Legend Of Celobrium (Grade 4 - Score and Parts). By Philip Sparke (1951-). For C...(+)
Legend Of Celobrium
(Grade 4 - Score and
Parts). By Philip Sparke
(1951-). For Concert
Band. Anglo Music Concert
Band. Grade 4. Score and
Parts. Anglo Music Press
#202010. Published by
Anglo Music Press
Composed by Richard Summers. Score and part(s). 8 114 pages. Duration 1 minute...(+)
Composed by Richard
Summers. Score and
part(s). 8 114 pages.
Duration 1 minute, 58
seconds. Carl Fischer
#BPS0098. Published by
Carl Fischer (CF.BPS98).
Composed by
Sean O'Loughlin. FS-SWS.
Carl Fischer Concert
Performance Series.
Classical. Score and Set
of Parts. With Standard
notation.
32+8+8+4+8+8+8+4+4+4+4+4+
4+4+8+8+8+4+4+6+6+6+4+8+2
+4+2+4+8+32 pages. Carl
Fischer Music #CPS2.
Published by Carl Fischer
Music (CF.CPS2).
ISBN
9780825837258. UPC:
798408037253. 9 X 12
inches. Key: Eb
major.
A boldly
rhythmic and strikingly
tuneful piece by a gifted
young composer, Days Of
Glory, written in the
style of a concert
overture, is destined to
be a favorite for
contest/festival use. The
middle section has a
soaring lyrical idea that
is richly scored and
makes memorable and
sonorous use of the full
band at the climax.
Duration: 6'.
Composed by
Larry Clark. Concert
Band. Set of Score and
Parts. With Standard
notation.
12+12+6+8+12+12+4+4+4+4+4
+4+8+8+8+4+4+6+6+6+4+8+8+
2+4+8+32 pages. Duration
3 minutes, 33 seconds.
Carl Fischer Music
#CPS148. Published by
Carl Fischer Music
(CF.CPS148).
ISBN
9780825895791. UPC:
798408095796. 9 x 12
inches.
This piece
drives from the start
with bold trumpet
flourishes and
interjections from the
rest of the band. After
the exciting first
section, a lyrical second
theme departs to
something beautiful and
lush in harmonic
structure. The
development section is
based on the opening
theme, eventually leading
the piece back, followed
by a dynamic brass
flourish in the coda. A
solid choice by a known
composer for contests and
festivals.
From
Cantata 147 - Full Score
and Parts. Composed
by Johann Sebastian Bach.
Arranged by Erik Leidzen.
FS-SWS. Carl Fischer
Classic Band Editions.
Score and Set of Parts.
With Standard notation.
1+4+4+2+4+8+8+8+4+2+4+4+4
+2+1+3+3+3+2+1+1+1+1+2+2+
2+2+2+1+5+1+4+20+1 pages.
Duration 3:30. Carl
Fischer Music #J343.
Published by Carl Fischer
Music (CF.J343).
ISBN
9780825806803. UPC:
798408006808. 9 X 12
inches. Key: Ab major.
Transcribed by Erik W. G.
Leidzen.
Enjoy this
classic arrangement of
the Bach holiday
favorite. One of our most
popular works, it has
frequently been requested
that this arrangement to
be brought back into the
classic series. Master
arranger Eric Leidzen has
beautifully scored this
piece. His arrangements
and transcriptions are
some of the most played
in the band
repertoire.
Band concert band - Grade 2 SKU: CF.YPS185 Composed by Carl Strommen. SWS...(+)
Band concert band - Grade
2
SKU: CF.YPS185
Composed by Carl
Strommen. SWS FS. Carl
Fischer Young Performance
Series. Set of Score and
Parts. With Standard
notation.
16+4+8+4+4+4+5+2+4+8+8+8+
12+6+4+6+1+1+4+2+16
pages. Duration 2:15.
Carl Fischer Music
#YPS185. Published by
Carl Fischer Music
(CF.YPS185).
ISBN
9781491147375. UPC:
680160904877. 9 x 12
inches. Key: Bb
major.
