|
| FastTrack Mini Harmonica Method Book 1
Harmonica [Partition + CD] - Débutant
Hal Leonard
Fast Track Music Instruction. Play Along. Softcover book with CD. 88 pages. Publ...(+)
Fast Track Music
Instruction. Play Along.
Softcover book with CD.
88 pages. Published by
Hal Leonard
$7.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Wind Sketches Sc/pts
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Anglo Music
Concert Band/Harmonie - Grade 5 SKU: HL.44012346 Composed by Philip Spark...(+)
Concert Band/Harmonie -
Grade 5 SKU:
HL.44012346 Composed
by Philip Sparke. Anglo
Music Concert Band. Set
(Score & Parts). Composed
2014. Anglo Music Press
#AMP401010. Published by
Anglo Music Press
(HL.44012346). UPC:
888680058708.
English-German-French-Dut
ch. Wind
Sketches is a top
quality concert work for
wind band in three
movements, inspired by
the relationship between
man and wind. Trade
Winds, in the form of
a march, is reminiscent
of a shanty, conjuring up
seafaring and the
tradewinds.
Becalmed,
harmonically and
melodically almost
static, depicts the
doldrums. All the more
contrasting is Riding
the Storm, which
concerns the love-hate
relationship of people to
the winds that he needs
and at the same times
fears.
Wind
Sketches is een
eersteklas concertwerk
voor blaasorkest. Het
bestaat uit drie delen,
die gebaseerd zijn op de
relatie tussen de mens en
de wind: Trade
Winds, in marsvorm,
doet denken aan een
shanty en roept
associaties op met dezee
en passaatwinden.
Becalmed, dat in
melodieus en harmonieus
opzicht bijna statisch
is, schetst een
windstilte. Riding the
Storm is stormachtig:
het beschrijft de
haat-liefdeverhouding
tussen de mens en de
wind.
Wind
Sketches ist ein
hochkaratiges Konzertwerk
fur Blasorchester in drei
Satzen, die alle von der
Beziehung Mensch und Wind
inspiriert sind: Der
erste Trade Winds
in Marschform
erinnert an ein Shanty
und an Passatwinde auf
hoher See.Der zweite
Satz, Becalmed,
harmonisch und melodisch
fast statisch, beschreibt
eine Flaute. Umso
kontrastreicher ist der
dritte Satz, Riding
the Storm, der von
der Hassliebe des
Menschen des Menschen zu
Winden gepragt
ist.
Les trois
mouvements de cette piece
s'inspirent des rapports
entre les humains et
divers types de vents. Le
premier, Alizes
(Trade Winds), prend la
forme d'une marche aux
accents de chansons de
marins, le deuxieme
mouvement,
Encalmine(Becalmed
), est de nature quasi
statique, sans grand
developpement melodique
ou harmonique. Le finale,
Porte par la
tempete (Riding the
Storm), depeint les
relations humaines, par
le biais de vents
tumultueux, dangereux,
benefiques
etvivifiants.
I
tre movimenti di questo
brano si ispirano al
rapporto dell'uomo con il
vento. Il primo, Trade
Winds, prende la
forma di una marcia dagli
accenti di mare, il
secondo movimento,
Becalmed, e di
natura quasi statica,
senza grandi
sviluppimelodici o
armonici. Il finale,
Riding the Storm,
descrive i tanti venti
tumultuosi, pericolosi,
benefici e vigorosi. $208.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| FastTrack Mini Harmonica Pack
Harmonica [Partition + CD]
Hal Leonard
Fast Track Music Instruction. Softcover with CD. Size 8x6.5 inches. Published by...(+)
Fast Track Music
Instruction. Softcover
with CD. Size 8x6.5
inches. Published by Hal
Leonard.
(1)$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Heaven and Earth
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000304-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.GOB-000304-010
Composed by Jan Bosveld.
Set (Score & Parts). 26
pages. Gobelin Music
Publications #GOB
000304-010. Published by
Gobelin Music
Publications
(BT.GOB-000304-010).
An Astrological
Composition.
Astrology is based on the
principle that each sort
of time has its own
quality. In order to
determine the quality of
a particular moment, an
astrologer looks at the
position of the planets
in the solar sustemat
that moment. Each planet
has specific types of
energies and its location
provides unique
information for a certain
moment on Earth. Thus:
its position in the sky
tells something about
what happens on
Earth.
In this
composition the typesof
energies of four planets
are musically translated.
The four planet were not
randomly chosen. There
are two pairs, whose
influence and energy are
opposite.
Venus
and Mars.
Venus
represents the feminine
principle: harmony,
beauty,art, and the
ability to make
relationships and to keep
the peace. Venus
connects, and
communicates in order to
maintain the balance.
Mars represent the
masculine principle:
winning, impulsiveness,
enthusiasm, and sexual
energy for procreation.He
creates war enabling the
strongest to triumph.
Mars is musically
depicted in a stirring
march in which enthusiasm
characterises the
masculine
character.
Saturn
and Jupiter.
Saturn
represents concentration
and withdrawal: the
strongnotion of
responsibility,
seriousness,
self-discipline and
melancholy. Saturn is the
hermit who will conquer
his fears and worries in
minimal conditions and by
self-chastisement. This
contemplative character
is depicted in the music
as if it isalmost
standing still, which
also reflects the given
character of this
planet.
Jupiter
represents growth and
expansion: the positive,
self-confidence, the good
Samaritan, the healer.
Jupiter is the
philosopher who will make
the world a betterplace,
sees future
possibilities, and
searches for eternal
values. He is the prophet
who sometimes rants and
raves his doctrine and
proclamations, resulting
musically in a whirling
and upbeat finale. not
looking back at what has
been but searchingfor new
challenges.
Heaven and Earth was
commisioned by the Music
Lending and Information
Centre (MUI), a
department of the library
for the province of
Gelderland in Arnhem, The
Netherlands.Een
astrologische compositie.
Astrologie is
gebaseerd op het principe
dat elke tijd zijn eigen
kwaliteit heeft. Tijd
voor koffie of het was je
tijd nog niet als
bijvoorbeeld een baan aan
je neus voorbij is
gegaan.
Om de
kwaliteit van een moment
te lezen kijkt
deastroloog naar de stand
van de planeten in ons
zonnestelsel op dat
tijdstip. Elke planeet
heeft specifieke
energieën en de plaats
aan de hemel geeft unieke
informatie over een
bepaald moment op aarde.
Oftewel: de stand aan de
hemel (Ouranos)
verteltiets over wat er
op aarde (Gaia)
gebeurt.
In deze
compositie worden de
energieën van vier
planeten muzikaal
vertaald. De vier
planeten zijn niet
lukraak gekozen. Het zijn
twee paren, die qua
invloed en energie
tegenovergesteldzijn.
Venus en Mars.
Venus vertegenwoordigt
het vrouwelijke principe:
harmonieus, schoonheid,
de kunst, het vermogen om
verbindingen aan te gaan
en de vrede te bewaren.
Venus geeft door en
verbindt om de balans te
bewaren.
Marsvertegenwoordigt het
mannelijke principe:
winnen, anderen
aftroeven, impulsief en
enthousiast, seksuele
energie voor de
voortplanting. Mars
creëert oorlog om de
sterkste te laten
zegevieren.
Venus
staat tot Mars als vrede
staat tot oorlog,
alsverbinden staat tot
verbreken, als harmonie
staat tot
competitie.
Jupiter en Saturnus.
Jupiter vertegenwoordigt
groei en expansie: het
positieve zelfvertrouwen,
de weldoener, de genezer.
Jupiter is de filosoof
die de wereld
wilverbeteren,
vooruitkijkend en zoekend
naar eeuwige waarden, de
profeet die soms al te
bombastisch zijn leer
verkondigt.
Saturnus
vertegenwoordigt
concentratie en
inkrimping: het sterke
verantwoordelijkheidsbese
f, soberheid,
zelfdiscipline
enmelancholie. Saturnus
is de kluizenaar die
onder minimale
voorwaarden en
zelfkastijding zijn
angsten wil overwinnen.
De harde, serieuze werker
die volgens vaste regels
stug doorgaat om aan zijn
hoge eisen te voldoen.
Jupiter staat tot
Saturnusals uitbreiding
staat tot inkrimping, als
zelfvertrouwen staat tot
faalangst, als vrijheid
staat tot
structuur.
