| Rocking Pneumonia and the Boogie Woogie Flu Chorale 2 parties 2 parties, Piano [Octavo] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. 2-Part Choir. Choral Oc...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. 2-Part
Choir. Choral Octavo. Pop
Choral. 8 pages.
Published by Alfred Music
Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu Chorale 3 parties TTB/TBB [Octavo] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. Men's Choir. Choral Oct...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. Men's
Choir. Choral Octavo. Pop
Choral. 8 pages.
Published by Alfred Music
Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 4 to 6 business days | | |
| Rocking Pneumonia and the Boogie Woogie Flu Chorale SATB SATB, Piano [Octavo] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. SATB choir. Choral Octa...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. SATB
choir. Choral Octavo. Pop
Choral. 8 pages.
Published by Alfred Music
Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu [Pack instrumental] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. For SoundPax. This edit...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. For
SoundPax. This edition:
SoundPax. Choral Octavo;
Part(s). Pop Choral. 18
pages. Published by
Alfred Music Publishing
$30.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Marx: Wandrers Nachtlied; Phanomen Chorale SATB SATB Carus Verlag
| | |
| Boyz Nite Out (A Medley including Teenager in Love, Rockin Pneumonia and the Boogie Woogie Flu, and Gimme Some Lovin) [Octavo] - Intermédiaire Alfred Publishing
Arranged by Kirby Shaw. For Choir. (TBB). Choral Octavo. Pop Choral Series. Cho...(+)
Arranged by Kirby Shaw.
For Choir. (TBB). Choral
Octavo. Pop Choral
Series. Choral Octavo. 24
pages. Published by
Alfred Publishing.
Level: Moderate
(grade 3).
$3.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Pianomania: 20 Emotional Piano Pieces Piano seul [Partition + CD] Bosworth & Co.
Book/CD Pack Piano SKU: HL.14048329 Book with MP3 CD. Composed by ...(+)
Book/CD Pack Piano
SKU: HL.14048329
Book with MP3 CD.
Composed by Hans-Guenter
Heumann. Music Sales
America. Classical.
Softcover with CD.
Composed 2016. 88 pages.
Bosworth & Co. #BOE7852.
Published by Bosworth &
Co. (HL.14048329).
ISBN 9783865439543.
9.0x12.0x0.277 inches.
German. 20 easy and
medium difficulty pieces.
Minimal and New Age music
dominates these very
emotional compositions by
Hans-Gunter Heumann. $23.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu CD Chorale [CD d'accompagnement] Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. This edition: SoundTrax...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. This
edition: SoundTrax CD.
CD; Choral Octavo. Pop
Choral
$26.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Rocking Pneumonia and the Boogie Woogie Flu Chorale 3 parties SAB, Piano Alfred Publishing
By Heuy P. Smith. Arranged by Kirby Shaw. Choir Secular. 3-Part Mixed Choir (SAB...(+)
By Heuy P. Smith.
Arranged by Kirby Shaw.
Choir Secular. 3-Part
Mixed Choir (SAB). Choral
Octavo. Pop Choral. 8
pages. Published by
Alfred Music Publishing
$1.85 $1.7575 (- 5%) Voir plus => AcheterDélais: 4 to 6 business days | | |
| Meghan Trainor : All About That Bass Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Alfred Publishing
Promoting positive body image in the lyric, with a catchy melody and an infec...(+)
Promoting positive body
image in the lyric, with
a
catchy melody and an
infectious grove, this
pop
tune definitely has a bit
of
a '50s and '60s doo-wop
feel
that makes it refreshing.
With its throwback soul
beat, its body-positive
message couched in a cute
musical metaphor, and its
dance-filled,
candy-colored
video, it's become a
straight-up pop
phenomenon
loved by today's pop
culture. A very playable
arrangement with a fresh
touch! (1:45).
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Autour du chant et du rythme - Volume 4 Lemoine, Henry
Music teaching SKU: LM.27895 Composed by Jean-Paul Joly and Veronique Can...(+)
Music teaching SKU:
LM.27895 Composed by
Jean-Paul Joly and
Veronique Canonici.
Method, studies. Score.
Editions Henry Lemoine
#27895. Published by
Editions Henry Lemoine
(LM.27895). ISBN
9790230978958. BACH
: Recitatif - HAENDEL :
Joshua, Air de Kaleb -
HAYDN : Les Saisons,
Cavatine - SCHUMANN :
Resignation Op.83 n. 1 -
ROSSINI : Mi lagnera
tacendo - Petite messe
solennelle, Crucifixus -
BRAHMS : Ich legte mich
unter den Iindenbaum -
Ach wende diesen blick -
BIZET : Absence -
CHAUSSON : Serre d'ennui
- DEBUSSY : Ariettes
oubliees, C'est l'Extase
- PUCCINI : La Boheme, Mi
chiamano Mimi - BRITTEN :
extrait de Rejoice in the
Lamb - MACHAUT : Amours
me fait desirer -
MONTEVERDI - Lasciate mi
morire (5e livre de
madrigal) - HAYDN : Alles
hat seine zeit -
MENDELSSOHN : Aus der
motette Op.39 n. 3 -
SCHUMANN : Erste
Begegnung Op.74 n. 1 -
Liebesgram Op.74 n. 3 -
LISZT : Ave verum corpus
- BRAHMS : Phanomen Op.61
n. 3 - Am Strande Op.66
n. 3 - DEBUSSY : Il
pleure dan mon coeur -
L'Echelonnement des haies
- POULENC : Ave verum
corpus - STRAYHORN :
Lush-life. $35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Flashback Fanfare - Avancé De Haske Publications
Fanfare Band - Grade 5 SKU: BT.DHP-1094779-020 Composed by Jan de Haan. C...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-1094779-020
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Concert
Piece. Set (Score &
Parts). Composed 2009. De
Haske Publications #DHP
1094779-020. Published by
De Haske Publications
(BT.DHP-1094779-020).