Feature your
budding trombonists in
the delightful novelty
piece by composer Carl
Strommen. It has all of
the classic figures that
were made popular by the
trombone smears of Henry
Fillmore in a more modern
and easier package for
your trombone section.
Add to that the tuneful
melodies and great
scoring of Carl Strommen,
and this piece is sure to
delight audiences across
the board.
Band concert band - Grade 0.5 SKU: CF.PPS51 March. Composed by Lar...(+)
Band concert band - Grade
0.5
SKU: CF.PPS51
March. Composed by
Larry Clark. Primer Band
(PPS). Set of Score and
Parts. With Standard
notation.
8+2+8+2+5+2+2+8+2+3+2+6+3
+1+1+2+2+12+2 pages.
Duration 2 minutes, 8
seconds. Carl Fischer
Music #PPS51. Published
by Carl Fischer Music
(CF.PPS51).
ISBN
9781491151952. UPC:
680160909452.
The
march style is important
to the heritage of the
modern concert band. Why
not get beginners off to
a great start by teaching
them this essential band
style as early as
possible? Achieve u
ses only the first six
notes of the Bb-major
scale and utilizes two
repeated eighth notes as
the most difficult
rhythm. It is written in
traditional march form
and style, but without
modulation in the
trio. The march
style is important
to the heritage of the
modern concert band, and
it is my opinion that
even the youngest of
students should be taught
the march style and form
as early as
possible. This march
sets out to give these
students that
opportunity. It uses only
the first six notes of
the Bb-major scale, and
the most difficult rhythm
is two repeated eighth
notes. Yet it has all of
the traditional march
form and style. The
form of this easy march
is the traditional intro,
first strain, second
strain and trio. The
only difference from more
challenge marches is that
the key does not change
to the subdominant at the
trio. Most everything
else is the same as you
would find in the
American marches of
Sousa, Fillmore or
King.The march begins
forte with a quote from
the end of the second
strain, something that is
common in many
marches. This is
followed by the first
strain at a softer
dynamic
level. Additional
voices are added on the
repeat for
variety. The second
strain has tradition
changes in dynamics,
first starting out loud,
then getting soft with
crescendos to the end of
the strain. The trio
following again in
typical fashion with the
first time being very
soft and legato. There
are some suggestions for
changing the
orchestration, but you
can use your creativity
to tailor the
instrumentation to your
musical taste. The
repeat of the trio should
then be back to a more
marcato march
style. This should
start with the last note
of the first ending in m.
70. The march then
ends with the traditional
stinger.It is my opinion
that in marches with this
form that the repeats
should not be eliminated.
By doing so, it changes
the form and makes the
march lopsided, with the
first half of the
marching being too short
compared to the trio
section.It has been my
pleasure to have the
opportunity to write this
piece. I hope you and
your students enjoy it
and find it useful for
your
program.—Larry
ClarkLakeland, FL
2018.
Grade 2 SKU: CL.015-2673-00 Composed by K. Harris. Young Concert Band. No...(+)
Grade 2
SKU:
CL.015-2673-00
Composed by K. Harris.
Young Concert Band.
Norman Lee Series. Audio
recording available
separately (item
CL.WFR130). March. Score
and set of parts.
Composed 1995. Duration 2
minutes, 8 seconds. C.L.
Barnhouse #015-2673-00.
Published by C.L.
Barnhouse
(CL.015-2673-00).
An extremely
nice march for younger
bands that sounds as big
and full as many of the
more difficult marches.
Written in the
traditional march style
and perfect for both
concert and contest use.
The latest in a long line
of quality marches for
young bands by Ken
Harris, this one is
really State of the
Art!.
Imperial (Full Set) Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
(March). By Karl L. King. Arranged by James Swearington. For young concert band....(+)
(March). By Karl L. King.
Arranged by James
Swearington. For young
concert band. Heritage of
the March Series. Grade
2.5. Score and set of
parts. Duration 2
minutes, 8 seconds.
Published by C.L.
Barnhouse
Grade 2.5 SKU: CL.015-2673-01 Composed by K. Harris. Young Concert Band. ...(+)
Grade 2.5
SKU:
CL.015-2673-01
Composed by K. Harris.