Gobelin
Music Publications. $196.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Concerto - Piano And Orchestra - Solo Part
Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Missa in honorem Sanctae Ursulae (Messe en l'honneur de Sainte Ursule)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Vocal Score]
Carus Verlag
(Chiemsee-Messe). By Michael Haydn (1737-1806). Edited by Armin Kircher. For Sol...(+)
(Chiemsee-Messe). By
Michael Haydn
(1737-1806). Edited by
Armin Kircher. For Soli
SATB, SATB Choir, 2
Clarinos/Trumpets,
Timpani, 2 Violins, Basso
continuo. This edition:
paperbound. MH 546. Score
available separately -
see item CA.5454600.
Latin Masses. Piano/Vocal
score. Language: Latin.
Composed 1793. 80 pages.
Duration 40 min.
Published by Carus Verlag
$33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Set de Parties séparées]
Carus Verlag
Chiemsee-Messe. Composed by Michael Haydn (1737-1806). Edited by Armin Ki...(+)
Chiemsee-Messe.
Composed by Michael Haydn
(1737-1806). Edited by
Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
German title: Missa Stae
Ursulae/Chiemsee MH 546.
Latin Masses. Complete
orchestral parts.
Composed 1793. MH 546.
Duration 40 minutes.
Published by Carus Verlag
(CA.5454619).
$262.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Heaven and Earth
Orchestre d'harmonie [Conducteur] - Intermédiaire
Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000304-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.GOB-000304-140
Composed by Jan Bosveld.
Score Only. Gobelin Music
Publications #GOB
000304-140. Published by
Gobelin Music
Publications
(BT.GOB-000304-140).
An Astrological
Composition.
Astrology is based on the
principle that each sort
of time has its own
quality. In order to
determine the quality of
a particular moment, an
astrologer looks at the
position of the planets
in the solar sustemat
that moment. Each planet
has specific types of
energies and its location
provides unique
information for a certain
moment on Earth. Thus:
its position in the sky
tells something about
what happens on
Earth.
In this
composition the typesof
energies of four planets
are musically translated.
The four planet were not
randomly chosen. There
are two pairs, whose
influence and energy are
opposite.
Venus
and Mars.
Venus
represents the feminine
principle: harmony,
beauty,art, and the
ability to make
relationships and to keep
the peace. Venus
connects, and
communicates in order to
maintain the balance.
Mars represent the
masculine principle:
winning, impulsiveness,
enthusiasm, and sexual
energy for procreation.He
creates war enabling the
strongest to triumph.
Mars is musically
depicted in a stirring
march in which enthusiasm
characterises the
masculine
character.
Saturn
and Jupiter.
Saturn
represents concentration
and withdrawal: the
strongnotion of
responsibility,
seriousness,
self-discipline and
melancholy. Saturn is the
hermit who will conquer
his fears and worries in
minimal conditions and by
self-chastisement. This
contemplative character
is depicted in the music
as if it isalmost
standing still, which
also reflects the given
character of this
planet.
Jupiter
represents growth and
expansion: the positive,
self-confidence, the good
Samaritan, the healer.
Jupiter is the
philosopher who will make
the world a betterplace,
sees future
possibilities, and
searches for eternal
values. He is the prophet
who sometimes rants and
raves his doctrine and
proclamations, resulting
musically in a whirling
and upbeat finale. not
looking back at what has
been but searchingfor new
challenges.
Heaven and Earth was
commisioned by the Music
Lending and Information
Centre (MUI), a
department of the library
for the province of
Gelderland in Arnhem, The
Netherlands.Een
astrologische compositie.
Astrologie is
gebaseerd op het principe
dat elke tijd zijn eigen
kwaliteit heeft. Tijd
voor koffie of het was je
tijd nog niet als
bijvoorbeeld een baan aan
je neus voorbij is
gegaan.
Om de
kwaliteit van een moment
te lezen kijkt
deastroloog naar de stand
van de planeten in ons
zonnestelsel op dat
tijdstip. Elke planeet
heeft specifieke
energieën en de plaats
aan de hemel geeft unieke
informatie over een
bepaald moment op aarde.
Oftewel: de stand aan de
hemel (Ouranos)
verteltiets over wat er
op aarde (Gaia)
gebeurt.
In deze
compositie worden de
energieën van vier
planeten muzikaal
vertaald. De vier
planeten zijn niet
lukraak gekozen. Het zijn
twee paren, die qua
invloed en energie
tegenovergesteldzijn.
Venus en Mars.
Venus vertegenwoordigt
het vrouwelijke principe:
harmonieus, schoonheid,
de kunst, het vermogen om
verbindingen aan te gaan
en de vrede te bewaren.
Venus geeft door en
verbindt om de balans te
bewaren.
Marsvertegenwoordigt het
mannelijke principe:
winnen, anderen
aftroeven, impulsief en
enthousiast, seksuele
energie voor de
voortplanting. Mars
creëert oorlog om de
sterkste te laten
zegevieren.
Venus
staat tot Mars als vrede
staat tot oorlog,
alsverbinden staat tot
verbreken, als harmonie
staat tot
competitie.
Jupiter en Saturnus.
Jupiter vertegenwoordigt
groei en expansie: het
positieve zelfvertrouwen,
de weldoener, de genezer.
Jupiter is de filosoof
die de wereld
wilverbeteren,
vooruitkijkend en zoekend
naar eeuwige waarden, de
profeet die soms al te
bombastisch zijn leer
verkondigt.
Saturnus
vertegenwoordigt
concentratie en
inkrimping: het sterke
verantwoordelijkheidsbese
f, soberheid,
zelfdiscipline
enmelancholie. Saturnus
is de kluizenaar die
onder minimale
voorwaarden en
zelfkastijding zijn
angsten wil overwinnen.
De harde, serieuze werker
die volgens vaste regels
stug doorgaat om aan zijn
hoge eisen te voldoen.
Jupiter staat tot
Saturnusals uitbreiding
staat tot inkrimping, als
zelfvertrouwen staat tot
faalangst, als vrijheid
staat tot
structuur.
Gobelin
Music Publications. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Antarctica
Orchestre d'harmonie [Conducteur] - Facile
De Haske Publications
Concert Band (Score) - Grade 3 SKU: HL.44012279 Composed by Carl Wittrock...(+)
Concert Band (Score) -
Grade 3 SKU:
HL.44012279 Composed
by Carl Wittrock. De
Haske Concert Band.
Concert. Score Only. De
Haske Publications
#GOB000357. Published by
De Haske Publications
(HL.44012279). UPC:
888680057794.
8.25x11.75x0.096
inches. Carl
Wittrock became inspired
by huge icefields
surrounding the South
Pole. Colourfull and
majestic sounds provide
the composition a
fascinating view of this
6th
continent.
Antarctica
is a free impression of
the scenery in
theAntarctic.
Melodies
are linked together to
convey the various
aspects of the
landscape.
These
melodies together with
their simple harmonic
accompaniments make this
work pleasant for both
the listener and the
musician.
Carl
Wittrock liet zich
inspireren door de grote
ijsvlakte om en nabij de
Zuidpool.Schilderachtige
en majestueuze klanken
geven deze compositie een
fascinerend beeld van dit
6ewerelddeel.
Antarctica is
eenvrije,muzikale
impressie van
despectaculaire gezichten
van op de Zuidpool.
Melodieen zijn aan elkaar
verbonden om zo de
verschillende aspecten
van het landschap over te
brengen.Samen met
eenvoudige harmonische
begeleidingen is dit werk
een genot voor zowel
luisteraar alsmuzikant.
Die grossen
Eisflachen nahe des
Sudpols lieferten Carl
Wittrock die Inspiration
fur dieses Werk, in dem
der ein faszinierendes
musikalisches Gemalde des
6. Kontinents zeichnete.
Antarctica ist eine freie
Landschaftsimpression, in
deraneinandergereihte
Melodien ein
eindrucksvolles
Gesamtbild ergeben.
Zusammen mit den
bestechend einfachen
harmonischen Begleitungen
ein Genuss fur Musiker
und Publikum!
Carl Wittrock a
ete inspire par les
enormes champs de glace
qui entourent le Pole
Sud. Les sons colores et
majestueux de cette
composition donnent une
vue fluide et fascinante
de ce << 6e continent >>.
Les melodies libres
d'Antartica
sontreliees entre elles
par un accompagnement
harmonieux et simple,
rendant cette oeuvre
agreable pour l'auditeur
et les musiciens.
Gobelin Music
Publications. $32.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Antarctica
Orchestre d'harmonie [Conducteur] - Facile
De Haske Publications
Concert Band (Score & Parts) - Grade 3 SKU: HL.44012278 Composed by Carl ...(+)
Concert Band (Score &
Parts) - Grade 3 SKU:
HL.44012278 Composed
by Carl Wittrock. De
Haske Concert Band.