9x12 inches. A
flashback is an
interesting psychological
phenomenon: a seemingly
random trigger can bring
back long-forgotten
memories from the
subconscious mind. The
composer underwent a
similar experience before
writing this piece. He
was asked to write a
piece for The National
Youth Fanfare Band in the
Netherlands, one which he
heard perform many years
ago. All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Deze
compositie is geschreven
ter gelegenheid van Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstukvoor het
Nationaal Jeugd Fanfare
Orkest in opdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
opdit Engelse kerklied
nam hij als
inspiratiebron en hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback“ ist ein
psychologisches
Phänomen: Eine Erfahrung
weckt scheinbar aus dem
Nichts die Erinnerung an
lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plötzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phénomène
psychologique. Des
événements du passé,
imprimés dans la
mémoire long terme,
resurgissent comme une
réponse inconsciente et
soudaine un stimulus lié
une expérience
antérieure.Cette
œuvre a été
composée l’occasion du
cinquantième
anniversaire de
l’Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-même
membre, au cours des
années 1960. Jeune
musicien, il éprouvait
un profond respect pour
le chef d’alors, Piebe
Bakker (1929-2002), un
homme passionné, avec un
style de direction très
stimulant. En revenant
sur cette période,
quarante ans après, Jan
de Haan a revécu
lesnombreuses
interprétations de la
pièce Deep
Harmony. La mélodie
scintillante - extraite
d’un cantique anglais -
lui est alors apparue
comme un flash-back et
c’est comme un éclair
mental qu’il a choisi
de lui redonner vie dans
le passage final de cette
œuvre. $249.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flashback Sc/pts Full Score Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie (Score) - Grade 5 SKU: HL.44011765 Composed by Jan ...(+)
Concert Band/Harmonie
(Score) - Grade 5 SKU:
HL.44011765 Composed
by Jan de Haan. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2010. De Haske
Publications #1094779.
Published by De Haske
Publications
(HL.44011765). UPC:
884088896621. 9x12
inches.
English-German-French-Dut
ch. A flashback is
an interesting
psychological phenomenon:
a seemingly random
trigger can bring back
long-forgotten memories
from the subconscious
mind. The composer
underwent a similar
experience before writing
this piece. He was asked
to write a piece for The
National Youth Fanfare
Band in the Netherlands,
one which he heard
perform many years ago.
All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstuk voor het
Nationaal Jeugd Fanfare
Orkest inopdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
op dit Engelse kerklied
nam hij als
inspiratiebronen hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback ist ein
psychologisches Phanomen:
Eine Erfahrung weckt
scheinbar aus dem Nichts
die Erinnerung an lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plotzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phenomene psychologique.
Des evenements du passe,
imprimes dans la memoire
a long terme,
resurgissent comme une
reponse inconsciente et
soudaine a un stimulus
lie a une experience
anterieure.Cette
œuvre a ete composee
a l'occasion du
cinquantieme anniversaire
de l'Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-meme membre,
au cours des annees 1960.
Jeune musicien, il
eprouvait un profond
respect pour le chef
d'alors, Piebe Bakker
(1929-2002), un homme
passionne, avec un style
de direction tres
stimulant. En revenant
sur cette periode,
quarante ans apres, Jan
de Haan a revecu
lesnombreuses
interpretations de la
piece Deep
Harmony. La melodie
scintillante - extraite
d'un cantique anglais -
lui est alors apparue
comme un flash-back et
c'est comme un eclair
mental qu'il a choisi de
lui redonner vie dans le
passage final de cette
œuvre. $48.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flashback Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-1094779-140 Composed by Jan d...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.DHP-1094779-140
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2010. 44 pages.
De Haske Publications
#DHP 1094779-140.
Published by De Haske
Publications
(BT.DHP-1094779-140).
9x12 inches.
English-German-French-Dut
ch. A flashback is
an interesting
psychological phenomenon:
a seemingly random
trigger can bring back
long-forgotten memories
from the subconscious
mind. The composer
underwent a similar
experience before writing
this piece. He was asked
to write a piece for The
National Youth Fanfare
Band in the Netherlands,
one which he heard
perform many years ago.
All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstuk voor het
Nationaal Jeugd Fanfare
Orkest inopdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
op dit Engelse kerklied
nam hij als
inspiratiebronen hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback“ ist ein
psychologisches
Phänomen: Eine Erfahrung
weckt scheinbar aus dem
Nichts die Erinnerung an
lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plötzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phénomène
psychologique. Des
événements du passé,
imprimés dans la
mémoire long terme,
resurgissent comme une
réponse inconsciente et
soudaine un stimulus lié
une expérience
antérieure.Cette
œuvre a été
composée l’occasion du
cinquantième
anniversaire de
l’Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-même
membre, au cours des
années 1960. Jeune
musicien, il éprouvait
un profond respect pour
le chef d’alors, Piebe
Bakker (1929-2002), un
homme passionné, avec un
style de direction très
stimulant. En revenant
sur cette période,
quarante ans après, Jan
de Haan a revécu
lesnombreuses
interprétations de la
pièce Deep
Harmony. La mélodie
scintillante - extraite
d’un cantique anglais -
lui est alors apparue
comme un flash-back et
c’est comme un éclair
mental qu’il a choisi
de lui redonner vie dans
le passage final de cette
œuvre. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Flender/rauhe Schluessel Zur Musik Schott
(BR) SKU: HL.49041718 Neue Einblicke in die Welt der Musik. Compos...(+)
(BR) SKU:
HL.49041718 Neue
Einblicke in die Welt der
Musik. Composed by
Kurt Pahlen. This
edition: Paperback/Soft
Cover. Paperback. Serie
Musik. Das Buch versucht
in
allgemeinverstandlicher
Sprache dem spezifisch
europaischen Phanomen der
Geschichte von
musikalischen
Revolutionen, Konflikten
und Auseinandersetzungen
auf den Grund zu gehen.
