Mid.voices, piano (Medium voice, Piano) SKU: BA.BA01893 Composed by Theod...(+)
Mid.voices, piano (Medium
voice, Piano)
SKU:
BA.BA01893
Composed
by Theodor Warner.
Stapled. Singing Score,
anthology. Composed 1948.
Baerenreiter Verlag
#BA01893_00. Published by
Baerenreiter Verlag
(BA.BA01893).
1. Warnung Mein
Tochterlein, ich warne
dich - 2. Sehnsucht
Schweift auch mein
Blick. Composed by
Harald Genzmer. This
edition: Folding. Sheet
music. Schott Chorverlag
(Choral Music).
Classical. Choral Score.
4 pages. Schott Music #C
41551. Published by
Schott Music
(HL.49001169).
ISBN
9790001011228.
6.75x10.5x0.007 inches.
German.
Composed by Jean Sibelius (1865-1957). Edited by Ulrich Mahlert. This edition: u...(+)
Composed by Jean Sibelius
(1865-1957). Edited by
Ulrich Mahlert. This
edition: urtext.
Partitur-Bibliothek
(Score Library). Study
score. 116 pages.
Published by Breitkopf
and Haertel
(BR.PB-5564-07).
Voice and Piano (High/Medium High) - Grade 4 SKU: AP.36-M301191 Composed ...(+)
Voice and Piano
(High/Medium High) -
Grade 4
SKU:
AP.36-M301191
Composed by Edvard Grieg.
Performance Music
Ensemble; Solo Voice with
Piano. Master Vocal
Series. Score. Alfred
Music #36-M301191.
Published by Alfred Music
(AP.36-M301191).
UPC:
660355153471. English.
Arne
Garborg.
Edvard
Grieg's (1843-1907)
Haugtussa (The Mountain
Maid), Op. 67, the only
song cycle that Grieg
ever produced, sets eight
of the poems from
Norwegian writer Arne
Garborg to music.
Haugtussa tells the story
of a young herding girl
and her first love for a
boy and its heartache.
Not every poem from the
collection was set by
Grieg, but those that are
included are as follow:
1. Lockung (Allurement),
2. Das Kind der Berge
(The Mountain Maid), 3.
In den Heidelbeeren
(Among the Bilberries),
4. Stelldichein (The
Tryst), 5. Lieve (Love),
6. Zickeltanz (Kid
Dance), 7. Ein boser Tag
(An Evil Day), 8. Am
Bergbach (The Mountain
Brook).
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.
Mezzo-Soprano; Piano Accompaniment (Mezzo-Soprano) SKU: HL.279257 21 P...(+)
Mezzo-Soprano; Piano
Accompaniment
(Mezzo-Soprano)
SKU:
HL.279257
21
Popular Works for
Mezzo-Soprano/Alto.
Composed by Various.
Edited by Catherine
Wyn-Rogers and Malcolm
Martineau. Music Sales
America. Classical.
Softcover. 84 pages.
Chester Music #CH87241.
Published by Chester
Music (HL.279257).
ISBN 9781787600041.
0.25 inches.
21
popular works for
mezzo-soprano or alto
voice with piano
accompaniment featuring
selected works from the
major exam board
syllabuses, spanning
grades 5 to 8 and beyond.
Includes a preface and
performance notes by
Catherine Wyn-Rogers and
Malcolm Martineau, and a
digital version of the
book to view on any
device. CONTENTS: THOMAS
ARNE: Under the Greenwood
Tree * J.S. BACH: Nun
wird mein liebste
Brautigam/Bereite dich,
Zion * SAMUEL BARBER:
Must the winter come so
soon? * GEOFFREY BURGON:
Nunc dimittis * ERNEST
CHAUSSON: Les Papillons *
CLAUDE DEBUSSY: Romance *
EDWARD ELGAR: Where
Corals Lie * MANUEL DE
FALLA: Nana * ENRIQUE
GRANADOS: El Majo
Discreto * REYNALDO HAHN:
L'enamouree * Quand Je
Fus Pris Au Pavillon *
GEORGE FRIDRICH HANDEL:
VICTORY HELY-HUTCHINSON:
The Owl and the Pussycat
* FRANZ LISZT: Es muss
ein Wunderbar sein *
JEAN-BAPTISTE LULLY: Bois
Epais * FELIX
MENDELSSOHN: O Rest in
the Lord * CLAUDIO
MONTEVERDI:
L'incoronazione di Poppea
(Arnalta's Lullaby) *
WOLFGANG AMADEUS MOZART:
Voi che sapete * GEORGE
MUNRO: My Lovely Celia *
FRANCIS POULENC: Voyage *
FRANZ SCHUBERT:
Aufenthalt.
