,
Anna Mae Bullock (alias
Tina Turner) inizia la
carriera da solista e
riesce ben presto a
divenire la superstar del
rock femminile. La
leonessa dalla voce soave
regala ai suoi fan
concerti unici nel suo
genere nei quali canta e
si scatena. Simply the
Best è senza
dubbio uno dei suoi
più grandi
successi.
Simply the Best Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1094650-140 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1094650-140
As performed by Tina
Turner. Composed by
Holly Knight and Mike
Chapman. Arranged by Ron
Sebregts. DHP Pop, Film
and Show. Pop & Rock.
Score Only. Composed
2009. 20 pages. De Haske
Publications #DHP
1094650-140. Published by
De Haske Publications
(BT.DHP-1094650-140).
9x12 inches.
English-German-French-Dut
ch.
Simply the
Best was first
performed by the little
known Bonnie Tyler in
1988, but did not gain
wide-spread popularity
until Tina Turner
recorded it barely one
year later. The song has
become one of Tina
Turner’s all time
greatest hits and is a
favourite around the
world when something
needs celebrating. Ron
Sebregts’
arrangement really rocks
and will make sure your
next concert is Simply
the Best!
Simply the
Best wurde 1988
zunächst von Bonnie
Tyler veröffentlicht -
richtig bekannt wurde es
jedoch in der nur ein
Jahr jüngeren Version
von Tina Turner, die
heute noch jeder im Ohr
hat. Diese Interpretation
war auch die Grundlage
der rockigen Bearbeitung
von Ron Sebregts. Der
perfekte Titel, um im
unterhaltsamen Rahmen
jemandem einen Tribut zu
zollen oder einfach nur
das Publikum in Fahrt zu
bringen!
A met
degli anni ’70,
Anna Mae Bullock (alias
Tina Turner) inizia la
carriera da solista e
riesce ben presto a
divenire la superstar del
rock femminile. La
leonessa dalla voce soave
regala ai suoi fan
concerti unici nel suo
genere nei quali canta e
si scatena. Simply the
Best è senza
dubbio uno dei suoi
più grandi
successi.
Simply the Best Orchestre d'harmonie - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1094650-010 As performed b...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.DHP-1094650-010
As performed by Tina
Turner. Composed by
Holly Knight and Mike
Chapman. Arranged by Ron
Sebregts. DHP Pop, Film
and Show. Pop and Rock.
Set (Score and Parts).
Composed 2009. De Haske
Publications #DHP
1094650-010. Published by
De Haske Publications
(BT.DHP-1094650-010).
9x12 inches.
English-German-French-Dut
ch.
Simply the
Best was first
performed by the little
known Bonnie Tyler in
1988, but did not gain
wide-spread popularity
until Tina Turner
recorded it barely one
year later. The song has
become one of Tina
Turnerâ??s all time
greatest hits and is a
favourite around the
world when something
needs celebrating. Ron
Sebregtsâ?? arrangement
really rocks and will
make sure your next
concert is Simply the
Best!
Simply the
Best wurde 1988
zunächst von Bonnie
Tyler veröffentlicht -
richtig bekannt wurde es
jedoch in der nur ein
Jahr jüngeren Version
von Tina Turner, die
heute noch jeder im Ohr
hat. Diese Interpretation
war auch die Grundlage
der rockigen Bearbeitung
von Ron Sebregts. Der
perfekte Titel, um im
unterhaltsamen Rahmen
jemandem einen Tribut zu
zollen oder einfach nur
das Publikum in Fahrt zu
bringen!
A met
degli anni â??70, Anna
Mae Bullock (alias Tina
Turner) inizia la
carriera da solista e
riesce ben presto a
divenire la superstar del
rock femminile. La
leonessa dalla voce soave
regala ai suoi fan
concerti unici nel suo
genere nei quali canta e
si scatena. Simply the
Best è senza
dubbio uno dei suoi
più grandi
successi.
Performed by Elvis Presley. Piano/Vocal/Chords (Arrangements for piano and voice...(+)
Performed by Elvis
Presley.