Concert. Score Only. De
Haske Publications
#GOB000357. Published by
De Haske Publications
(HL.44012278). UPC:
888680057787. Carl
Wittrock became inspired
by huge icefields
surrounding the South
Pole. Colourfull and
majestic sounds provide
the composition a
fascinating view of this
6th
continent.
Antarctica
is a free impression of
the scenery in
theAntarctic.
Melodies
are linked together to
convey the various
aspects of the
landscape.
These
melodies together with
their simple harmonic
accompaniments make this
work pleasant for both
the listener and the
musician.
Carl
Wittrock liet zich
inspireren door de grote
ijsvlakte om en nabij de
Zuidpool.Schilderachtige
en majestueuze klanken
geven deze compositie een
fascinerend beeld van dit
6ewerelddeel.
Antarctica is
eenvrije,muzikale
impressie van
despectaculaire gezichten
van op de Zuidpool.
Melodieen zijn aan elkaar
verbonden om zo de
verschillende aspecten
van het landschap over te
brengen.Samen met
eenvoudige harmonische
begeleidingen is dit werk
een genot voor zowel
luisteraar alsmuzikant.
Die grossen
Eisflachen nahe des
Sudpols lieferten Carl
Wittrock die Inspiration
fur dieses Werk, in dem
der ein faszinierendes
musikalisches Gemalde des
6. Kontinents zeichnete.
Antarctica ist eine freie
Landschaftsimpression, in
deraneinandergereihte
Melodien ein
eindrucksvolles
Gesamtbild ergeben.
Zusammen mit den
bestechend einfachen
harmonischen Begleitungen
ein Genuss fur Musiker
und Publikum!
Carl Wittrock a
ete inspire par les
enormes champs de glace
qui entourent le Pole
Sud. Les sons colores et
majestueux de cette
composition donnent une
vue fluide et fascinante
de ce << 6e continent >>.
Les melodies libres
d'Antartica
sontreliees entre elles
par un accompagnement
harmonieux et simple,
rendant cette oeuvre
agreable pour l'auditeur
et les musiciens.
Gobelin Music
Publications. $178.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| The Saga of Haakon the Good Brass Band Set Score and Parts
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Anglo Music
Brass Band (Score & Parts) - Grade 5 SKU: HL.44012770 Composed by Philip ...(+)
Brass Band (Score &
Parts) - Grade 5 SKU:
HL.44012770 Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Softcover.
Composed 2008. Anglo
Music Press #AMP236-030.
Published by Anglo Music
Press (HL.44012770).
9x12 inches.
English-German-French-Dut
ch. Philip
Sparke's The
Saga Of Haakon The
Good for Brass Band.
Score and parts.
The Saga of
Haakon the Good werd
geschreven in opdracht
van Frei Hornmusikk uit
Noorwegen, ter
gelegenheid van het
samengaan van de twee
Kommuner (gemeenten) Frei
en Kristiansund op 1
januari 2008. Deze
brassband gebruikte het
werk bij het Noorse
Nationale
Brassbandkampioenschap in
februari. De compositie
is gebaseerd op
belangrijke
gebeurtenissen in het
leven van Haakon de Goede
(ca. 920-961), die koning
Haakon 1 van Noorwegen
werd - THE FUTURE KING.
Hij werd opgevoed door
koning Adelstein
(Athelstan van Engeland)
als onderdeel van een
vredesovereenkomst die
zijn vader had gesloten.
De Engelse koning bracht
hem de christelijke
godsdienst bij. Toen het
nieuws kwam dat zijnvader
was overleden, kreeg
Haakon een aantal schepen
met bemanning mee om ten
strijde te trekken tegen
zijn halfbroer Erik
Bloedbijl, die tot koning
was uitgeroepen. In
Noorwegen aangekomen trok
hij noordwaarts - THE
JOURNEY TO TRONDHEIM -,
waar hij de steun van
landeigenaren wist te
verkrijgen door ze te
beloven dat hij de
belastingen die zijn
vader hief, zou
afschaffen.De zoons van
Erik zochten steun bij de
Denen, maar ze werden
verslagen door Haakon,
die slaagde in alles wat
hij deed, behalve in zijn
pogingen het christendom
in het land te
introduceren - THE
MISSIONARY KING. Hij
voelde zich niet
opgewassen tegen het
verzet dat hij hierin
ondervond. Een van zijn
beroemdste overwinningen
was de slag bij
Rastarkalv (dicht bij
Frei) - THE BATTLE OF
RASTARKALV - in 955. Door
tien vaandels ver van
elkaar te plaatsen langs
een lage bergkam (om de
indruk te wekken dat zijn
leger groter was dan in
werkelijkheid) lukte het
hem om Eriks zoons het
idee te geven dat zij in
de minderheid waren. De
Denen vluchtten en het
leger van Haakon
zegevierde. De genoemde
tien vaandels worden
weergegeven door tien
luide akkoorden vanaf
maat 420.
The
Saga of Haakon the
Good reflektiert das
Leben von Konig Haakon I
von Norwegen (um
920-961). Jeder der vier
Satze dieses Werkes hat
etwas Besonderes zu
bieten - von
ausdrucksvollen
Lento-Passagen bis zu
dynamischen rhythmischen
Abschnitten und vielen
spannenden Soli. The
Saga of Haakon the
Good war bereits
Pflichtstück bei
den British National
Brass Band Championships
2008. Wahrhaft
meisterlich!
Un
superbe morceau impose,
par le roi des imposes
Philip Sparke. Base sur
la legende de Haakon le
bon (vers 920-961). $114.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Antarctica
Orchestre d'harmonie [Conducteur] - Facile
Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000357-140 Composed by Carl W...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.GOB-000357-140
Composed by Carl
Wittrock. Score Only. 16
pages. Gobelin Music
Publications #GOB
000357-140. Published by
Gobelin Music
Publications
(BT.GOB-000357-140).
Carl Wittrock
became inspired by huge
icefields surrounding the
South Pole. Colourfull
and majestic sounds
provide the composition a
fascinating view of this
6th
continent.
Antarctica
is a free impression of
the scenery in
theAntarctic.
Melodies
are linked together to
convey the various
aspects of the
landscape.
These
melodies together with
their simple harmonic
accompaniments make this
work pleasant for both
the listener and the
musician.
Carl
Wittrock liet zich
inspireren door de grote
ijsvlakte om en nabij de
Zuidpool.Schilderachtige
en majestueuze klanken
geven deze compositie een
fascinerend beeld van dit
6ewerelddeel.
Antarctica is
eenvrije,muzikale
impressie van
despectaculaire gezichten
van op de Zuidpool.
Melodieën zijn aan
elkaar verbonden om zo de
verschillende aspecten
van het landschap over te
brengen.Samen met
eenvoudige harmonische
begeleidingen is dit werk
een genot voor zowel
luisteraar alsmuzikant.
Die großen
Eisflächen nahe des
Südpols lieferten Carl
Wittrock die Inspiration
für dieses Werk, in dem
der ein faszinierendes
musikalisches Gemälde
des “6. Kontinents”
zeichnete. Antarctica ist
eine freie
Landschaftsimpression, in
deraneinandergereihte
Melodien ein
eindrucksvolles
Gesamtbild ergeben.
Zusammen mit den
bestechend einfachen
harmonischen Begleitungen
ein Genuss für Musiker
und Publikum!
Carl Wittrock a
été inspiré par les
énormes champs de glace
qui entourent le Pôle
Sud. Les sons colorés et
majestueux de cette
composition donnent une
vue fluide et fascinante
de ce « 6e continent ».
Les mélodies libres
d’Antartica
sontreliées entre elles
par un accompagnement
harmonieux et simple,
rendant cette œuvre
agréable pour
l’auditeur et les
musiciens.
Gobelin Music
Publications. $38.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Moving Heaven and Earth
Orchestre d'harmonie [Conducteur] - Intermédiaire
Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-339-140 Concertante Variat...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-339-140
Concertante Variations
on an Original Theme
(after Gabriel
Fauré). Composed
by Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Score
Only. Composed 2012. 40
pages. Anglo Music Press
#AMP 339-140. Published
by Anglo Music Press
(BT.AMP-339-140). 9x12
inches.