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.
Choral TB chorus with Piano and optional Solos SKU: CF.CM9591 Composed by...(+)
Choral TB chorus with
Piano and optional Solos
SKU: CF.CM9591
Composed by Franz
Schubert. Arranged by
Susan Thrift. Fold.
Performance Score. 8
pages. Duration 1 minute,
37 seconds. Carl Fischer
Music #CM9591. Published
by Carl Fischer Music
(CF.CM9591).
ISBN
9781491154137. UPC:
680160912636. 6.875 x
10.5 inches. Key: Bb
major. Italian. Gedicht
Goldoni.
Original.
There is
not a lot written about
the history of La
Pastorella by
Austrias classical
composer, Franz Schubert
(17971828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo
di campagna by Carlo
Goldoni (17071793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
dont get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once youve learned it,
youll find it very
rewarding to sing.
PHONETIC PRONUNCIATION La
pastorella al prato
contenta se ne va
lah
pah-stoh-REHL-lah ahl
PRAH-toh kohn-TEHN-tah
seh neh vah
Collagnellino a lato
Cantando in liberta
kohl-ah-neh-LEE-n
oh ah LAH-toh
kahn-TAHN-doh een
lee-behr-TAH Se
linnocente amore Gradisce
il se
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-sheh il
suo pastore eel
SOO-oh
pah-STOH-reh La
bella pastorella contenta
ognor sara lah
BEHL-lah
pah-stoh-REHL-lah
kohn-TEHN-tah oh-nor
sah-RAH NOTE:
All R's should be
flipped, not
rolled. There is not a
lot written about the
history of La
Pastorella by
Austriaas classical
composer, Franz Schubert
(1797a1828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo
di campagna by Carlo
Goldoni (1707a1793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
donat get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once youave learned it,
youall find it very
rewarding to sing.
PHONETIC PRONUNCIATION
LaA A pastorellaA A A A A
A A A A A A A A alA A A A
pratoA A A A A contentaA
A A A A A A A seA A neA A
va lah
pah-stoh-REHL-lah ahlA
PRAH-toh kohn-TEHN-tah
seh neh vah
CollaagnellinoA A A A A A
A A A A A aA A A A latoA
A A A A A CantandoA A A A
A A A A inA A A A libertA
kohl-ah-A+-eh-LEE
-nohA ah LAH-tohA A
kahn-TAHN-doh een
lee-behr-TAH Se
lainnocente amore
Gradisce il se
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-sheh
ilA A A A suoA A A A A A
pastore eel
SOO-ohA
pah-STOH-reh LaA
bellaA A A A A A A A
pastorellaA A A A A A A A
A A A A A contentaA A A A
A A A A A ognorA A A sarA
lah BEHL-lahA
pah-stoh-REHL-lahA
kohn-TEHN-tahA A oh-A+-or
sah-RAH NOTE:
All R's should be
flipped, not
rolled. There is not a
lot written about the
history of La
Pastorella by
Austria's classical
composer, Franz Schubert
(1797-1828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo
di campagna by Carlo
Goldoni (1707-1793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
don't get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once you've learned it,
you'll find it very
rewarding to sing.
PHONETIC PRONUNCIATION La
pastorella al prato
contenta se ne va
lah
pah-stoh-REHL-lah ahl
PRAH-toh kohn-TEHN-tah
seh neh vah
Coll'agnellino a lato
Cantando in liberta
kohl-ah-neh-LEE-n
oh ah LAH-toh
kahn-TAHN-doh een
lee-behr-TAH Se
l'innocente amore
Gradisce il se
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-sheh il
suo pastore eel
SOO-oh
pah-STOH-reh La
bella pastorella contenta
ognor sara lah
BEHL-lah
pah-stoh-REHL-lah
kohn-TEHN-tah oh-nor
sah-RAH NOTE:
All R's should be
flipped, not
rolled. There is not a
lot written about the
history of La Pastorella
by Austria's classical
composer, Franz Schubert
(1797-1828). An extremely
prolific writer, Schubert
died before his
thirty-second birthday.