Young Concert Band.
Norman Lee Series. Audio
recording available
separately (item
CL.WFR130). Extra full
score. Composed 1995.
Duration 2 minutes, 8
seconds. C.L. Barnhouse
#015-2673-01. Published
by C.L. Barnhouse
(CL.015-2673-01).
An extremely
nice march for younger
bands that sounds as big
and full as many of the
more difficult marches.
Written in the
traditional march style
and perfect for both
concert and contest use.
The latest in a long line
of quality marches for
young bands by Ken
Harris, this one is
really State of the
Art!.
The Legacy of Christmas Orchestre d'harmonie [Conducteur et Parties séparées] - Débutant Belwin
Arranged by Jack Bullock. Concert Band. Concert Band. Belwin Very Beginning Band...(+)
Arranged by Jack Bullock.
Concert Band. Concert
Band. Belwin Very
Beginning Band. Form:
Medley. Christmas;
Winter. Grade 1.
Conductor Score and
Parts. 128 pages.
Duration 2:06. Published
by Belwin Music
Badge of Honor Orchestre d'harmonie - Facile C.L. Barnhouse
Grade 2.5 SKU: CL.015-2595-01 March. Composed by K. Harris. Young ...(+)
Grade 2.5
SKU:
CL.015-2595-01
March. Composed by
K. Harris. Young Concert
Band. Audio recording
available separately
(item CL.WFR130). Extra
full score. Composed
1994. Duration 2 minutes,
8 seconds. C.L. Barnhouse
#015-2595-01. Published
by C.L. Barnhouse
(CL.015-2595-01).
An
exceptionally nice
traditional march for
younger bands by Ken
Harris. Sounding as big
and full as many more
difficult marches, this
appealing march is quite
accessible and perfect
for concert or contest
use. The newest in a long
line of quality marches
for younger players by
the composer, Badge of
Honor is sure to be
performed for years to
come. HIGHLY
RECOMMENDED!
El Cabara Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
El Cabara by David Shaffer. Concert band. Young Concert Band. Command Series. Au...(+)
El Cabara by David
Shaffer. Concert band.
Young Concert Band.
Command Series. Audio
recording available
separately (item
CL.WFR363). Grade 2.5.
Score and set of parts.
Composed 2009. Duration 2
minutes, 8 seconds.
Published by C.L.
Barnhouse
Hail America! (Full Set) Orchestre d'harmonie [Conducteur et Parties séparées] - Facile C.L. Barnhouse
(Concert March). By J.J. Richards. Arranged by Andrew Glover. For young concert ...(+)
(Concert March). By J.J.
Richards. Arranged by
Andrew Glover. For young
concert band. Command
Series. Grade 2. Score
and set of parts.
Duration 2 minutes, 8
seconds. Published by
C.L. Barnhouse
This collection provides a practical edition of 15 Sousa classics that can be us...(+)
This collection provides
a practical edition of 15
Sousa classics that can
be used for marching as
well as the concert hall.
All are arranged by
Philip Sparke for today's
bands, and the updated
engravings are a great
addition toany school or
community band library.
Includes: The Beau Ideal
· Black Horse Troop
· El Capitan · The
Fairest of the Fair ·
Hands Across the Sea ·
High School Cadets ·
The Invincible Eagle ·
King Cotton · The
Liberty Bell
·Manhattan Beach ·
Nobles of the Mystic
Shrine · Semper
Fidelis · Stars and
Stripes Forever · The
Thunderer · Washington
Post. Note: At 5.75 x 8
inches, the student books
are slightly larger than
traditional marching band
size.