Piano/Vocal/Chords
(Arrangements for piano
and voice with guitar
chords). Size 9x12
inches. 324 pages.
Published by Hal Leonard
Chorus (with soloists) and piano (solos: SMezMez(A)ATTBarBBB - choir: SSAATTBB -...(+)
Chorus (with soloists)
and piano (solos:
SMezMez(A)ATTBarBBB -
choir: SSAATTBB -
picc.2.2.2.2. - 4.2.3.0.
- timp - hp - str)
SKU: BR.DV-6081
Lyrical Opera in 3
Acts. Composed by
Pjotr Iljitsch
Tschaikowsky. Edited by
Manfred Koerth / Wo
Ebermann. Arranged by M.
Koerth and W. Ebermann.
Choir; Softbound.
Deutscher Verlag. Opera;
Music theatre; Romantic.
Piano/Vocal Score. 300
pages. Deutscher Verlag
fur Musik #DV 6081.
Published by Deutscher
Verlag fur Musik
(BR.DV-6081).
ISBN
9790200460032. 9.5 x 12
inches.
Duration:
full evening Translation
: German (W. Ebermann/M.
Koerth), Engl. (D.
Llyod-Jones), French (M.
Delines) Place and
time: Partly on the
estate, partly in
Petersburg, in 20ies of
the 19th
Century
Characters
: Larina, Owner of the
Estate (mezzo-soprano) -
Tatiana (soprano) and
Olga (alto), her
Daughters - Filipjewna,
Wet Nurse
(mezzo-soprano/alto) -
Eugen Onegin (baritone) -
Lenskij (tenor) - Prince
Gremin (bass) - A
Commander (bass) -
Saretzkij (bass) -
Triquet, a French Man
(tenor) - Guillot, a
Valet (silent part) -
Country Folk, Ball
Guests, Squire, Officers
(chorus) - Waltz,
mazurka, polonaise and
Russian dance (Ballet
)
There is an
interesting parallel
between the subject of
the opera and
Tchaikovsky's life during
the year he wrote the
work (1877): in each
case, a letter provokes
fateful developments in
the lives of the
protagonists. In the
opera, Tatyana's love
letter to Eugene sets off
the tragedy, whereas in
real life, the love
letter of a pupil led the
composer into a marriage,
which lasted all of ...
three months. Tchaikovsky
took this doomed decision
without love, solely
because the circumstances
want it and because I
cannot act differently.
Certain allusions made,
for example, in a letter
of January 1878 to
Taneyev suggest that the
composer's personal
situation also flowed
into the work: I did not
want anything to do with
the so-called 'grand
opera.' I am looking for
an intimate but powerful
drama which is built on
the conflict of
circumstances which I
myself have seen and
experienced, a conflict
which truly moves me.
Partly for this reason
the composer decided to
call the work not an
opera but lyrical
scenes.Eugene Onegin,
conceived by Tchaikovsky
for limited resources and
a small stage, is the
most frequently performed
Russian opera today along
with Mussorgsky's Boris
Godunov, which represents
a completely contrary
aesthetic stance.
Tschaikowskys
letzte Oper - auf ein
Libretto seines Bruders
Modest nach der
Dramenvorlage des
danischen Schriftstellers
Henrik Hertz - lebt von
den poetischen Momenten
und den symbolbeladenen
Charakterportrats der
Hauptfiguren: Die junge
blinde Jolanthe wird von
ihrem Vater aus Sorge um
ihren Makel und zum
Schutz ihrer
Jungfraulichkeit und vor
den Widrigkeiten der Welt
in einen paradiesischen
Garten gesperrt. Er
befielt zu ihrem Schutz
sie um ihre Blindheit
unwissend zu lassen. Ein
Arzt warnt sehen werde
sie nur konnen wenn sie
es selbst wolle gleich
welche Angste aus der
vollstandigen Erkenntnis
der Welt erwachsen. Als
der junge Vaudemont in
ihre Abgeschiedenheit
einbricht und sich beide
ineinander verlieben
befreit er sie von ihrer
Unwissenheit erklart was
Farbe und Licht bedeuten.