With lyrics from the
libretto Il filosofo di
campagna by Carlo Goldoni
(1707-1793), this simple,
charming part song about
a little shepherd girl,
was originally written
for four-part male chorus
and piano and is believed
to have been written
sometime between 1813 and
1817. Be careful not to
sing with too much weight
in the voice so that you
don't get bogged down in
the sixteenth note runs.
I would suggest speaking
the Italian words in
rhythm many times before
singing them in rhythm.
Once you've learned it,
you'll find it very
rewarding to sing.
PHONETIC PRONUNCIATION La
pastorella al prato
contenta se ne va lah
pah-stoh-REHL-lah ahl
PRAH-toh kohn-TEHN-tah
seh neh vah
Coll'agnellino a lato
Cantando in liberta
kohl-ah-neh-LEE-noh ah
LAH-toh kahn-TAHN-doh een
lee-behr-TAH Se
l'innocente amore
Gradisce il se
lee-noh-CHEN-teh
ah-MOH-re grah-DEE-sheh
il suo pastore eel SOO-oh
pah-STOH-reh La bella
pastorella contenta ognor
sara lah BEHL-lah
pah-stoh-REHL-lah
kohn-TEHN-tah oh-nor
sah-RAH NOTE: All R's
should be flipped, not
rolled. There is not a
lot written about the
history of La Pastorella
by Austria’s
classical composer, Franz
Schubert
(1797–1828). An
extremely prolific
writer, Schubert died
before his thirty-second
birthday. With lyrics
from the libretto Il
filosofo di campagna by
Carlo Goldoni
(1707–1793), this
simple, charming part
song about a little
shepherd girl, was
originally written for
four-part male chorus and
piano and is believed to
have been written
sometime between 1813 and
1817.Be careful not to
sing with too much weight
in the voice so that you
don’t get bogged
down in the sixteenth
note runs. I would
suggest speaking the
Italian words in rhythm
many times before singing
them in rhythm. Once
you’ve learned it,
you’ll find it
very rewarding to
sing.PHONETIC
PRONUNCIATIONLa ÂÂ
pastorella  ÂÂ
    ÂÂ
   ÂÂ
 al  ÂÂ
 prato  ÂÂ
  contentaÂÂ
    ÂÂ
  se ÂÂ
ne  valah
pah-stoh-REHL-lah ahlÂÂ
PRAH-toh kohn-TEHN-tah
seh neh
vahColl’agnellinoÃ
‚ Â Â Â ÂÂ
    ÂÂ
 a  ÂÂ
 lato  ÂÂ
  ÂÂ
Cantando  ÂÂ
    ÂÂ
in  ÂÂ
 libertàkohl-ah-ÃÂ
±eh-LEE-noh ah
LAH-tohÂÂ
 kahn-TAHN-doh een
lee-behr-TAHSe
l’innocente amore
Gradisce ilse
lee-noh-CHEN-teh
ah-MOH-re
grah-DEE-shehil ÂÂ
  suo ÂÂ
  ÂÂ
 pastoreeel SOO-ohÂÂ
pah-STOH-rehLaÂÂ
bella   ÂÂ
  ÂÂ
 pastorella ÂÂ
    ÂÂ
    ÂÂ
 contenta ÂÂ
    ÂÂ
  ognor ÂÂ
 saràlah
BEHL-lahÂÂ
pah-stoh-REHL-lahÂÂ
kohn-TEHN-tahÂÂ
 oh-ñor
sah-RAHNOTE: All R's
should be flipped, not
rolled.
By Anton Bruckner. Edited by Nowak. For TTBB, TTTBB, TTBB-TTBB,. Bruckner comple...(+)
By Anton Bruckner. Edited
by Nowak. For TTBB,
TTTBB, TTBB-TTBB,.
Bruckner complete
critical edition, Volume
23/2. Published by
Bruckner Verlag
(Musikwissenschaftlicher
Verlag).
Mezzo soprano voice, tenor voice and 15 players SKU: HL.49006204 Eine ...(+)
Mezzo soprano voice,
tenor voice and 15
players
SKU:
HL.49006204
Eine
Sammlung von Liedern.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1973. 364
pages. Duration 90'.
Schott Music #ED 6344.
Published by Schott Music
(HL.49006204).
ISBN
9790001067454.
9.25x12.0x1.015 inches.
German - English -
Italian -
Spanish.