Eine
praktische Sammlung mit
15 beliebten Märschen
von John Philip Sousa,
neu instrumentiert von
Philip Sparke. Die Idee,
die hinter dieser
Sammlung von Sousas
bekanntesten Märschen
steckt, ist, heutige
Blasorchester mit einer
praktischen Ausgabe, ganz
im Sinne von Sousas
eigener
Aufführungspraxis und
Instrumentierung,
auszustatten. Der
englische Komponist
Philip Sparke zeichnet
für diese
Neuinstrumentierung
verantwortlich. Als
Quelle dienten ihm Kopien
von Sousas
Originalpartituren und
historische Aufnahmen.Die
Partitur enthält viele
nützliche
Informationen. Philip
Sparke gibt in seinem
Vorwort wertvolle
Hinweise zu Besetzung und
Aufführungspraxis. Des
weiteren sind
eineausführliche
Biographie von John
Philip Sousa sowie zu
jedem Marsch eine
Werkbeschreibung
enthalten. Diese wurden
in fachkundiger Weise von
Werner Probst verfasst
By Calixa Lavallee (1842-1891). Arranged by Vince Gassi. Concert Band. For Conce...(+)
By Calixa Lavallee
(1842-1891). Arranged by
Vince Gassi. Concert
Band. For Concert Band.
Concert Band. Belwin
Young Band. Patriotic. 2
(Easy) (grade 2). Score.
8 pages. Published by
Belwin Publishing
(A Fanfare For Band). By R.W. Smith. For concert band. Young Band. Rising Band. ...(+)
(A Fanfare For Band). By
R.W. Smith. For concert
band. Young Band. Rising
Band. Expanding ranges
and rhythms for the
Rising Band!. Grade 1.5.
Score and parts. Composed
2010. Duration 2 minutes,
8 seconds. Published by
C.L. Barnhouse
Composed by
Ed Kiefer. SWS FS. Carl
Fischer Symphonic
Performance Series. Set
of Score and Parts. With
Standard notation.
2+8+8+4+8+8+8+4+4+4+4+4+4
+6+6+6+4+4+6+6+6+4+6+8+2+
1+4+4+24 pages. Duration
3 minutes, 56 seconds.
Carl Fischer Music
#SPS74. Published by Carl
Fischer Music (CF.SPS74).
ISBN 9781491147696.
UPC: 680160905195. 9 x 12
inches. Key: F
minor.
Courage of
the Cossacks is a
refreshing march in the
style of Russian folk
music, offering a break
from the standard
American march style for
festival performance.
Composer Ed Kiefer has
scored this piece to
sound sonorous throughout
while highlighting all
sections of the band.
Directors looking for a
unique march need look no
further. Courage of
the Cossacks was written
for my friends in Union
County, NC . Based on
several Cossack folk
tunes it is a very dark
sounding march which
features almost every
section of the band . The
trio is one of the most
beautiful oppressive
melodies I have ever
heard, and it is set in
stark contrast to the
upbeat, Russian sounding
opening strains . After
the trio comes to a halt,
the piece restarts
slowly, gradually
accelerating to the final
strain, much like many
Cossack dances . A
combination of March and
Dance, this piece is not
too difficult to perform
and is very rewarding for
both students and
audiences . Courage of
the Cossacks is a great
piece to begin or end any
concert and a perfect
march for showing off
your group at festival
.
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-494-140 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-494-140
Composed by Philip
Sparke. Debut Series
(Anglo). Concert March.
Score Only. Composed
2021. 28 pages. Anglo
Music Press #AMP 494-140.
Published by Anglo Music
Press (BT.AMP-494-140).
English-German-French-
Dutch.
March of
the Robot Army was
commissioned by Linda
Anzolin & Giordano-Bruno
Tedeschi for Campobanda
2019, with funds made
available by JUST ITALIA.
Campobanda is an Italian
summer music camp for 8-
to 18-year-olds (held
inCamposilvano in 2019)
which has a different
theme every year. The
theme for 2019 was
‘science
fiction’, so
composer Philip Sparke
chose to write a robot
march. After a quirky
introduction featuring
trumpet calls and
chromaticfigures, the
main theme appears in a
minor mode on clarinet
and tenor sax and is then
taken up by the full
band. A change of key
heralds a new theme, led
by the trumpet and again
repeated by the full
ensemble. A further
change ofkey introduces a
legato
‘trio’
melody over a rather
robotic accompaniment:
instruments are added bit
by bit until a climax is
reached. Small motifs
from the introduction
then lead back to a full
recapitulation,
revisiting thefirst two
themes in new guises
before finishing the
march with a
flourish.