English-German-French-Dut
ch. Moving
Heaven and Earth was
commissioned by the Clark
County School District
Commissioning Project,
Las Vegas, NV, USA and is
dedicated to Bunny
Wasserman and her Make
Music Matter, Las Vegas
foundation, in
appreciation of her
tireless work in support
of music education. It
was premiered in January
2012, conducted by Col.
John R. Bourgeois.The
piece consists of a theme
and 4 variations;
although the theme is
original it contains a
phrase heavily influenced
by a 14-bar passage from
the Libera Me in
Fauré’s
Requiem. It is a
sequence that the
composer finds
harmonically compelling
and, although it is never
quoted directly, it
appears in altered form
in thetheme and each of
the variations. In the
original, the passage is
set to the words:
Quando cæli movendi
sunt et terra (When
the heavens and the earth
shall be moved) which
gave inspiration for the
title.After the initial
statement of the theme,
Variation 1
features the upper
woodwinds who play a
stirring melody and
accompany the Fauré
reference with florid
arpeggios. Variation
2 spotlights the
saxophones and lower
woodwind in a rhythmic,
modal waltz, whilst
Variation 3 is a
broad chorale for the
brass and percussion.
Variation 4 starts
with a fugue, which
introduces each section
of the band in turn
before the original theme
appears on the brass
while the woodwind
continue the fugal
figuration.
Moving Heaven
and Earth is
geschreven in opdracht
van het Clark County
School District
Commissioning Project,
Las Vegas, NV, USA. Het
is opgedragen aan Bunny
Wasserman en haar
stichting Make Music
Matter… Las Vegas,
als blijk van waardering
voor haar onvermoeibare
inzet voor het
muziekonderwijs. De
première, uitgevoerd
onder leiding van kolonel
John R. Bourgeois, vond
plaats in januari
2012.Het werk bestaat uit
een thema en vier
variaties; hoewel het een
oorspronkelijk geschreven
thema is, bevat het een
frase die sterk is be
nvloed door een passage
van veertien maten uit
het Libera Me van
Faurés Requiem.
Het gaat om een sequens
die de componist
harmonischzeer boeiend
vindt, en die - hoewel
nooit direct geciteerd -
in aangepaste vorm in
zowel het thema als de
vier variaties naar voren
komt. In het origineel is
de muziek uit deze
passage geschreven op de
tekst Quando cæli
movendi sunt et terra
(Wanneer hemel en aarde
bewogen worden). Daarop
is de titel van deze
compositie gebaseerd.Na
de aanvankelijke
invoering van het thema
komt in Variatie 1
het hoge hout aan bod met
een treffende melodie; en
de verwijzing naar
Fauré wordt begeleid
door sierlijke
arpeggio’s.
Variatie 2 plaatst
de saxofoons en het lage
hout in de schijnwerpers
met een ritmische, modale
wals, terwijl Variatie
3 een weidse koraal
voor het koper en
slagwerk
omvat.Variatie 4
begint met een fuga die
elke sectie van het
orkest introduceert,
waarna het
oorspronkelijke thema in
het koper verschijnt
terwijl het hout
verdergaat met de
fugatische versieringen.
Moving Heaven
and Earth wurde vom
Schulbezirksverband in
Las Vegas, Nevada (USA)
in Auftrag gegeben. Das
Stück ist Bunny
Wasserman und ihrer
Stiftung Make Music
Matter, Las Vegas
gewidmet, in Anerkennung
ihrer unermüdlichen
Anstrengungen zugunsten
der musikalischen
Ausbildung. Die
Uraufführung fand im
Januar 2012 unter Leitung
von Colonel John R.
Bourgeois statt.Das
Stück besteht aus
einem Thema und vier
Variationen. Obwohl es
sich um ein originales
Thema handelt, ist doch
ein Abschnitt daraus
stark von einer
14-taktigen Passage aus
dem Libera Me in
Faurés Requiem
beeinflusst. Es ist eine
Sequenz, die dem
Komponisten harmonisch
besonders reizvoll
erschien, wennsie auch
nirgends direkt zitiert
wird, sondern in
veränderter Form im
Thema und in jeder
Variation erscheint. Im
Original ist diese
Passage mit folgendem
Text unterlegt: Quando
cæli movendi sunt et
terra (Wenn Himmel
und Erde sich bewegen
sollen). Diese Worte
waren Inspiration für
den Titel.Nach der
einleitenden Vorstellung
des Themas stellt
Variation 1 die hohen
Holzbläser in den
Vordergrund, die eine
bewegende Melodie spielen
und die Anspielung auf
Fauré mit schönen,
lebhaften Arpeggien
begleiten. Variation
2 richtet das
Rampenlicht auf die
Saxophone und die tiefen
Holzbläser in einem
rhythmischen, modalen
Walzer, während
Variation 3 ein
breiter Choral für die
Blechbläser und das
Schlagzeug ist.
Variation 4
beginnt mit einer Fuge,
die nacheinander jedes
Register des
Blasorchesters
präsentiert, bevor die
Blechbläser das
Originalthema spielen und
die Holzbläser dazu
mit der Umspielung der
Fuge fortfahren.
Moving Heaven
and Earth
(Ébranler le ciel et
la terre) est une oeuvre
de commande du Clark
County School District
Commissioning Project de
Las Vegas,
États-Unis. Cette
pièce est dédiée
Bunny Wasserman et sa
fondation Make Music
Matter, Las Vegas, en
reconnaissance de son
travail sans rel che en
faveur de
l’éducation
musicale. Elle a
été créée en
janvier 2012, sous la
direction du colonel John
R. Bourgeois.Cette oeuvre
se compose d’un
thème et de quatre
variations ; bien que le
thème soit original,
il contient néanmoins
un motif relativement
influencé par un
passage de 14 mesures du
Libera Me du
Requiem de
Fauré. Cette
séquence, dont
l’harmonisation
fascinePhilip Sparke,
paraît sous une forme
altérée dans le
thème et chacune des
variations. Dans
l’oeuvre de
Fauré, le thème
mélodique colore les
paroles : Quando
cæli movendi sunt et
terra (Quand le ciel
et la terre seront
ébranlés), qui ont
d’ailleurs
inspiré le titre de la
présente
composition.Après une
exposition initiale du
thème, la 1re
variation fait appel
au registre aigu des
bois, qui énoncent une
exaltante mélodie et
enluminent
l’allusion
Fauré par des
arpèges fleuris. La
2e variation met
en valeur les saxophones
et le registre grave des
bois dans une valse
modale rythmée, tandis
que la 3e
variation prend la
forme d’un ample
choral pour les cuivres
et la percussion.La 4e
variation installe
une fugue qui
présente, tour tour,
chaque pupitre de
l’orchestre avant
le retour du thème
d’origine
interprété par les
cuivres, tandis que les
bois maintiennent
brillement le motif de
fugue. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| The Beginning Band Collection (Bb Trombone BC)
Orchestre d'harmonie
Curnow Music
Concert Band - easy SKU: BT.CMP-1163-07-719 Beginning Band. Concert Piece...(+)
Concert Band - easy
SKU:
BT.CMP-1163-07-719
Beginning Band. Concert
Piece. Book Only.
Composed 2006. 28 pages.
Curnow Music #CMP
1163-07-719. Published by
Curnow Music
(BT.CMP-1163-07-719).
ISBN 9789043126267. 12
X 9 inches.
English-German-French-Dut
ch. Met genoegen
presenteert Curnow Music
Press een manier om
tegelijkertijd uw
lesmateriaal te
verrijken, uw bibliotheek
efficiënt te beheren
en geld te besparen. The
Beginning Band Collection
is een compilatie van een
aantal van debeste
stukken van CMP voor
jeugdorkesten -
uitgegeven in boekvorm.
In deze publicatie vindt
u stukken van Mike
Hannickel, James Curnow,
Timothy Johnson, Paul
Curnow, Douglas Court,
Elliot Del Borgo en
Stephen Bulla. Ze zijn in
didactischopzicht
inmiddels allemaal
succesvol, maar ook als
het gaat om het
vasthouden van de
interesse van leerlingen
en de aandacht van het
publiek! CMP staat bekend
om kwaliteitsmuziek voor
jeugdorkesten - en die
kwaliteit komtin deze
uitgave zeker naar voren.
De boekvorm zorgt ervoor
dat u minder tijd hoeft
te besteden aan het
uitzoeken van muziek. De
geldelijke waarde van
deze collectie ligt voor
de hand als u een
vergelijking maakt met de
prijs van eenenkele set
harmoniemuziek.