301 pages. Schott Music
#SEM 8372. Published by
Schott Music
(HL.49041718). ISBN
9783254083722.
German. Musik ist
unverzichtbarer
Bestandteil der
menschlichen Kultur,
wirkt in vielfaltiger
Weise auf Individuum und
Gesellschaft. Musik hat
auch eine Geschichte:
Musikgeschichte ist ein
spezifisch europaisches
Phanomen. Es ist die
Geschichte von
musikalischen
Revolutionen, Konflikten
und Auseinandersetzungen.
Wenn im Ruckblick diese
Geschichte als gradlinige
logische Fortentwicklung
erscheint, so ist dies
doch weitgehend die
Konstruktion
wissenschaftlicher
Theorien. Neuere
Erkenntnisse aus der
Musikethnologie,
-soziologie und
-psychologie haben
gezeigt, dass die
europaische
Musikgeschichte
eigentlich sehr
dramatisch verlaufen ist.
Dieses Buch versucht
diesen Konfliktstoffen
auf die Spur zu kommen.
Insofern gehen die
Autoren nicht
chronologisch vor,
sondern haben den Stoff
nach interessanten
Themengebieten
gegliedert. Die
Geschichte der Musik
erscheint im Kontext
geistiger und sozialer
Konflikte als echtes
Abenteuer, das von den
Autoren in packender und
allgemeinverstandlicher
Sprache vermittelt wird.
Ein Buch fur
Musikliebhaber, die an
musikalischem Grundwissen
interessiert sind. $19.99 - Voir plus => Acheter | | |
| A Tribute to Ray Charles Orchestre d'harmonie - Intermédiaire Music Sales
Concert Band/Harmonie - Grade 3 SKU: BT.1267-05-140-MS Arranged by Peter ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.1267-05-140-MS
Arranged by Peter Kleine
Schaars. Peter's Popular
Collection. Pop & Rock.
Score Only. Composed
2005. 36 pages. Music
Sales #1267-05-140 MS.
Published by Music Sales
(BT.1267-05-140-MS).
9x12 inches.
English-German-French-Dut
ch. Ray Charles
(1930-2004) was a
multitalented and
pioneering American
pianist and soul singer
who became very popular
in the late fifties, and
remained respected for
his music in the decades
that followed. By
incorporating gospel,
jazz, blues, and big band
elements, he helped shape
the sound of rhythm and
blues, and brought a
soulful sound to
everything from country
music to pop standards.
Ray Charles embodied the
American dream, starting
out a poor, blind boy
from the southern United
States and becoming an
international music
phenomenon; his nickname
was “the Genius” for
a good reasonIn this
arrangement for concert
band, Peter Kleine
Schaars presents five of
the songs thatcontributed
to Ray Charles’ fame: I
Can’t Stop Loving You,
Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her So,
and Unchain My Heart.
Ray Charles
(1930-2004) was een
vernieuwend Amerikaans
pianist en soulzanger die
populair werd in de jaren
vijftig en geliefd bleef
in de decennia die
volgden. Hij gaf mede
vorm aan de sound van de
rhythm & blues en hij gaf
een soulachtigeklank aan
alle muziek van country
tot aan popstandards -
waarin hij gospel, jazz,
blues en
bigband-elementen
verwerkte. Dit
arrangement bevat vijf
van de songs die
bijdroegen aan de roem
van Ray Charles: I
Can’t StopLoving You,
Hit the Road Jack,
Georgia on My Mind,
Hallelujah I Love Her
So en Unchain My
Heart.
Ray
Charles, dem Hollywood
jüngst mit einer Oscar
preisgekrönten
Filmproduktion huldigte,
ist die Verkörperung des
amerikanischen Traums:
Vom armen, blinden Jungen
aus den Südstaaten wurde
er zum internationalen
musikalischen Phänomen;
seinen Spitznamen Genie
trug er völlig zu Recht.
In dieser Bearbeitung
für Blasorchester
präsentiert Peter Kleine
Schaars fünf der Lieder,
die zu Ray Charles' Ruhm
beitrugen.
RRay
Charles (1930-2004)
était un pianiste et un
chanteur de soul
américain l’esprit
novateur et aux multiples
talents. Il connut le
succès dès la fin des
années 1950 et son
immense notoriété ne le
quittera plus. En
intégrant dans son jeu
des éléments venus du
gospel, du jazz, du blues
et du big band, il a
contribué la naissance
et au développement du
rhythm and blues et
apporté une sonorité
pleine de sensibilité
tous les styles musicaux,
de la musique country aux
grands classiques de la
musique pop. Ray Charles
incarnait le rêve
américain : musicien
noir, aveugle, issu du
milieu défavorisé du
Sud des États-Unis, il
accède au statut de
phénomène musical dans
le mondeentier. On ne
l’a pas surnommé
“the Genius” par
hasard. Dans cet
arrangement pour
Orchestre d’Harmonie,
Peter Kleine Schaars a
rassemblé cinq titres
emblématiques de Ray
Charles : I Can’t
Stop Loving You, Hit the
Road Jack, Georgia on My
Mind, Hallelujah I Love
Her So et Unchain
My Heart.