March
of the Robot Army
werd geschreven in
opdracht van Linda
Anzolin & Giordano-Bruno
Tedeschi voor Campobanda
2019: de financiering
werd mogelijk gemaakt
door JUST ITALIA.
Campobanda is een
Italiaans zomermuziekkamp
vooracht- tot
achttienjarigen (dat in
2019 werd gehouden in
Camposilvano) met elk
jaar een ander thema. Het
thema voor 2019 was
sciencefiction, dus
besloot componist Philip
Sparke een robotmars te
schrijven. Na een
grilligeinleiding met
trompetsignalen en
chromatische motieven
verschijnt het hoofdthema
in mineur op klarinet en
tenorsax, waarna het door
het hele orkest wordt
overgenomen. Een
verandering van toonsoort
kondigt een nieuw thema
aan, weeringeleid door de
trompet en herhaald door
het volledige ensemble.
Een verdere
toonsoortverandering
introduceert een legato
‘triomelodieâ€
boven een nogal
robotachtige begeleiding:
er worden stapsgewijs
instrumenten toegevoegd
totde muziek uitmondt in
een hoogtepunt. Korte
figuren uit de inleiding
nemen ons dan mee naar
een volledige herneming,
met een terugkeer naar de
eerste twee
thema’s in een
nieuwe gedaante, waarna
de mars in stijl wordt
afgesloten.
Der
March of the Robot
Army wurde von Linda
Anzolin und
Giordano-Bruno Tedeschi
für Campobanda
2019“ in Auftrag
gegeben und finanziell
von JUST ITALIA
unterstützt. Das
italienische
Sommermusikcamp
Campobanda für 8-
bis18-Jährige fand
2019 in Camposilvano
statt und hat jedes Jahr
ein anderes Motto. 2019
lautete das Thema Science
Fiction“, daher
entschied sich der
Komponist Philip Sparke
dazu, einen Robotermarsch
zu schreiben. Nach
einerskurrilen Einleitung
mit Trompetenrufen und
chromatischen Figuren
erklingt in Klarinetten
und Tenorsaxophonen das
Hauptthema in Moll, das
dann vom gesamten
Orchester aufgegriffen
werd. Ein Tonartwechsel
kündigt ein neues
Thema an,das von der
Trompete vorgestellt und
anschließend vom
gesamten Ensemble
wiederholt wird. Ein
weiterer Tonartwechsel
führt zu einem
melodischen, legato
gespielten Trio-Abschnitt
über einer
roboterhaften Begleitung.
Nach und nachkommen
weitere Instrumente
hinzu, bis der
Höhepunkt erreicht
ist. Kleine Motive aus
der Einleitung führen
dann zu einer Reprise,
wobei die ersten beiden
Themen in neuer Gestalt
wieder aufgegriffen
werden, bevor der Marsch
zum Endehin noch einmal
musikalisch
aufblüht.
Concert Band/Harmonie - Grade 2.5 SKU: BT.AMP-494-010 Composed by Philip ...(+)
Concert Band/Harmonie -
Grade 2.5
SKU:
BT.AMP-494-010
Composed by Philip
Sparke. Debut Series
(Anglo). Concert March.
Set (Score & Parts).
Composed 2021. Anglo
Music Press #AMP 494-010.
Published by Anglo Music
Press (BT.AMP-494-010).
English-German-French-
Dutch.
March of
the Robot Army was
commissioned by Linda
Anzolin & Giordano-Bruno
Tedeschi for Campobanda
2019, with funds made
available by JUST ITALIA.