Erst die Liebe zu ihm
macht sie sehend.
Die dunkle Welt
der Jolanthe zeichnet
Tschaikowsky zu Beginn
musikalisch durch eine
Introduktion
ausschliesslich fur
Blaser. Erst mit dem
Eintritt in die
unbekannte Welt der Liebe
und des Sehens verwendet
Tschaikowsky einen warmen
Streicherklang. Gerade
dadurch stiess die Oper
wohl bei Zeitgenossen auf
Verstorung. Tschaikowskys
,,Jolanthe nimmt in
seinem Opernschaffen eine
Sonderstellung ein: neben
dem glucklichen Ende
einer Apotheose des
Lichts und der Liebe mit
einem religios gepragten
Schlusschoral ist es
eines der wenigen
Buhnenwerke Tschaikowskys
ohne Bezug zur russischen
Geschichte. Der
ausgepragte Lyrismus des
Werks verweist
stattdessen auf
Tschaikowskys Nahe zur
franzosischen Kultur die
im 19. Jahrhundert einen
starken Einfluss auf
Russland hatte. Die Oper
wurde 1892 am
Mariinsky-Theater in
Sankt Petersburg als
Auftragswerk zusammen mit
seinem Ballett ,,Der
Nussknacker
uraufgefuhrt.
Nebe
n der Produktion des
Munchner
Rundfunkorchesters wurde
,,Jolanthe szenisch
erfolgreich bei den
Festspielen Baden-Baden
mit Anna Netrebko und
Piotr Beczala als
Liebespaar rehabilitiert.
Ausserhalb Deutschlands
lief die Opernraritat in
Toulouse Tokyo San
Sebastian und Monte
Carlo. Zuletzt erneut die
,,Suddeutsche Zeitung:
,,Jolanthe ist eine
Opernausgrabung die
,,wirklich zu Unrecht
vergessen ist.
Tchaikovsky's last opera
- on a libretto by the
composer's brother Modest
based on the drama by the
Danish author Henrik
Hertz - derives its
life-blood from its
poetic moments and the
symbol-laden portraits of
the leading characters:
the blind young Yolanta
is kept prisoner in a
paradisiacal garden by
her father who fears for
her purity and her
virginity and seeks to
protect her from the
adversities of the world.
To do so he orders
everyone to keep her
ignorant of the fact that
she is blind. A doctor
warns that she will only
be able to see when she
is ready to do so herself
no matter what fears
might result from a
complete experience of
the world. When the young
Vaudemont breaks into her
secluded world and the
two fall in love he frees
her from her ignorance
and explains the
significance of color and
light. It is through her
love for him that she is
finally able to see. At
the beginning of the work
Tchaikovsky depicts
Yolanta's dark world with
an introduction scored
exclusively for winds. It
is not until her
discovery of the unknown
world of love and sight
that Tchaikovsky uses a
warm string sound. This
is what many of the
composer's contemporaries
found disturbing about
the
opera.
Tchaikovsky
's Yolanta occupies a
special place in the
composer's operatic
oeuvre: for one it has a
happy ending an
apotheosis of light and
love with a religiously
stamped closing chorale;
for another it is one of
Tchaikovsky's few stage
works without any
reference to Russian
history. Instead the
work's pronounced
lyricism points to the
composer's closeness to
French culture. which
exerted a strong
influence on Russia in
the 19th
century.
The opera
was given its world
premiere at the Mariinsky
Theater in St. Petersburg
in 1892. It had been
commissioned along with
the ballet The
Nutcracker. Next to the
production by the
Munchner
Rundfunkorchester Yolanta
was also successfully
rehabilitated in a recent
staged production at the
Baden-Baden Festival with
Anna Netrebko and Piotr
Beczala as the lovers.
Outside of Germany the
operatic rarity was
performed in Toulouse
Tokyo San Sebastian and
Monte Carlo.
In
closing another quote
from the Suddeutsche
Zeitung: 'Yolanta' is an
operatic rediscovery of a
work that was truly
'wrongly forgotten'.