Ray
Charles è un vero mito:
cinque decenni di
successi, una carriera
eccezionale ricca di
decine di successi che
hanno fatto il giro del
mondo diventando fonte di
ispirazione per intere
generazioni di giovani
artisti. Soprannominato
“The Genius”, questo
pioniere del R&B e della
soul music, cieco
dall’et di sette anni,
ha composto alcune delle
canzoni memorabili della
musica nera americana tra
cui I Can’t Stop
Loving You, Hit the Road
Jack, Georgia on My Mind,
Hallelujah I Love Her
so e Unchain My
Heart. $27.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| As We Search Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarinet 2, C...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Bells,
Chimes, Clarinet 1,
Clarinet 2, Clarinet 3,
Crash Cymbals, Euphonium,
Euphonium T.C., Flute,
Gong, Horn 1, Horn 2,
Mallet Percussion 1,
Mallet Percussion 2,
Mallet Percussion 3,
Oboe, Percussion 1 and
more. - Grade 3.5 SKU:
CF.CPS254 Legend
of the “Brown Mountain
Lights”. Composed
by Joseph Benjamin Earp.
Set of Score and Parts.
15+16+2+8+8+8+2+2+2+2+2+2
+4+4+4+2+2+3+3+3+2+4+1+1+
1+1+1+3 pages. Duration 5
minutes, 11 seconds. Carl
Fischer Music #CPS254.
Published by Carl Fischer
Music (CF.CPS254).
ISBN 9781491159811.
UPC:
680160918409. PROGR
AM NOTES As We Search:
Legend of the Brown
Mountain Lights is
inspired by the many
ghost stories that have
come from the mysterious
occurrence of lights on
Brown Mountain (Burke
County, North Carolina).
These mysterious
phenomena appear during
evenings in autumn. Many
have seen the lights, but
the exact cause remains a
mystery. The origin of
the lights has inspired
numerous legends. As We
Search: Legend of the
Brown Mountain Lights
focuses on one legend
from the nineteenth
century. After a local
woman went missing,
though murder was
suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO CONDUCTOR
The duration of the
composition is five
minutes at the marked
tempo. Careful attention
should be given to
articulations, dynamic
changes and phrasing
throughout the work. The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5-6,
9-10, 17-18, 21-22,
41-42, 45-46, 76-77 and
80-81. The climax of the
piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman. Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights. Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist As We
Search.. PROGRAM
NOTESAs We Search: Legend
of the “Brown Mountain
Lights” is inspired by
the many ghost stories
that have come from the
mysterious occurrence of
lights on Brown Mountain
(Burke County, North
Carolina). These
mysterious phenomena
appear during evenings in
autumn. Many have seen
the lights, but the exact
cause remains a
mystery.The origin of the
lights has inspired
numerous legends. As We
Search: Legend of the
“Brown Mountain
Lights” focuses on one
legend from the
nineteenth century. After
a local woman went
missing, though murder
was suspected, villagers
engaged in a search of
the mountain. Having
never been found, it is
said the search
continues, and ghostly
echoes of the search
lights can still be seen
on Brown Mountain to this
day. NOTES TO
CONDUCTORThe duration of
the composition is five
minutes at the marked
tempo. Careful
attention should be given
to articulations, dynamic
changes and phrasing
throughout the work.The
entire work is based on
the idea first stated by
the bells in m. 12. Each
time the idea is
restated, stronger
development occurs around
it building to m. 74.
Attention should be given
to the dissonance that
resolves in mm. 5–6,
9–10, 17–18, 21–22,
41–42, 45–46, 76–77
and 80–81.The climax of
the piece is m. 81,
representing the moment
the villagers think they
have found the lost
woman.Measure 82 to the
end continues a fading
trend as if people are
forgetting about the
legend of the Brown
Mountain Lights.Measure
110 carrying into m. 111
is meant to be
unresolved. Even though
the legend has faded over
time, the lights still
exist “As We
Search.” . $85.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Flashback Ensemble de cuivres - Avancé De Haske Publications
Brass Band - Grade 5 SKU: BT.DHP-1094779-130 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 5
SKU:
BT.DHP-1094779-130
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2009. 56 pages. De Haske
Publications #DHP
1094779-130. Published by
De Haske Publications
(BT.DHP-1094779-130).
9x12 inches. A
flashback is an
interesting psychological
phenomenon: a seemingly
random trigger can bring
back long-forgotten
memories from the
subconscious mind. The
composer underwent a
similar experience before
writing this piece. He
was asked to write a
piece for The National
Youth Fanfare Band in the
Netherlands, one which he
heard perform many years
ago. All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstuk voor het
Nationaal Jeugd Fanfare
Orkest inopdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
op dit Engelse kerklied
nam hij als
inspiratiebronen hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback“ ist ein
psychologisches
Phänomen: Eine Erfahrung
weckt scheinbar aus dem
Nichts die Erinnerung an
lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plötzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phénomène
psychologique. Des
événements du passé,
imprimés dans la
mémoire long terme,
resurgissent comme une
réponse inconsciente et
soudaine un stimulus lié
une expérience
antérieure.Cette
œuvre a été
composée l’occasion du
cinquantième
anniversaire de
l’Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-même
membre, au cours des
années 1960. Jeune
musicien, il éprouvait
un profond respect pour
le chef d’alors, Piebe
Bakker (1929-2002), un
homme passionné, avec un
style de direction très
stimulant. En revenant
sur cette période,
quarante ans après, Jan
de Haan a revécu
lesnombreuses
interprétations de la
pièce Deep
Harmony. La mélodie
scintillante - extraite
d’un cantique anglais -
lui est alors apparue
comme un flash-back et
c’est comme un éclair
mental qu’il a choisi
de lui redonner vie dans
le passage final de cette
œuvre. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Graffiti Boosey and Hawkes
Study Score Ensemble (Score) SKU: HL.48024565 Large Ensemble Study Sco...(+)
Study Score Ensemble
(Score) SKU:
HL.48024565 Large
Ensemble Study Score.
Composed by Unsuk Chin.
Boosey & Hawkes
Scores/Books. Classical.
Softcover. 160 pages.
Duration 1680 seconds.
Boosey & Hawkes
#M060133718. Published by
Boosey & Hawkes
(HL.48024565).