Campobanda is an Italian
summer music camp for 8-
to 18-year-olds (held
inCamposilvano in 2019)
which has a different
theme every year. The
theme for 2019 was
‘science
fiction’, so
composer Philip Sparke
chose to write a robot
march. After a quirky
introduction featuring
trumpet calls and
chromaticfigures, the
main theme appears in a
minor mode on clarinet
and tenor sax and is then
taken up by the full
band. A change of key
heralds a new theme, led
by the trumpet and again
repeated by the full
ensemble. A further
change ofkey introduces a
legato
‘trio’
melody over a rather
robotic accompaniment:
instruments are added bit
by bit until a climax is
reached. Small motifs
from the introduction
then lead back to a full
recapitulation,
revisiting thefirst two
themes in new guises
before finishing the
march with a
flourish.
March
of the Robot Army
werd geschreven in
opdracht van Linda
Anzolin & Giordano-Bruno
Tedeschi voor Campobanda
2019: de financiering
werd mogelijk gemaakt
door JUST ITALIA.
Campobanda is een
Italiaans zomermuziekkamp
vooracht- tot
achttienjarigen (dat in
2019 werd gehouden in
Camposilvano) met elk
jaar een ander thema. Het
thema voor 2019 was
sciencefiction, dus
besloot componist Philip
Sparke een robotmars te
schrijven. Na een
grilligeinleiding met
trompetsignalen en
chromatische motieven
verschijnt het hoofdthema
in mineur op klarinet en
tenorsax, waarna het door
het hele orkest wordt
overgenomen. Een
verandering van toonsoort
kondigt een nieuw thema
aan, weeringeleid door de
trompet en herhaald door
het volledige ensemble.
Een verdere
toonsoortverandering
introduceert een legato
‘triomelodieâ€
boven een nogal
robotachtige begeleiding:
er worden stapsgewijs
instrumenten toegevoegd
totde muziek uitmondt in
een hoogtepunt. Korte
figuren uit de inleiding
nemen ons dan mee naar
een volledige herneming,
met een terugkeer naar de
eerste twee
thema’s in een
nieuwe gedaante, waarna
de mars in stijl wordt
afgesloten.
Der
March of the Robot
Army wurde von Linda
Anzolin und
Giordano-Bruno Tedeschi
für Campobanda
2019“ in Auftrag
gegeben und finanziell
von JUST ITALIA
unterstützt. Das
italienische
Sommermusikcamp
Campobanda für 8-
bis18-Jährige fand
2019 in Camposilvano
statt und hat jedes Jahr
ein anderes Motto. 2019
lautete das Thema Science
Fiction“, daher
entschied sich der
Komponist Philip Sparke
dazu, einen Robotermarsch
zu schreiben. Nach
einerskurrilen Einleitung
mit Trompetenrufen und
chromatischen Figuren
erklingt in Klarinetten
und Tenorsaxophonen das
Hauptthema in Moll, das
dann vom gesamten
Orchester aufgegriffen
werd. Ein Tonartwechsel
kündigt ein neues
Thema an,das von der
Trompete vorgestellt und
anschließend vom
gesamten Ensemble
wiederholt wird. Ein
weiterer Tonartwechsel
führt zu einem
melodischen, legato
gespielten Trio-Abschnitt
über einer
roboterhaften Begleitung.
Nach und nachkommen
weitere Instrumente
hinzu, bis der
Höhepunkt erreicht
ist. Kleine Motive aus
der Einleitung führen
dann zu einer Reprise,
wobei die ersten beiden
Themen in neuer Gestalt
wieder aufgegriffen
werden, bevor der Marsch
zum Endehin noch einmal
musikalisch
aufblüht.
(Movement 2 from Symphony No.6). Composed by Vincent Persichetti (1915-1987). Co...(+)
(Movement 2 from Symphony
No.6). Composed by
Vincent Persichetti
(1915-1987). Concert
Band. For Flute I, Flute
II, Piccolo, Oboe I, Oboe
II, Clarinet (in Eb),
Clarinet I, Clarinet II,
Clarinet III, Alto
Clarinet (in Eb), Bass
Clarinet, Bassoon I,
Bassoon II, Alto
Saxophone I, Alto
Saxophone II, Tenor
Saxophone, Baritone
Saxophone, Cornet I,
Cornet I. Classical.
Score and Set of Parts.
Standard notation. Opus
69. 8 pages. Duration 3
minutes. Theodore Presser
Company #165-00093.