The Beginning Band
Collection ist eine
Sammlung von zwölf
Orchesterarrangements,
die das oft spärliche
Repertoire an Ãœbungs-
und Spielliteratur für
Vor- und
Jugendblasorchester
deutlich bereichern und -
im Vergleich zu einzeln
gekauften Stücken -
zugleich das Budget des
Dirigenten oder Lehrers
schonen. Alle Titel in
diesem Band stammen aus
der Feder erfahrener
Komponisten und
Arrangeure auf dem Gebiet
lehrreicher, gut
klingender Blasmusik in
niedrigen
Schwierigkeitsgraden.
The Beginning Band
Collection contient
douze arrangements de
grande qualité pour
Orchestre Junior. Cette
collection permet la fois
de développer de
façon importante votre
matériel
d’enseignement
tout en offrant une
solution plus
économique.
L’ensemble des
œuvres ont été
écrites par
d’excellent
compositeurs et
pédagogues qui
connaissent parfaitement
les besoins des
formations Juniors. Les
pièces sont en
parfaite adéquation
avec
l’expérience
des musiciens. Le
contexte est
pédagogiquement
structuré et
musicalement motivant
pour les Orchestres
Juniors. $8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| The Beginning Band Collection (Eb Horn)
Orchestre d'harmonie
Curnow Music
Eb Horn - easy SKU: BT.CMP-1162-07-718 Beginning Band. Concert Piece. Boo...(+)
Eb Horn - easy SKU:
BT.CMP-1162-07-718
Beginning Band. Concert
Piece. Book Only.
Composed 2006. 16 pages.
Curnow Music #CMP
1162-07-718. Published by
Curnow Music
(BT.CMP-1162-07-718).
ISBN 9789043126250. 12
X 9 inches.
English-German-French-Dut
ch. Met genoegen
presenteert Curnow Music
Press een manier om
tegelijkertijd uw
lesmateriaal te
verrijken, uw bibliotheek
efficiënt te beheren
en geld te besparen. The
Beginning Band Collection
is een compilatie van een
aantal van debeste
stukken van CMP voor
jeugdorkesten -
uitgegeven in boekvorm.
In deze publicatie vindt
u stukken van Mike
Hannickel, James Curnow,
Timothy Johnson, Paul
Curnow, Douglas Court,
Elliot Del Borgo en
Stephen Bulla. Ze zijn in
didactischopzicht
inmiddels allemaal
succesvol, maar ook als
het gaat om het
vasthouden van de
interesse van leerlingen
en de aandacht van het
publiek! CMP staat bekend
om kwaliteitsmuziek voor
jeugdorkesten - en die
kwaliteit komtin deze
uitgave zeker naar voren.
De boekvorm zorgt ervoor
dat u minder tijd hoeft
te besteden aan het
uitzoeken van muziek. De
geldelijke waarde van
deze collectie ligt voor
de hand als u een
vergelijking maakt met de
prijs van eenenkele set
harmoniemuziek.
The Beginning Band
Collection ist eine
Sammlung von zwölf
Orchesterarrangements,
die das oft spärliche
Repertoire an Ãœbungs-
und Spielliteratur für
Vor- und
Jugendblasorchester
deutlich bereichern und -
im Vergleich zu einzeln
gekauften Stücken -
zugleich das Budget des
Dirigenten oder Lehrers
schonen. Alle Titel in
diesem Band stammen aus
der Feder erfahrener
Komponisten und
Arrangeure auf dem Gebiet
lehrreicher, gut
klingender Blasmusik in
niedrigen
Schwierigkeitsgraden.
The Beginning Band
Collection contient
douze arrangements de
grande qualité pour
Orchestre Junior. Cette
collection permet la fois
de développer de
façon importante votre
matériel
d’enseignement
tout en offrant une
solution plus
économique.
L’ensemble des
œuvres ont été
écrites par
d’excellent
compositeurs et
pédagogues qui
connaissent parfaitement
les besoins des
formations Juniors. Les
pièces sont en
parfaite adéquation
avec
l’expérience
des musiciens. Le
contexte est
pédagogiquement
structuré et
musicalement motivant
pour les Orchestres
Juniors. $8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Jekyll and Hyde
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Molenaar Edition
Concert Band; Trumpet - Grade 5 SKU: ML.013723090 For 2 Trumpets and W...(+)
Concert Band; Trumpet -
Grade 5 SKU:
ML.013723090 For 2
Trumpets and Wind
Orchestra. Composed
by Alex Poelman. Full
set. Molenaar Edition
#013723090. Published by
Molenaar Edition
(ML.013723090).
Dr Jekyll
researches the evil in
man and succeeds in
creating a potion that
transforms him into his
alter ego, Hyde. However,
Jekyll loses control and
fights an inner battle
with Hyde. He loses this
battle when Hyde commits
murder. Understanding
that there is only one
way to resolve this,
Jekyll kills himself and
thus Hyde. In this solo
concert the main
characters Jekyll and
Hyde are played by two
solo trumpeters. The
different sides of the
trumpet are highlighted
in this story: from the
lyrical passages (Jekyll)
to the sharp, mean and
dark passages (Hyde). A
challenging adventure for
orchestra and
soloists.
This is
rental music. Please
contact us at
office@molenaar.com
Dr. Jekyll onderzoekt
het kwaad in de mens en
slaagt erin een drankje
te maken dat hem
verandert in zijn alter
ego, Hyde. Jekyll
verliest echter de
controle en voert een
innerlijke strijd met
Hyde. Hij verliest deze
strijd wanneer Hyde een
moord pleegt. In het
besef dat er maar
één manier is om
dit op te lossen, doodt
Jekyll zichzelf en
daarmee Hyde. In dit
soloconcert worden de
hoofdpersonen Jekyll en
Hyde gespeeld door twee
solotrompettisten. De
verschillende kanten van
de trompet worden in dit
verhaal belicht: van de
lyrische passages
(Jekyll) tot de scherpe,
gemene en donkere
passages (Hyde). Een
uitdagend avontuur voor
orkest en
solisten.
Dit is
huurmuziek. Neem contact
met ons op via
office@molenaar.com
Le Dr Jekyll recherche
le mal dans l'homme et
réussit à créer
une potion qui le
transforme en son alter
ego, Hyde. Cependant,
Jekyll perd le
contrôle et mène
une bataille
intérieure avec Hyde.
Il perd cette bataille
lorsque Hyde commet un
meurtre. Comprenant qu'il
n'y a qu'une seule
façon de résoudre
ce problème, Jekyll se
tue et tue ainsi Hyde.
Dans ce concert solo, les
personnages principaux
Jekyll et Hyde sont
interprétés par
deux trompettistes
solistes. Les
différentes facettes
de la trompette sont
mises en évidence dans
cette histoire : des
passages lyriques
(Jekyll) aux passages
aigus, méchants et
sombres (Hyde). Une
aventure stimulante pour
l'orchestre et les
solistes.
Il
s'agit de musique de
location. Veuillez nous
contacter à l'adresse
suivante :
office@molenaar.com
Dr. Jekyll erforscht
das Böse im Menschen
und schafft es, einen
Trank herzustellen, der
ihn in sein Alter Ego
Hyde verwandelt. Doch
Jekyll verliert die
Kontrolle und kämpft
einen inneren Kampf mit
Hyde. Er verliert diesen
Kampf, als Hyde einen
Mord begeht. Jekyll
erkennt, dass es nur
einen Weg gibt, um das
Problem zu lösen, und
tötet sich selbst und
damit auch Hyde. In
diesem Solokonzert werden
die Hauptfiguren Jekyll
und Hyde von zwei
Solotrompetern gespielt.
Die verschiedenen Seiten
der Trompete werden in
dieser Geschichte
hervorgehoben: von den
lyrischen Passagen
(Jekyll) bis zu den
scharfen, gemeinen und
dunklen Passagen (Hyde).
Ein anspruchsvolles
Abenteuer für
Orchester und
Solisten.
Dies ist
Leihmusik. Bitte
kontaktieren Sie uns
unter
office@molenaar.com. $321.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées]
Carus Verlag
SATB vocal soli, SATB choir, 2 clarinets/trumpets, timpani, 2 violins, basso con...(+)
SATB vocal soli, SATB
choir, 2
clarinets/trumpets,
timpani, 2 violins, basso
continuo SKU:
CA.5454609
Chiemsee-Messe.
Composed by Michael
Haydn. Edited by Armin
Kircher. This edition:
urtext. 1x 54.546/31
clarino 1, 1x 54.546/32
clarino 2, 1x 54.546/41
timpani. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Stae
Ursulae. Sacred vocal
music, Masses, Latin. Set
of Orchestra Parts.