Most of us,
when confronted with the
term graffiti, are likely
to associate it with the
rather desolate wall
scrawlings all over our
urban landscapes.
However, this is not the
whole picture: no less
artists than Klee, Miro,
Dubuffet, and Picasso
were interestedin it (the
latter painting examples
himself on Parisian
walls). In our time,
there is the highly
interesting and
controversial phenomenon
of Street Art, which has
occasionally wittily
succeeded in criticizing
the commercialization of
cities. At their best,
street artists have been
able to thwart the
expectations created by
omnipresent mass media
and by advertising - one
can find some
particularly remarkable
examples in metropolises
such as Berlin, Paris, or
New York. Though this was
the initial stimulus for
Graffiti, it finally
branched into rather
different directions: it
is only very loosely,
ifat all, connected to
the phenomenon of Street
Art (or to the visual
arts). The music is not
illustrative nor is it
programmatic and the main
idea was to compose a
music which is not
restricted as to time or
place, and which offers
strong contrasts between
different modes of
expression. The three
movements headings give a
hint of the changing
modes, moods, and
structures of the music.
The first movement,
Palimpsest,is
polydimensional and
many-layered; one can
hear allusions to a
multiplicity of styles.
The second movement,
Notturno urbano, forms a
strong contrast to the
hyperactive previous
movement. It starts with
distant and gradually
approaching bell-like
sounds, from which the
whole movement's musical
material is being
derived. The instruments
are often used in an
unconventional way: the
winds as well as the
strings employ extended
techniques, which
contributes to the
aloofness and the
mysteriousness of the
movement. The third,
highly virtuosic,
movement, is a kind of an
'urban passacaglia' (the
name of this musical form
actually derives from the
Spanish 'pasar una
calle', 'to walk along a
street'). It consists of
eight incisive chords,
which are played
continuously by the
brass, albeit always in a
different way. Two worlds
collide in this movement:
the brass attacks are
commented upon by
flitting interjections of
different instruments,
which are highly varied
in character and length.
As a whole, the musical
language of Graffiti
shifts between roughness
and refinement,
complexity and
transparency. It is rich
in contrast and
labyrinthine, neither
tonal nor atonal.
Graffiti calls for great
agility, virtuosity, and
constant changes of
perspective from the
musicians; each
instrument is being
treated as a soloist.
Graffiti was commissioned
by the Los Angeles
Philharmonic Association,
Barbican, London;
Orchestra Ensemble
Kanazawa, Kunststiftung
NRW and Ensemble
musikFabrik. It was first
performed on 26th of
February 2013 by the Los
Angeles Philharmonic New
Music Group conducted
b. $64.00 - Voir plus => Acheter | | |
| Flashback Fanfare - Avancé De Haske Publications
Fanfare Band - Grade 5 SKU: BT.DHP-1094779-120 Composed by Jan de Haan. C...(+)
Fanfare Band - Grade 5
SKU:
BT.DHP-1094779-120
Composed by Jan de Haan.
Concert and Contest
Collection CBHA. Concert
Piece. Score Only.
Composed 2009. 56 pages.
De Haske Publications
#DHP 1094779-120.
Published by De Haske
Publications
(BT.DHP-1094779-120).
9x12 inches. A
flashback is an
interesting psychological
phenomenon: a seemingly
random trigger can bring
back long-forgotten
memories from the
subconscious mind. The
composer underwent a
similar experience before
writing this piece. He
was asked to write a
piece for The National
Youth Fanfare Band in the
Netherlands, one which he
heard perform many years
ago. All of a sudden he
remembered Deep
Harmony, a piece
frequently programmed
back then. He used his
own flashback-experience
as an inspiration to
weave an old English hymn
into his new composition,
much like a musical
flashback. The right idea
at the right moment, as
this piece will
prove!
Een
flashback is een
psychologisch fenomeen:
een hedendaagse belevenis
roept zomaar uit het
niets herinneringen uit
het verleden op. Zo
verging het ook Jan de
Haan, toen hij een
muziekstuk voor het
Nationaal Jeugd Fanfare
Orkest inopdracht kreeg.
Het is het orkest waarin
hij zelf ooit speelde.
Plotseling viel hem het
werk Deep Harmony
in, een werk dat hij
destijds vaak had
gespeeld. Zijn flashback
op dit Engelse kerklied
nam hij als
inspiratiebronen hij
verwerkte het in dit
nieuwe muziekstuk. De
juiste inval op het
juiste moment, zoals nu
iedereen kan
horen!
Ein
Flashback“ ist ein
psychologisches
Phänomen: Eine Erfahrung
weckt scheinbar aus dem
Nichts die Erinnerung an
lang
Zurückliegendes. So
ging es auch Jan de Haan,
als er ein Stück
für ein
Jugendauswahlorchester
der Niederlande, in dem
er selbst einst
mitspielte, schreiben
sollte. Plötzlich fiel
ihm ein damals oft
programmiertes
Stück namens
Deep Harmony ein
und er nahm diesen
Flashback als
Inspiration, dieses
englische Kirchenlied in
seinem neuen Werk zu
verarbeiten. Der richtige
Einfall im richtigen
Moment, wie das Resultat
beweist!