Published by Theodore
Presser Company
By Frank Ticheli. Concert band. Suitable for advanced middle school, high school...(+)
By Frank Ticheli. Concert
band. Suitable for
advanced middle school,
high school, community
and college bands. Level:
Grade 3. Conductor score
and set of parts.
Duration 9:00. Published
by Manhattan Beach Music.
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1114864-140 From opus 46(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1114864-140
From opus 46.
Composed by Antonin
Dvorak. Arranged by Wil
van der Beek. Great
Classics. Transcription.
Score Only. Composed
2011. 40 pages. De Haske
Publications #DHP
1114864-140. Published by
De Haske Publications
(BT.DHP-1114864-140).
9x12 inches.
English-German-French-Dut
ch.
In 1878, on a
commission from his
publisher, Anton n
Dvorák wrote a series
of eight Slavonic dances.
Modelled on Johannes
Brahmsâ?? famous
Hungarian Dances,
although in contrast to
Brahmsâ?? work,
Dvorák used no
original melodies. Wil
van der Beek has arranged
No. 7, a brisk 2/4 dance,
as well as No. 8, a
passionate, exuberant
furiant in 3/4.
In 1878 schreef
Dvoøák op verzoek
van zijn uitgever een
serie van acht Slavische
dansen. Daarbij zouden de
beroemde Hongaarse dansen
van Brahms als voorbeeld
moeten dienen.
Dvoøák had echter
zijn eigen opvattingover
het kunstzinnigvormgeven
van (volks)dansen. Waar
Brahms meerdere bestaande
melodieën van dansen
uitHongarije gebruikte,
beperkte Dvoøák
zich tot karakteristieke
ritmische patronen van
dansvormen uit zijn
vaderland. Oorspronkelijk
zijn de Slavischedansen
gecomponeerd voor klavier
vierhandig. Vrij spoedig
maakte Dvoøák zelf
een versie voor orkest,
waarmee hij wereldroem
vergaarde. Het succes was
zo groot (zeker ook in
financieel opzicht voor
de uitgever!) dat een
tweedeserie van acht
dansen volgde: opus 72 in
het oeuvre van
Dvoøák.Kenmerken:Dans nr. 4 (Tempo di
menuetto, 3/4 maat)Dit is
een feestelijke, vrolijke
sousedská (te
beschouwen als de
Tsjechische variant op
het menuet), een
driedeligedans waarvan de
hoekdelen gracieus zijn
en het middendeel voor
een levendig contrast
zorgt.Dans nr. 7
(Allegro assai, 2/4
maat)Dvoøák lijkt
hier ge nspireerd te zijn
geweest door een snelle
dans genaamd skocná.
Het hoofdthemawerkt
humoristisch doordat het
in de vorm van een canon
wordt
gepresenteerd.Dans nr.
8 (Presto, 3/4
maat)Dit is een
temperamentvolle furiant,
vol vreugde en
uitgelatenheid, gevolgd
door een rustiger
middendeel, datuitmondtin
een zeer krachtig en snel
slot.
Im Jahre
1878 schrieb Anton n
Dvorák im Auftrag
seines Verlegers eine
Reihe von acht slawischen
Tänzen. Als Vorbild
dienten die beru?hmten
Ungarischen
Tänze von Johannes
Brahms, im Gegensatz zu
diesem verwendete
Dvorák jedoch keine
originalen Melodien. Wil
van der Beek bearbeitete
fu?r dieses Arrangement
die Nr. 7, einen
schnellen Tanz im
2/4-Takt, sowie die Nr.
8, einen
leidenschaftlichen,
u?berschwänglichen
Furiantâ?? im 3/4-Takt.
Nel 1878
Antonin Dvorák compone
su commissione una serie
di otto danze slave.
Anche se le celebri
Danze Ungheresi di
Brahms gli servirono da
modello, Dvorák non
utilizzò melodie
originali. Wil van der
Beek ha arrangiato la
Danza n.7
caratterizzata da un
tempo veloce in 2/4 e la
Danza n. 8, un
furiant passionale in
3/4.