Oboe SKU: HF.FH-7081 Smetana - Dvorak. Edited by Helmut Degen. She...(+)
Oboe
SKU:
HF.FH-7081
Smetana
- Dvorak. Edited by
Helmut Degen. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 7081. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-7081).
ISBN 9790203470816.
8.3 x 11.7
inches.
1. Die
verkaufte Braut, Oper
(Friedrich Smetana); 2.
Zwei Witwen, Oper
(Friedrich Smetana); 3.
Der Kuss, Oper (Friedrich
Smetana); 4. Libussa,
Oper (Friedrich Smetana);
5. Dalibor, Oper
(Friedrich Smetana); 6.
Mein Vaterland, Kyklus in
sechs Teilen: IV. Aus
Bohmens Hain und Flur,
Sinfonische Dichtung, VI.
Blanik, Sinfonische
Dichtung; 1. Sinfonie
d-Moll, op. 70 (Anton
Dvorak); 2. Sinfonie
G-Dur, op. 88 (Anton
Dvorak); 3. Sinfonie
e-Moll, op. 95, Aus der
neuen Welt (Anton
Dvorak); 4. Konzert fur
Violine und Orchester,
a-Moll, op. 53 (Anton
Dvorak); 5. Konzert fur
Violoncello und
Orchester, h-Moll, op.
104 (Anton Dvorak); 6.
Slawische Tanze, op. 46
und op. 72 (Anton
Dvorak); 7. Scherzo
capriccioso, op. 66
(Anton Dvorak); 8.
Karneval, Ouverture, op.
92 (Anton Dvorak); 9.
Requiem, op. 89; 10.
Katinka und der Teufel,
Oper (Anton Dvorak), 11.
Rusalka, Oper (Anton
Dvorak).
Methods and Music for Children SKU: UT.DM-33 Composed by Gabrielangela Sp...(+)
Methods and Music for
Children
SKU:
UT.DM-33
Composed by
Gabrielangela Spaggiari
and Irene Bonfrisco.
Saddle stitching. Fare
Musica. Classical. Ut
Orpheus #DM 33. Published
by Ut Orpheus (UT.DM-33).
Composed by Piet Swerts.
Sovereign Series. Concert
Piece. Score Only.
Composed 2005. 92 pages.
De Haske Publications
#DHP 1053776-140.
Published by De Haske
Publications
(BT.DHP-1053776-140).
English-German-French-
Dutch.
This
delightful new
composition takes its
inspiration from the
classic French swash
buckling tale of Cyrano
de Bergerac and his fight
to win the love of the
beautiful maiden Roxane.
The subject was a perfect
departure point for
composing a symphonic
poem with a variety of
musical aspects
reflecting the story.
Lyricism (the theme of
Roxane), dramatic
episodes, as well as
Debussy-inspired
impressionist moments are
some of the elements that
give the band and its
conductor the chance to
expose themselves as a
versatile ensemble being
able to create colour, to
sing and to play like
virtuosi. This work is
sure to become a standard
item in the concert band
repertoire.
In
Cyrano verklankt
de componist Piet Swerts
het romantische en
tragische verhaal van de
briljante dichter en
zwaardkunstenaar Cyrano
de Bergerac en zijn
mooie, intellectuele
nicht Roxane, op wie hij
tot over zijn oren
verliefdis. Zijn
uiterlijk, met name zijn
buitengewoon grote neus,
belet hem om zijn
gevoelens tegenover haar
te uiten. De vele
verwikkelingen die uit
deze situatie voortkomen
zijn te herkennen in deze
programmatische
compositie.
Piet
Swerts erzählt hier
musikalisch die
tragisch-romantische
Geschichte von Cyrano de
Bergerac, der einem
verliebten Freund hilft,
seine Liebe zu erobern
und sich dann selbst
unglücklich in dessen
Angebetete verliebt.
Diese Komposition
spiegelt die Geschichte
mit einer Vielfalt an
musikalischen Aspekten
eindrucksvoll wider.
Lyrik, dramatische
Episoden sowie von
Debussy inspirierte,
impressionistische
Momente sind einige der
Elemente, die dem
Blasorchester und seinem
Dirigenten die Chance
bieten, sich als
vielseitiges Ensemble,
das zugleich Farben
entfalten, singen und
virtuos spielen kann, zu
präsentieren.