Le
flash-back est un
phénomène
psychologique. Des
événements du passé,
imprimés dans la
mémoire long terme,
resurgissent comme une
réponse inconsciente et
soudaine un stimulus lié
une expérience
antérieure.Cette
œuvre a été
composée l’occasion du
cinquantième
anniversaire de
l’Orchestre de Fanfare
National des Jeunes des
Pays-Bas, une formation
talentueuse, dont Jan de
Haan fut lui-même
membre, au cours des
années 1960. Jeune
musicien, il éprouvait
un profond respect pour
le chef d’alors, Piebe
Bakker (1929-2002), un
homme passionné, avec un
style de direction très
stimulant. En revenant
sur cette période,
quarante ans après, Jan
de Haan a revécu
lesnombreuses
interprétations de la
pièce Deep
Harmony. La mélodie
scintillante - extraite
d’un cantique anglais -
lui est alors apparue
comme un flash-back et
c’est comme un éclair
mental qu’il a choisi
de lui redonner vie dans
le passage final de cette
œuvre. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| TemA Breitkopf & Härtel
Trio SKU: BR.EB-9459 Composed by Helmut Lachenmann. Chamber music; staple...(+)
Trio SKU:
BR.EB-9459 Composed
by Helmut Lachenmann.
Chamber music; stapled.
Edition Breitkopf. Music
post-1945. Sheet Music.
Composed 1968. 20 pages.
Duration 14'. Breitkopf
and Haertel #EB 9459.
Published by Breitkopf
and Haertel (BR.EB-9459).
ISBN 9790004189368.
10.5 x 14
inches. TemA was
written in the summer of
1968. In spite of
Ligeti's Aventures it may
be considered one of the
first compositions in
which the breathing plays
a role as an
accoustically transmitted
energy process (Holliger,
Globokar, Kagel, Schnebel
and Stockhausen in Hymnen
have already worked on
this phenomenon
independently of each
other and from different
points of view).
Moreover, temA marks for
me the first step into
that musique concrete
instrumentale in which
the mechanical conditions
of the sound production
are incorporated into the
composition. This
characterizes my later
pieces such as
Kontrakadenz, Air,
Pression etc. more
consistently. In temA,
unlike what happened in
my previous works, the
naturalistic extreme
cases were consciously
accepted but at the same
time integrated into a
very rigorous musical
context which was also to
give a new meaning to the
traditional playing
conceptions. The
violation of the tabus
felt in the nearly 70s
(not only regarding this
piece) lay to a less
degree in the phenomenon
of the sound deformation
(snoring, pressed
strings, soundless
blowing etc.), since such
an alienation was
perfectly tolerated as an
humoristic, dadaistic or
expressionistic element.
Rather the shock was
caused by the technical
logic of the movements
which rendered relative
the sheer surrealistic
effect and had to be
taken seriously instead
of in an humoristic
way.(Helmut Lachenmann,
translation: Roger
Clement)CD:Linda Hirst,
Martin Fahlenbock, Lucas
Fels CD Montaigne Auvidis
MO 782023ensemble
phorminxCD WER 6682
2Bibliography:Hiekel,
Jorn Peter: Escaped from
Paradise? Construction of
Identity and Elements of
Ritual in Vocal Works by
Helmut Lachenmann and
Giacinto Scelsi, in:
Vocal Music and
Contemporary Identities.
Unlimited Voices in East
Asia and the West (=
Routledge Research in
Music 3), hrsg. von
Christian Utz und
Frederick Lau, London und
New York: Routledge 2013,
pp. 158-174.ders.: Helmut
Lachenmann und seine
Zeit, Laaber: Laaber
2023, S.
202-213.Meyer-Kalkus,
Reinhart: Klangmotorik
und verkorpertes Horen in
der Musik Helmut
Lachenmanns, in: Der Atem
des Wanderers. Der
Komponist Helmut
Lachenmann, hrsg. von
Hans-Klaus Jungheinrich,
Mainz: Schott 2006, pp.
91-110.ders.: Stimme und
Atemsyntax in
Vortragskunst, Prosa und
Musik, in: Musik &
Asthetik, Heft 51 (Juli
2009), pp.
73-106.Nonnenmann, Karl
Rainer: Auftakt der
instrumentalen musique
concrete. Helmut
Lachenmanns temA, in:
MusikTexte 67/68 (1997),
pp. 106-114.Saxer,
Marion: Kunstgesang als
Klangsymbol. Belcanto in
experimenteller
Vokalmusik nach 1960, in:
Musik & Asthetik, Heft 92
(Oktober 2019), S. 5-25
Weber,Barbara Balba: ,,Es
musste einfach schick
sein, beim Musikhoren
etwas zuriskieren.
Weltbezuge bei
Lachenmann: Perspektive
der Musikvermittlung,
in:Zuruck zur Gegenwart?
Weltbezuge in neuer
Musik, hrsg. von Jorn
Peter
Hiekel(Veroffentlichungen
des Instituts fur Neue
Musik und Musikerziehung
Darmstadt55), Mainz:
Schott 2015, pp.
160-169.
World
premiere: Stuttgart,
February 19, 1969. $60.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Liaison Quatuor à cordes: 2 violons, alto, violoncelle Breitkopf & Härtel
String Quartet (clar,vl,vc,pno) SKU: BR.KM-2516 Composed by Isabel Mundry...(+)
String Quartet
(clar,vl,vc,pno) SKU:
BR.KM-2516 Composed
by Isabel Mundry. Chamber
music; stapled.
Kammermusik-Bibliothek
(Chamber Music Library).
World premiere of the 1st
version: Dresden,
Semperoper, June 6, 2008.
Music post-1945; New
music (post-2000). Score
and parts. Composed
2007/09. 60 pages.
Duration 15'. Breitkopf
and Haertel #KM 2516.
Published by Breitkopf
and Haertel (BR.KM-2516).
ISBN 9790004502938.