Composed 1793. MH 546. 36
pages. Duration 40
minutes. Carus Verlag #CV
54.546/09. Published by
Carus Verlag
(CA.5454609). ISBN
9790007226190. Language:
Latin. Among
Haydn's over thirty
settings of the Latin
Ordinary, the Missa in
honorem Sanctae Ursula
occupies an outstanding
position, which,
according to the
autograph, was completed
on 5 August 1793. This
Mass has been referred to
as the most Mozartian of
all his masses. With its
song-like melodic
character, the unity of
the motivic material and
the harmonius balance
between festive and
reflective sections this
Mass is one of Haydn's
most successful and
inspired works. This
work, which in addition
to the usual Salzburg
church trio includes two
trumpets and timpani,
belongs to the category
of Missa solemnis. The
popular nickname
Chiemsee-Messe is bound
up with the history of
the origins of the work.
Haydn wrote the Mass for
the musically gifted nun,
Sebastiana Oswald, who
belonged to the
Benedictine cloister of
Frauenchiemsee. This work
soon found widespread
acceptance beyond the
originally intended
sphere of its origins, as
is indicated by the
numerous copies found in
Austrian convents. Score
and parts available
separately - see item
CA.5454600. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| White Light
Hautbois, Piano (duo) - Intermédiaire
Anglo Music
Oboe and Piano - intermediate SKU: BT.AMP-343-401 For Oboe and Piano(+)
Oboe and Piano -
intermediate SKU:
BT.AMP-343-401 For
Oboe and Piano.
Composed by Philip
Sparke. Anglo
Instrumental series. Book
Only. Composed 2012. 16
pages. Anglo Music Press
#AMP 343-401. Published
by Anglo Music Press
(BT.AMP-343-401). ISBN
9789043138628. 9x12
inches.
English-German-French-Dut
ch. White
Light was
commissioned by Fumiko
Teramoto, oboist with the
Musashino Grand Concert
Band from Tokyo, Japan.
The request was for a
moderately slow piece, of
intermediate difficulty,
which included White in
the title, as this is her
lucky colour. Composer
Philip Sparke decided to
use this suggestion to
write a piece that was
bright and light in terms
of harmony and colour,
with much use of simple
major and minor chords
and an emphasis on pure
and transparent timbres.
He was also keen to
capture the essence and
history of the oboe as a
solo instrument - the
piece is pastoral in
character and often
almost baroque in style.
Also available for oboe
and concert band
(AMP317-010/140).
Wit is de
gelukskleur van het
opdrachtgevende orkest
van dit uitdagende
solowerk voor hobo en
piano. Philip Sparke
schreef daarom een
opgewekte compositie. Het
zwaartepunt ligt op de
heldere klanken van het
hoge hout en de
harmonie,klankkleur en
instrumentatie is helder
en doorzichtig.Ook
verkrijgbaar voor hobo en
harmonieorkest (AMP
317-010/140).
Wei
Ÿ ist die
Glücksfarbe des
auftraggebenden
Blasorchesters und daher
im Titel dieses Solowerks
für Oboe und
Klavier. Passend dazu
schuf Philip Sparke ein
Stück, das sowohl
heiter als auch hell in
seiner Harmonik, seinen
Farben und seiner
Orchestrierung ist, viele
einfache Dur- und
Mollakkorde enthält
und den Schwerpunkt auf
die klaren Klänge der
hohen Holzbläser im
Orchester legt. Ebenfalls
erhältlich für Oboe
und Blasorchester (AMP
317-010/140).
Les
indications données
étaient les suivantes
: une pièce
modérément lente et
de difficulté moyenne
; enfin, le mot
‘blanc ‘
devait figurer dans le
titre, faisant ainsi
allusion la couleur
fétiche de l'orchestre
dédicataire. C'est en
s'inspirant de ces
quelques éléments
que Philip Sparke composa
White Light, une
pièce lumineuse et
harmonieusement
légère. De
caractère pastoral et
de style plutôt
baroque, White
Light expose avec
passion la quintessence
du hautbois. Disponible
en version Hautbois et
piano, elle existe
également pour
Hautbois solo et
orchestre
d'harmonie.
In
questo lavoro per oboe
solista e pianoforte,
Philip Sparke crea un
pezzo che è allo
stesso tempo allegro e
luminoso nella sua
armonia e nei colori, e
che nell'orchestrazione
contiene molti semplici
accordi maggiori e
minori. Disponibile anche
per oboe e banda (AMP
317-010/140). $28.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, 2 clarinets/trumpets, timpani, 2 violins, basso con...(+)
SATB vocal soli, SATB
choir, 2
clarinets/trumpets,
timpani, 2 violins, basso
continuo SKU:
CA.5454612
Chiemsee-Messe.
Composed by Michael
Haydn. Edited by Armin
Kircher. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Stae
Ursulae. Sacred vocal
music, Masses, Latin.
Single Part, Violin 2.
Composed 1793. MH 546. 28
pages. Duration 40
minutes. Carus Verlag #CV
54.546/12. Published by
Carus Verlag
(CA.5454612). ISBN
9790007226213. Language:
Latin. Among
Haydn's over thirty
settings of the Latin
Ordinary, the Missa in
honorem Sanctae Ursula
occupies an outstanding
position, which,
according to the
autograph, was completed
on 5 August 1793. This
Mass has been referred to
as the most Mozartian of
all his masses. With its
song-like melodic
character, the unity of
the motivic material and
the harmonius balance
between festive and
reflective sections this
Mass is one of Haydn's
most successful and
inspired works. This
work, which in addition
to the usual Salzburg
church trio includes two
trumpets and timpani,
belongs to the category
of Missa solemnis. The
popular nickname
Chiemsee-Messe is bound
up with the history of
the origins of the work.
Haydn wrote the Mass for
the musically gifted nun,
Sebastiana Oswald, who
belonged to the
Benedictine cloister of
Frauenchiemsee. This work
soon found widespread
acceptance beyond the
originally intended
sphere of its origins, as
is indicated by the
numerous copies found in
Austrian convents. Score
and part available
separately - see item
CA.5454600. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, 2 clarinets/trumpets, timpani, 2 violins, basso con...(+)
SATB vocal soli, SATB
choir, 2
clarinets/trumpets,
timpani, 2 violins, basso
continuo SKU:
CA.5454611
Chiemsee-Messe.
Composed by Michael
Haydn. Edited by Armin
Kircher. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Stae
Ursulae. Sacred vocal
music, Masses, Latin.
Single Part, Violin 1.
Composed 1793. MH 546. 28
pages. Duration 40
minutes. Carus Verlag #CV
54.546/11. Published by
Carus Verlag
(CA.5454611). ISBN
9790007226206. Language:
Latin. Among
Haydn's over thirty
settings of the Latin
Ordinary, the Missa in
honorem Sanctae Ursula
occupies an outstanding
position, which,
according to the
autograph, was completed
on 5 August 1793. This
Mass has been referred to
as the most Mozartian of
all his masses. With its
song-like melodic
character, the unity of
the motivic material and
the harmonius balance
between festive and
reflective sections this
Mass is one of Haydn's
most successful and
inspired works. This
work, which in addition
to the usual Salzburg
church trio includes two
trumpets and timpani,
belongs to the category
of Missa solemnis. The
popular nickname
Chiemsee-Messe is bound
up with the history of
the origins of the work.
Haydn wrote the Mass for
the musically gifted nun,
Sebastiana Oswald, who
belonged to the
Benedictine cloister of
Frauenchiemsee. This work
soon found widespread
acceptance beyond the
originally intended
sphere of its origins, as
is indicated by the
numerous copies found in
Austrian convents. Score
and part available
separately - see item
CA.5454600. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, 2 clarinets/trumpets, timpani, 2 violins, basso con...(+)
SATB vocal soli, SATB
choir, 2
clarinets/trumpets,
timpani, 2 violins, basso
continuo SKU:
CA.5454613
Chiemsee-Messe.
Composed by Michael
Haydn. Edited by Armin
Kircher. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Stae
Ursulae. Sacred vocal
music, Masses, Latin.