20 Beautiful Piano Pieces to Help You Relax and Unwind. Composed by various comp...(+)
20 Beautiful Piano Pieces
to Help You Relax and
Unwind. Composed by
various composers and
arrangers. Book; Piano
Collection; Piano
Supplemental; Solo. Faber
Edition. Masterwork
Arrangement. Published by
Faber Music
Concert Band - Grade 5 SKU: BT.DHP-1053776-040 Composed by Piet Swerts. S...(+)
Concert Band - Grade 5
SKU:
BT.DHP-1053776-040
Composed by Piet Swerts.
Sovereign Series. Concert
Piece. Set (Score &
Parts). Composed 2005. De
Haske Publications #DHP
1053776-040. Published by
De Haske Publications
(BT.DHP-1053776-040).
English-German-French-
Dutch.
This
delightful new
composition takes its
inspiration from the
classic French swash
buckling tale of Cyrano
de Bergerac and his fight
to win the love of the
beautiful maiden Roxane.
The subject was a perfect
departure point for
composing a symphonic
poem with a variety of
musical aspects
reflecting the story.
Lyricism (the theme of
Roxane), dramatic
episodes, as well as
Debussy-inspired
impressionist moments are
some of the elements that
give the band and its
conductor the chance to
expose themselves as a
versatile ensemble being
able to create colour, to
sing and to play like
virtuosi. This work is
sure to become a standard
item in the concert band
repertoire.
In
Cyrano verklankt
de componist Piet Swerts
het romantische en
tragische verhaal van de
briljante dichter en
zwaardkunstenaar Cyrano
de Bergerac en zijn
mooie, intellectuele
nicht Roxane, op wie hij
tot over zijn oren
verliefdis. Zijn
uiterlijk, met name zijn
buitengewoon grote neus,
belet hem om zijn
gevoelens tegenover haar
te uiten. De vele
verwikkelingen die uit
deze situatie voortkomen
zijn te herkennen in deze
programmatische
compositie.
Piet
Swerts erzählt hier
musikalisch die
tragisch-romantische
Geschichte von Cyrano de
Bergerac, der einem
verliebten Freund hilft,
seine Liebe zu erobern
und sich dann selbst
unglücklich in dessen
Angebetete verliebt.
Diese Komposition
spiegelt die Geschichte
mit einer Vielfalt an
musikalischen Aspekten
eindrucksvoll wider.
Lyrik, dramatische
Episoden sowie von
Debussy inspirierte,
impressionistische
Momente sind einige der
Elemente, die dem
Blasorchester und seinem
Dirigenten die Chance
bieten, sich als
vielseitiges Ensemble,
das zugleich Farben
entfalten, singen und
virtuos spielen kann, zu
präsentieren.
Composed
by Piet Swerts. De Haske
Concert Band. Concert
Piece. Score Only.
Composed 2005. De Haske
Publications #1053776.
Published by De Haske
Publications
(HL.44007583).
UPC:
884088264093.
English-German-French-Dut
ch.
This delightful
new composition takes its
inspiration from the
classic French swash
buckling tale of Cyrano
de Bergerac and his fight
to win the love of the
beautiful maiden Roxane.
The subject was a perfect
departure point for
composing a symphonic
poem with a variety of
musical aspects
reflecting the story.
Lyricism (the theme of
Roxane), dramatic
episodes, as well as
Debussy-inspired
impressionist moments are
some of the elements that
give the band and its
conductor the chance to
expose themselves as a
versatile ensemble being
able to create colour, to
sing and to play like
virtuosi. This work is
sure to become a standard
item in the concert band
repertoire.
In
Cyrano verklankt
de componist Piet Swerts
het romantische en
tragische verhaal van de
briljante dichter en
zwaardkunstenaar Cyrano
de Bergerac en zijn
mooie, intellectuele
nicht Roxane, op wie hij
tot over zijn oren
verliefdis. Zijn
uiterlijk, met name zijn
buitengewoon grote neus,
belet hem om zijn
gevoelens tegenover haar
te uiten. De vele
verwikkelingen die uit
deze situatie voortkomen
zijn te herkennen in deze
programmatische
compositie.
Piet
Swerts erzahlt hier
musikalisch die
tragisch-romantische
Geschichte von Cyrano de
Bergerac, der einem
verliebten Freund hilft,
seine Liebe zu erobern
und sich dann selbst
unglucklich in dessen
Angebetete verliebt.