11.5 x 16
inches. Der
Komposition gehen keine
aussermusikalischen
Eindrucke voraus, sondern
sie konzentriert sich auf
innermusikalische
Uberlegungen, weshalb es
nicht leicht ist,
uberhaupt Worte fur sie
zu finden. In einem losen
Zyklus, den ich in den
nachsten Jahren
fortsetzen mochte, will
ich mich auf das Phanomen
der innermusikalischen
Bindungen konzentrieren
sowie auf ihr Gegenuber,
die Einschnitte,
Trennlinien oder
Kontraste. Jenseits der
Tonalitat stellt sich mit
jeder neuen Komposition
auch die Frage erneut,
was zwei Klange
zusammenhalten kann, was
Ferne und Nahe bedeuten,
was das Lose ist und was
das Gebundene. Stehen
solche Uberlegungen in
meinen anderen
Kompositionen im Dienste
anderer Visionen, so will
ich ihnen hier wie ein
Geologe auf den Grund
gehen.Immer wieder ziehen
sich Linien durch die
Musik, im konkreten Sinne
melodischer Phrasen, aber
auch im allgemeinen Sinne
der Weiterfuhrung von
Klangcharakteren. So
unterliegt die Musik
permanenten Wandlungen,
gehalten von imaginaren
Faden, die sich auch
verknoten, vernetzen oder
vervielfaltigen konnen.
Gleichzeitig gibt es auch
Einschnitte, scheinbar
losgeloste Geschehnisse,
die wie unbegrundet
hineinplatzen, und
dennoch vergleichbar mit
einem Stein in einem
Fluss ihren Einfluss auf
den Verlauf des Ganzen
nehmen.Liaison - der
Titel beschreibt zwei
Seiten dieses Projektes,
namlich einerseits die
Bindung als
innermusikalisch
fokussiertes Thema,
andererseits den Antrieb,
sich mit einem solch
basalen Phanomen der
Musik erneut zu
beschaftigen: die Liaison
als Liebesbeziehung, in
der die einfachsten Dinge
doch wieder zu einem
Ratsel werden
konnen.(Isabel
Mundry). $82.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Requiem Orchestre [Conducteur d'étude / Miniature] Schott
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra (St...(+)
Soprano, tenor,
Knabensoprano,
flugelhorn, mixed choir
and chamber orchestra
(Study Score) SKU:
HL.49018099 Boy
Soprano, Soprano, Tenor,
Flugelhorn, Mixed Chorus,
and Chamber Orchestra
Study Score. Composed
by Harald Weiss. This
edition: Paperback/Soft
Cover. Sheet music. Study
Score. Classical.
Softcover. Composed
2008/2009. 188 pages.
Duration 100'. Schott
Music #ED20619. Published
by Schott Music
(HL.49018099). ISBN
9790001158428. UPC:
884088567347.
8.25x11.75x0.457 inches.
Latin - German. On
letting go(Concerning the
selection of the texts)
In the selection of the
texts, I have allowed
myself to be motivated
and inspired by the
concept of 'letting go'.
This appears to me to be
one of the essential
aspects of dying, but
also of life itself. We
humans cling far too
strongly to successful
achievements, whether
they have to do with
material or ideal values,
or relationships of all
kinds. We cannot and do
not want to let go,
almost as if our life
depended on it. As we
will have to practise the
art of letting go at the
latest during our hour of
death, perhaps we could
already make a start on
this while we are still
alive. Tagore describes
this farewell with very
simple but strikingly
vivid imagery: 'I will
return the key of my
door'. I have set this
text for tenor solo. Here
I imagine, and have
correspondingly noted in
a certain passage of the
score, that the
protagonist finds himself
as though 'in an ocean'
of voices in which he is
however not drowning, but
immersing himself in
complete relaxation. The
phenomenon of letting go
is described even more
simply and tersely in
Psalm 90, verse 12: 'So
teach us to number our
days, that we may apply
our hearts unto wisdom'.
This cannot be expressed
more plainly.I have begun
the requiem with a solo
boy's voice singing the
beginning of this psalm
on a single note, the
note A. This in effect
says it all. The work
comes full circle at the
culmination with a repeat
of the psalm which
subsequently leads into a
resplendent 'lux
aeterna'. The
intermediate texts of the
Requiem which highlight
the phenomenon of letting
go in the widest spectrum
of colours originate on
the one hand from the
Latin liturgy of the
Messa da Requiem (In
Paradisum, Libera me,
Requiem aeternam, Mors
stupebit) and on the
other hand from poems by
Joseph von Eichendorff,
Hermann Hesse,
Rabindranath Tagore and
Rainer Maria Rilke.All
texts have a distinctive
positive element in
common and view death as
being an organic process
within the great system
of the universe, for
example when Hermann
Hesse writes: 'Entreiss
dich, Seele, nun der
Zeit, entreiss dich
deinen Sorgen und mache
dich zum Flug bereit in
den ersehnten Morgen'
['Tear yourself way , o
soul, from time, tear
yourself away from your
sorrows and prepare
yourself to fly away into
the long-awaited
morning'] and later: 'Und
die Seele unbewacht will
in freien Flugen
schweben, um im
Zauberkreis der Nacht
tief und tausendfach zu
leben' ['And the
unfettered soul strives
to soar in free flight to
live in the magic sphere
of the night, deep and
thousandfold']. Or Joseph
von Eichendorff whose
text evokes a distant
song in his lines: 'Und
meine Seele spannte weit
ihre Flugel aus. Flog
durch die stillen Lande,
als floge sie nach Haus'
['And my soul spread its
wings wide. Flew through
the still country as if
homeward bound.']Here a
strong romantically
tinged occidental
resonance can be detected
which is however also
accompanied by a
universal spirit going
far beyond all cultures
and religions. In the
beginning was the sound
Long before any sort of
word or meaningful phrase
was uttered by vocal
chords, sounds,
vibrations and tones
already existed. This
brings us back to the
music. Both during my
years of study and at
subsequent periods, I had
been an active
participant in the world
of contemporary music,
both as percussionist and
also as conductor and
composer. My early scores
had a somewhat
adventurous appearance,
filled with an abundance
of small black dots: no
rhythm could be too
complicated, no register
too extreme and no
harmony too dissonant. I
devoted myself intensely
to the handling of
different parameters
which in serial music
coexist in total
equality: I also studied
aleatory principles and
so-called minimal music.I
subsequently emigrated
and took up residence in
Spain from where I
embarked on numerous
travels over the years to
India, Africa and South
America. I spent repeated
periods during this time
as a resident in
non-European countries.