Single Part, Cello/Double
Bass. Composed 1793. MH
546. 16 pages. Duration
40 minutes. Carus Verlag
#CV 54.546/13. Published
by Carus Verlag
(CA.5454613). ISBN
9790007226220. Language:
Latin. Among
Haydn's over thirty
settings of the Latin
Ordinary, the Missa in
honorem Sanctae Ursula
occupies an outstanding
position, which,
according to the
autograph, was completed
on 5 August 1793. This
Mass has been referred to
as the most Mozartian of
all his masses. With its
song-like melodic
character, the unity of
the motivic material and
the harmonius balance
between festive and
reflective sections this
Mass is one of Haydn's
most successful and
inspired works. This
work, which in addition
to the usual Salzburg
church trio includes two
trumpets and timpani,
belongs to the category
of Missa solemnis. The
popular nickname
Chiemsee-Messe is bound
up with the history of
the origins of the work.
Haydn wrote the Mass for
the musically gifted nun,
Sebastiana Oswald, who
belonged to the
Benedictine cloister of
Frauenchiemsee. This work
soon found widespread
acceptance beyond the
originally intended
sphere of its origins, as
is indicated by the
numerous copies found in
Austrian convents. Score
and part available
separately - see item
CA.5454600. $16.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, 2 clarinets/trumpets, timpani, 2 violins, basso con...(+)
SATB vocal soli, SATB
choir, 2
clarinets/trumpets,
timpani, 2 violins, basso
continuo SKU:
CA.5454649
Chiemsee-Messe.
Composed by Michael
Haydn. Edited by Armin
Kircher. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Stae
Ursulae. Sacred vocal
music, Masses, Latin.
Single Part, Organ.
Composed 1793. MH 546. 32
pages. Duration 40
minutes. Carus Verlag #CV
54.546/49. Published by
Carus Verlag
(CA.5454649). ISBN
9790007074623. Language:
Latin. Among
Haydn's over thirty
settings of the Latin
Ordinary, the Missa in
honorem Sanctae Ursula
occupies an outstanding
position, which,
according to the
autograph, was completed
on 5 August 1793. This
Mass has been referred to
as the most Mozartian of
all his masses. With its
song-like melodic
character, the unity of
the motivic material and
the harmonius balance
between festive and
reflective sections this
Mass is one of Haydn's
most successful and
inspired works. This
work, which in addition
to the usual Salzburg
church trio includes two
trumpets and timpani,
belongs to the category
of Missa solemnis. The
popular nickname
Chiemsee-Messe is bound
up with the history of
the origins of the work.
Haydn wrote the Mass for
the musically gifted nun,
Sebastiana Oswald, who
belonged to the
Benedictine cloister of
Frauenchiemsee. This work
soon found widespread
acceptance beyond the
originally intended
sphere of its origins, as
is indicated by the
numerous copies found in
Austrian convents. Score
and part available
separately - see item
CA.5454600. $32.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre
Carus Verlag
SATB vocal soli, SATB choir, 2 clarinets/trumpets, timpani, 2 violins, basso con...(+)
SATB vocal soli, SATB
choir, 2
clarinets/trumpets,
timpani, 2 violins, basso
continuo SKU:
CA.5454605
Chiemsee-Messe.
Composed by Michael
Haydn. Edited by Armin
Kircher. This edition:
urtext. Stuttgart Urtext
Edition: Johann Michael
Haydn. Missa Stae
Ursulae. Sacred vocal
music, Masses, Latin.
Choral Score. Composed
1793. MH 546. 20 pages.
Duration 40 minutes.
Carus Verlag #CV
54.546/05. Published by
Carus Verlag
(CA.5454605). ISBN
9790007109875. Language:
Latin. Among
Haydn's over thirty
settings of the Latin
Ordinary, the Missa in
honorem Sanctae Ursula
occupies an outstanding
position, which,
according to the
autograph, was completed
on 5 August 1793. This
Mass has been referred to
as the most Mozartian of
all his masses. With its
song-like melodic
character, the unity of
the motivic material and
the harmonius balance
between festive and
reflective sections this
Mass is one of Haydn's
most successful and
inspired works. This
work, which in addition
to the usual Salzburg
church trio includes two
trumpets and timpani,
belongs to the category
of Missa solemnis. The
popular nickname
Chiemsee-Messe is bound
up with the history of
the origins of the work.
Haydn wrote the Mass for
the musically gifted nun,
Sebastiana Oswald, who
belonged to the
Benedictine cloister of
Frauenchiemsee. This work
soon found widespread
acceptance beyond the
originally intended
sphere of its origins, as
is indicated by the
numerous copies found in
Austrian convents. Score
available separately -
see item CA.5454600. $9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Sinfonische Metamorphosen ueber Gesualdo
Orchestre
Breitkopf & Härtel
Orchestra (picc.2.2.cor ang.2.B-clar.2.dble bsn - 4.3.3.1. - timp.perc(3) - hp -...(+)
Orchestra (picc.2.2.cor
ang.2.B-clar.2.dble bsn -
4.3.3.1. - timp.perc(3) -
hp - cel - str) SKU:
BR.PB-5105-07
Study score.
Composed by Jurg Baur.
Softbound.
Partitur-Bibliothek
(Score Library). World
premiere: Bremen,
February 1, 1982
Symphony; Music
post-1945. Study Score.
Composed 1981. 68 pages.
Duration 17'. Breitkopf
and Haertel #PB 5105-07.
Published by Breitkopf
and Haertel
(BR.PB-5105-07). ISBN
9790004208557. 9 x 12
inches. Gesualdo,
Don Carlo, Furst von
Venosa (1560-1613) gehort
zu den eigenwilligsten
italienischen
Madrigal-Komponisten der
Spatrenaissance. Seine
ungewohnlich kuhne,
selbst fur heutige Ohren
modern klingende
Harmonik, seine
chromatischen
Stimmfortschreitungen,
seine ubersteigerte
expressive Tonsprache
regten mich schon vor
Jahren zu einer grosseren
Orgelkomposition an und
inspirierten mich 1981 zu
den >>Sinfonischen
Metamorphosen<<. Dieses
Werk ist eine
vielgestaltige
weitausgesponnene
Fantasie. Sieben
choralartige typische
Klangbeispiele aus
Gesualdos spaten
funfstimmigen Madrigalen
(4., 5. u. 6. Band)
werden teils streng,
teils frei zitiert und
von Holz- oder
Blechblasern intoniert.
Diese Zitate gliedern,
als formale und
inhaltliche Schwer- und
Ruhepunkte, den Verlauf
des gesamten Werks. Jedes
Zitat steht zu Beginn
eines neuen
Satzabschnitts; die
darauffolgenden
>>Metamorphosen<<
entwickeln sich als
rhapsodische
kontrastreiche
Charakterstucke. Im
>>Preludio<< werden aus
den vertonbaren
Buchstaben vom Namen
>>Gesualdo<< (G - E - Es
- A - D) schwebende
Klangflachen,
rezitativische Gedanken
und ein pragnantes
rhythmisches Paukenthema
gebildet. Diese
,,Grundelemente
(Grundstrukturen) tauchen
im Verlauf des Stucks
immer wieder
leitmotivisch auf. Im
zweiten Abschnitt stehen
sich lineare
Streicher-Episoden und
dichte
Blaser-Klangballungen
kontrastierend gegenuber.
Der dritte Teil lauft als
Passacaglia (Thema ist
der Bass eines
Gesualdo-Zitats) in
mehreren Variationen ab.
Im vierten Abschnitt
dominiert lebhafte
Streicherbewegung,
kontrapunktiert von
tiefen Blaser-Signalen.
Der funfte Teil steigert
sich- nach kantablem
Beginn- zum ekstatischen
Trauermarsch. Abschnitt
sechs stellt sich als
>>Rondello<< dar, mit um
sich selbst kreisenden
Klangfiguren (in
verschiedenen Tongruppen
(zwei, drei, funf). Im
siebten und letzten Teil
wird die
verhalten-resignierende
Stimmung des Anfangs
beschworen, ehe eine
knappe Stretta in den
hymnischen Schluss
mundet. In den Textender
ausgewahlten Zitatstellen
geht es meist um
Todessehnsucht,
Liebesqual und
Verzweiflung. z. B. 1.
und 2. Zitat: Moro lasso,
al mio duolo (Ich sterbe,
matt, an meiner Qual) (6.
Buch) 3. Zitat: Gia
piansi nel dolore; o
dolorosa Sorte (Schon
weinte ich in Schmerzen,
oh schmerzliches
Geschick) (6. Buch) 4.
Zitat: Ahi gia mi
discolero (Ach schon
entfarbte ich mich)
(Wehe, der Tod kommt) (4.
Buch) 5. Zitat:
Dolcissima mia vita (Mein
allerliebstes Leben)
(Dich zu lieben oder zu
sterben) (5. Buch) 6.