Diese Komposition
spiegelt die Geschichte
mit einer Vielfalt an
musikalischen Aspekten
eindrucksvoll wider.
Lyrik, dramatische
Episoden sowie von
Debussy inspirierte,
impressionistische
Momente sind einige der
Elemente, die dem
Blasorchester und seinem
Dirigenten die Chance
bieten, sich als
vielseitiges Ensemble,
das zugleich Farben
entfalten, singen und
virtuos spielen kann, zu
prasentieren.
La
comedie heroique
Cyrano de Bergerac
(1897) valut a son auteur
une gloire immediate.
Cyrano, heros tragique et
attachant, est entre dans
le patrimoine universel,
sans doute parce qu'il
incarne superbement un
mythe bien ancien : celui
de l'amour et du bonheur
impossibles. Ce delicieux
chef-d'œuvre
theatral d'Edmond Rostand
a inspire ce poeme
symphonique de Piet
Swerts qui s'articule
autour d'une grande
diversite musicale
exprimant differentes
scenes de la piece.
Passages lyriques,
episodes dramatiques et
moments impressionnistes,
Cyrano comprend de
nombreux ingredients qui
permettent au chef et a
sa formation d'exploiter
leur polyvalence a
travers lacouleur, le
chant et le jeu virtuose.
La commedia
Cyrano de Bergerac (1897)
valse al suo autore
gloria immediata. Cyrano,
eroe tragico e
commovente, e entrato nel
patrimonio universale
senza dubbio perche
incarna a meraviglia un
mito molto antico: quello
dell'amore e della
felicita impossibili.
Questo delizioso
capolavoro teatrale di
Edmond Rostand ha
ispirato il poema
sinfonico che si articola
attorno ad una grande
diversita musicale
esprimendo diverse scene
dell'opera teatrale.
Passaggi lirici, episodi
drammatici e momenti
impressionanti, Cyrano
comprende numerosi
ingredienti che
permettono al maestro di
sfruttare la polivalenza
attraverso il colore, il
canto e il suono
virtuoso.
Heft 4:
Rossini, Donizetti,
Schubert, Lortzing,
Berlioz, Glinka, Nicolai,
Mendelssohn Bartholdy,
Chopin, Liszt,
Schumann. Composed by
Seltmann. Edited by
Angerhofer and Seltmann.
Arranged by Angerhofer
and Seltmann. Sheet
music. Friedrich
Hofmeister Musikverlag
#FH 7068. Published by
Friedrich Hofmeister
Musikverlag (HF.FH-7068).
ISBN 9790203470687.
8.3 x 11.7
inches.
Gioacchino
Rossini: 1. Die
Liebesprobe; 2. Die
Italienerin in Algier; 3.
Semiramis; 4. Wilhelm
Tell; 5. Der Barbier von
Sevilla; 6. Die diebische
Elster; Gaetano
Donizetti: 1. Der
Liebestrank; 2. Don
Pasquale; Franz Schubert:
1. Symphonie Nr. 3; 2.
Symphonie Nr. 5; 3.
Symphonie Nr. 8 (Die
Unvollendete); Albert
Lortzing: 1. Zar und
Zimmermann; 2. Der
Wildschutz; Hector
Berlioz: 1. Romischer
Karneval, op. 9; 2.
Symphonie fantastique,
op. 14; 3. Fausts
Verdammung; Michael
Glinka: 1. Spanische
Ouverturee Nr. 1; Felix
Mendelssohn Bartholdy: 1.
Symphonie Nr. 3
(Schottische), op. 56; 2.
Musik zu Ein
Sommernachtstraum, op.
61; 3. Die Hebriden, op.
26; 4. Ouverture Ruy
Blas, op. 95; Robert
Schumann: 1. Symphonie
Nr. 1, op. 38; 2.
Klavierkonzert a-Moll,
op. 54; 3. Symphonie Nr.
2, op. 61; 4. Ouverture
zu Genoveva, op. 81; 5.
Symphonie Nr. 3, op. 97;
6. Ouverture zu Braut von
Messina, op. 100; 7.
Symphonie Nr. 4, op. 120;
8. Ouverture zu Manfred,
op. 115; Otto Nicolai: 1.
Die lustigen Weiber von
Windsor; Frederic Chopin:
1. Klavierkonzert Nr. 1;
Franz Liszt: Hungaria -
Symphonische Dichtung Nr.
9.