This meant that the
currents of contemporary
music swept past me
vaguely and at a great
distance. What I instead
absorbed during this
period were other
completely new cultures
in which I attempted to
immerse myself as
intensively as possible.I
learned foreign languages
and came into contact
with musicians of all
classes and styles who
had a different cultural
heritage than my own: I
was intoxicated with the
diversity of artistic
potential.Nevertheless,
the further I distanced
myself from my own
Western musical heritage,
the more this returned
insistently in my
consciousness.The scene
can be imagined of
sitting somewhere in the
middle of the Brazilian
jungle surrounded by the
wailing of Indians and
out of the blue being
provided with the
opportunity to hear
Beethoven's late string
quartets: this can be a
heart-wrenching
experience, akin to an
identity crisis. This
type of experience can
also be described as
cathartic. Whatever the
circumstances, my
'renewed' occupation with
the 'old' country would
not permit me to return
to the point at which I
as an audacious young
student had maltreated
the musical parameters of
so-called contemporary
music. A completely
different approach would
be necessary: an
extremely careful
approach, inching my way
gradually back into the
Western world: an
approach which would
welcome tradition back
into the fold, attempt to
unfurl the petals and
gently infuse this
tradition with a breath
of contemporary
life.Although I am aware
that I will not unleash a
revolution or scandal
with this approach, I am
nevertheless confident
as, with the musical
vocabulary of this
Requiem, I am travelling
in an orbit in which no
ballast or complex
structures will be
transported or intimated:
on the contrary, I have
attempted to form the
message of the texts in
music with the naivety of
a 'homecomer'. Harald
WeissColonia de San
PedroMarch 2009. $93.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Csardas obstinee Violoncelle, Piano EMB (Editio Musica Budapest)
Cello and Piano SKU: BT.EMBZ14779 Composed by Franz Liszt. Book Only. Com...(+)
Cello and Piano SKU:
BT.EMBZ14779 Composed
by Franz Liszt. Book
Only. Composed 2011. 16
pages. Editio Musica
Budapest #EMBZ14779.
Published by Editio
Musica Budapest
(BT.EMBZ14779).
The arranger of
this work (a well-known
Hungarian composer living
in Romania) writes: This
piece has always excited
my imagination, from
several points of view.
First of all, its name.
The German title, the
obstinate one, may refer
to its ostinato
character. This is close
to Liszt's programme
concept, but the French
word 'obstiné' is closer
in meaning to stubborn.
There is just a shade of
difference, but to me it
is important, because the
latter suggests the
description of a type of
behaviour, the emotional
state of a dancer's inner
frame of mind abstracted
into movements, expressed
in dance movements, and
this is a fascinating
interpretation. The
demonstration ofstubborn
resistance and defiance
to the point of
exhaustion was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltán Kocsis
played the piece in
Transylvania. At that
time, I asked the
composer, Is the
character of the
continuous staccato in
the left hand sharp,
short, or an accompanying
background like a
constant shadow? Is it a
weighty Brahmsian
staccato, an ominous
knocking? - and so on.
Then there are the
Bartókian false
relations that keep
recurring in the work,
the B-E flat-G, etc. That
foreshadows Debussy,
creating harmonic thrills
that, when I hear the
work, keep my continuing
interest alive for it.
Finally, my immediate
reason for arranging the
work was of a family
nature: in connection
with Liszt's jubilee
year, my daughter, who is
a cellist, wanted a 'more
energetic' piece to play
at a bicentenary concert
an addition to the
existing slow, lyrical,
or sombre works written
by Liszt for the cello.
The arranger of
this work, the well-known
Romania-based Hungarian
composer Cs ky Boldizsár
writes: This piece has
always excited my
imagination, from several
points of view. First of
all, its name. The German
title, the obstinateone,
may refer to its ostinato
character, this is close
to Liszt's programme
concept, but the French
word 'obstiné' is closer
in meaning to stubborn.
There is just a shade of
difference, but to me it
is important, because the
lattersuggests the
description of a type of
behaviour, the emotional
state of a dancer's inner
frame of mind abstracted
into movements, expressed
in dance movements, and
this is a fascinating
interpretation. The
demonstration of
stubbornresistance ,
defiance to the point of
exhaustion, was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltán Kocsis
played the piece here in
Transylvania
(Romania).
Der
Bearbeiter des Werkes,
der renommierte
ungarische Komponist aus
Rumänien, schreibt:
Dieses Stück reizte
immer schon meine
Phantasie, sogar in
vielerlei Hinsicht. Als
erstes sein Name. Der
deutsche Titel
‚Hartnäckiger' kann
auf den ihm innewohnenden
ostinativen Charakter
hinweisen, was der
Liszt'schen
Programm-Konzeption
näher kommt, das
französische ,obstiné'
steht jedoch eher dem
Wort ‚dickköpfig' nah.
Das sind nur
geringfügige
Unterschiede, mir ist das
dennoch wichtig, weil aus
Letzterem die Darstellung
eines Verhaltens, der in
Tanzgesten ausgedrückte,
zur Bewegung abstrahierte
innere emotionale Zustand
eines Tänzers
durchscheint, und das ist
eine überaus
beeindruckendeErklärung.
Die Demonstration des bis
zur Erschöpfung
reichenden Trotzes, der
störrischen Kraft
erscheint bei Liszt
selten. Der zweite
Aspekt: Zu Beginn der
70er Jahre spielte bei
uns Zoltán Kocsis das
Stück. Schon damals (und
seitdem) frage ich den
Komponisten:. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
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