Zitat: lo moro (Ich
sterbe) (5. Buch) Dem
Werk liegen zwar eine
Reihe von
dodekaphonischen
Strukturen zugrunde (die
teilweise von Gesualdos
Klangzitaten abgeleitet
wurden), doch sind die
einzelnen Abschnitte
auf,,tonale Pfeiler (G -
E - A - D) gegrundet; das
Stuck beginnt in G und
endet aufD, ist also
ubergeordnet tonal
konzipiert, - der Versuch
einer Synthese moderner
Ausdrucksmittel von
Vergangenheit und
Gegenwart. Die
>>Metamorphosen<< sind
ein Stuck Bekenntnismusik
- Bekenntnis zum Leben
und Schaffen Gesualdos,
eines Mannes, der vom
Schicksal gezeichnet war,
denn der Chronik Neapels
bekannt war durch die
Ermordung seiner ersten
Frau und ihres
Liebhabers. Dieser
eminente Musiker war
zugleich ein Mensch von
ubertriebener
Sensibilitat und wilder
ekstatischer Heftigkeit:
,,Er wurde von einer
Horde von Damonen
heimgesucht, die ihm
keine Ruhe gaben, heisst
es in einem
zeitgenossischen Bericht.
Seine Kunst und sein
Leben stand unter dem
Gesetz der inneren
Zerrissenheit, zwischen
Auflehnung und
Resignation (Verzweiflung
und Hoffnung), zwischen
Zartheit und
Leidenschaft. Davon will
meine Musik etwas
aussagen. (Jurg
Baur)CD:Sinfonieorchester
des Westdeutschen
Rundfunks, cond. Rudolf
BarschaiCD Thorofon CTH
2270Bibliography:Abels,
Robert: Studien zur
Gesualdo-Rezeption durch
Komponisten des 20.
Jahrhunderts (= Studien
zur Musik 20), Leiden u.
a.: Wilhelm Fink 2017,
pp. 277-345,
485-489.Wallerang, Lars:
Die Orchesterwerke Jurg
Baurs als Dialog zwischen
Tradition und Moderne,
Koln: Dohr 2003. $71.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | | |
| The Soldier's Wife
Orchestre d'harmonie [Conducteur] - Facile
De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115250-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2 SKU:
BT.DHP-1115250-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 28
pages. De Haske
Publications #DHP
1115250-140. Published by
De Haske Publications
(BT.DHP-1115250-140).
9x12 inches.
English-German-French-Dut
ch. The
Soldier’s Wife
is a short and simple
piece commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
and optional parts. The
warm tones of a melodic
passage open this short
work: the wife of the
wooden soldier sings a
kind of lullaby. This
lyrical section is
followed by a more
powerful part which is,
however, based on the
same melodic material.
The rhythm, syncopated at
times, infuses
thissection with a
particular energy. The
harmony, too, has some
surprising
turns—and we must
never lose sight of the
restrictions imposed by
the limited level of
difficulty of the piece.
Although the work begins
softly and sweetly, much
more ‘feminine
energy’ is
projected by the close.
The
Soldier’s Wife
is een kort en eenvoudig
werkje dat is geschreven
in opdracht van het
Singaporese ministerie
van Onderwijs. Het was
aanvankelijk bedoeld als
verplicht werk voor het
Singapore Youth Festival
2012. Omdat
veelschoolorkesten in
Singapore een onvolledige
bezetting hebben, kreeg
de componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Een warme,
melodische passage opent
dit korte werkje: de
vrouw van het - houten -
soldaatje zingt als het
ware een wiegeliedje.
Nadat dit lyrische deel
is afgerond, volgt een
energieker gedeeltedat
qua melodisch materiaal
op dezelfde bouwstenen is
gebaseerd. De hier en
daar gesyncopeerde
ritmiek verleent dit deel
een bijzondere energie,
en ook harmonisch zijn er
een paar verrassende
wendingen - waarbij
rekening is gehoudenmet
de beperkingen die
verbonden zijn aan werken
voor dit muzikale niveau.
Begon het werkje zacht en
liefelijk, aan het slot
is er heel wat meer
‘girl power’
voelbaar!
The
Soldier’s Wife
ist ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das Werk
so zu gestalten, dass es
auch mit einem begrenzten
Ensemble gespielt werden
könne: Dies erklärt
einige Verdopplungen und
optionale Instrumente.
Eine warm klingende,
melodische Passage
eröffnet dieses kurze
Werk: Die Frau des -
hölzernen- Soldaten
singt eine Art
Wiegenlied. Nach diesem
lyrischen Abschnitt folgt
ein kraftvollerer Teil,
der aber aufdemselben
melodischen Material
aufbaut. Der hier und da
synkopierte Rhythmus
verleiht diesem Teil eine
besondere Energie und
auch harmonisch gibt es
einige überraschende
Wendungen - wobei immer
an die auferlegten
Beschränkungen durch
den Schwierigkeitsgrad
gedacht werden muss. Ist
das Werk zu Beginn noch
leise und lieblich, ist
zum Schluss doch schon
wesentlich mehr weibliche
Energie“
spürbar...!
The
Soldier’s Wife
(L’épouse du
soldat) est une pièce
courte et simple
commandée par le
Ministère singapourien
de l'Education. Cette
œuvre a été
initialement écrite
comme pièce imposée
pour le Festival de la
Jeunesse se déroulant
Singapour en 2012. Comme
de nombreuses formations
scolaires présentent
quelques lacunes au
niveau de certains
pupitres, Jan van der
Roost a été
sollicité afin de
composer une œuvre
qui pourrait également
être jouée par une
formation incomplète -
ce qui explique le
doublement de certaines
parties et les voix
optionnelles.Cette
œuvre concise
débute par une
chaleureuse et expressive
mélodie : la femme du
soldat chante une sorte
deberceuse. Ce passage
lyrique est suivi
d’une partie plus
puissante qui est,
cependant, basée sur
le même matériel
thématique. Le rythme,
parfois syncopé,
insuffle cette partie de
l’œuvre une
énergie toute
particulière. La trame
harmonique, elle aussi,
subit quelques
surprenantes contorsions
sans jamais dépasser
les limites imposées
par le degré de
difficulté de la
pièce. Cette
composition commence
doucement et gentiment,
et se termine par un
motif empreint
d’un dynamisme
singulièrement
féminin.
“Guarda,
è la moglie del
soldato di legnoâ€!
All’inizio, canta
una dolce ninnananna, che
precede una sezione
più potente dai ritmi
sincopati e con
sorprendenti cambiamenti
di armonie. The
Soldier’s Wife
inizia in modo calmo e
dolce per poi trovare
un’energia
tipicamente femminile
verso il finale. The
Soldier’s Wife
è un brano breve e
semplice, perfetto anche
per formazioni a organico
ridotto grazie alle parti
raddoppiate e
opzionali. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa Sancti Hieronymi
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Conducteur et Parties séparées]
Carus Verlag
SATB vocal soli, SATB choir, 4 (2) oboe, 2 bassoons, 3 trombones, basso continuo...(+)
SATB vocal soli, SATB
choir, 4 (2) oboe, 2
bassoons, 3 trombones,
basso continuo SKU:
CA.5425409 Composed
by Michael Haydn. Edited
by Armin Kircher.
Arranged by Paul Horn.
This edition: urtext. 2x
54.254/21 oboe 1, 2x
54.254/22 oboe 2, 2x
54.254/23 bassoon, 1x
54.254/31 trombone 1, 1x
54.254/32 trombone 2, 1x
54.254/33 trombone 3.
Stuttgart Urtext Edition:
Johann Michael Haydn.
Missa Sti Hieronymi Mh
254. Sacred vocal music,
Masses, Latin. Set of
Orchestra Parts. Composed
1777. MH 254. 140 pages.
Duration 40 minutes.
Carus Verlag #CV
54.254/09. Published by
Carus Verlag
(CA.5425409). ISBN
9790007226053. Language:
Latin. Just by
reason of its scoring the
Missa Sancti Hieronymi
occupies a special place
not only among the
settings of the Mass by
Haydn, but also in the
repertoire of church
music at the Royal Court
of Salzburg. Other than
the Hieronymus Mass and
the Proprium motet Timete
Dominum MH 256, which is
connected with it, there
are no additional
surviving works in the
Salzburg repertoire with
this type of
instrumentation. The
unusual instrumentation,
the contrapuntal style in
the fugal sections, as
well as the melodic
invention and harmonic
elaboration show that
this Mass is a
masterpiece. Score and
parts available
separately - see item
CA.5425400. $97.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
|
