Composed by Jacob De
Haan. Musica Sacra. Hymns
& Chorals. Set (Score &
Parts). Composed 2003. De
Haske Publications #DHP
1033337-015. Published by
De Haske Publications
(BT.DHP-1033337-015).
In een
uitvoering voor brassband
en koor is het in de
meeste gevallen aan te
bevelen de optie voor
scherp koper weg te
laten. Het koor zingt
zelfstandig, begeleid
door een volledige
brassband. In een
instrumentale uitvoering
kunt u denken aan
eencombinatiekwartet
(twee cornetten en twee
trombones) +
brassband.Koorpartijen
apart
verkrijgbaar.
5.
Doppelrohrblattinstrument
e (wahlweise + Flöte,
wahlweise +
Kontrabass)
6.
Tutti
7. Alle
Holzbläser
8.
Alle Blechbläser
In einer Aufführung
mit Brass Band und Chor
ist es gewöhnlich
ratsam, nicht die erste
Option (Chor + Blech +
Blasorchester) zu
wählen. Der Chor singt
unabhängig, begleitet
von einer
vollständigen Brass
Band. In einer
Instrumentalaufführung
könnenSie sich für
ein kombiniertes Quartett
(zwei Kornette und zwei
Posaunen) + Brass Band
entscheiden. Chorstimmen
separat
erhältlich.
Concert Band - Grade 5 SKU: ML.013780090 Composed by Valdemar Gomes. Full...(+)
Concert Band - Grade 5
SKU: ML.013780090
Composed by Valdemar
Gomes. Full set. Molenaar
Edition #013780090.
Published by Molenaar
Edition (ML.013780090).
The Spanish war
galleon with 64 cannons,
built in Cuba between
1770 and 1771 for an
English shipowner in the
service of the King of
Spain left Peru for Cadiz
in 1784 with a huge cargo
of copper, gold, silver
and other valuables on
board. There were also
more than 400 people on
board, including
passengers, crew and Inca
prisoners after a revolt.
The Atlantic crossing
went smoothly, passing
Portugal to take
advantage of favourable
winds. The shipwreck off
Peniche was the result of
human error, apparently
due to French maps with
dramatic errors in the
position of the islands
of Berlengas and
neighbouring islets. On 2
February 1786, the sea
was calm and the night
clear, but they hit the
rock formation Papoa and
the hull immediately
broke in two. The bottom
sank quickly, while the
deck remained afloat for
some time. 128 people
lost their lives,
including many Indians
who were trapped in the
basement. This shipwreck
is considered one of the
most important in
maritime
history.
What the
composer wants to convey,
and what can be felt as
one listens, is first of
all the sound of power,
of hope, of the glory of
conquest, of the
splendour of wealth. This
is followed by the
perception of the
maritime environment, the
harmony with the softness
of the ocean, the gliding
of the hull in the foam
of the sea on sunny, blue
days. But along with this
tranquillity, you soon
hear a rhythmic chain
that makes you feel a
representation of the
hustle and bustle, of the
busy crew, of the hard
work of a sailor, of the
desperation of an exotic
people imprisoned in a
dark, damp cellar. A
distinct rhythm that
reminds us of the salero
of Andalusia, with its
Arab influences and its
people, the soothing of
the resignation of others
who are forced to submit.
Then we clearly hear a
crescendo that makes us
imagine the agony of the
collision that precedes
the shipwreck. The
breaking of the hull, the
water flooding
everything, the despair,
the clash of bodies on
the rocks, the tragedy to
come. Before the grand
finale, in which the
return of musical
softness reminds us that
the story is over. The
supremacy of nature over
human greed. The waves,
though gentle, sweep the
wreckage, the lives and
the treasures of the New
World to the bottom of
the sea.
Het
Spaans oorlogsgaljoen met
64 kanonnen, gebouwd in
Cuba tussen 1770 en 1771
voor een Engelse reder in
dienst van de koning van
Spanje vertrok in 1784
vanuit Peru naar Cádiz
met een enorme lading
koper, goud, zilver en
andere kostbaarheden aan
boord. Er waren ook meer
dan 400 mensen aan boord,
waaronder passagiers,
bemanning en Inca
gevangenen na een
opstand. De oversteek van
de Atlantische Oceaan
verliep vlot, waarbij
Portugal werd gepasseerd
om te profiteren van
gunstige winden. De
schipbreuk bij Peniche
was het resultaat van een
menselijke fout,
blijkbaar te wijten aan
Franse kaarten met
dramatische fouten in de
positie van de eilanden
Berlengas en naburige
eilandjes. Op 2 februari
1786 was de zee kalm en
de nacht helder, maar ze
raakten de rotsformatie
Papoa en de romp brak
onmiddellijk in tweeën.
De bodem zonk snel,
terwijl het dek nog enige
tijd bleef drijven. 128
mensen verloren het
leven, waaronder veel
indianen die vastzaten in
de kelder. Dit
scheepswrak wordt
beschouwd als een van de
belangrijkste in de
maritieme
geschiedenis.
Wat
de componist wil
overbrengen, en wat men
kan voelen als men
luistert, is allereerst
het geluid van macht, van
hoop, van de glorie van
verovering, van de pracht
van rijkdom. Dit wordt
gevolgd door de perceptie
van de maritieme
omgeving, de harmonie met
de zachtheid van de
oceaan, het glijden van
de romp in het schuim van
de zee op zonnige, blauwe
dagen. Maar samen met
deze rust hoor je al snel
een ritmische ketting die
je een voorstelling geeft
van de drukte, van de
drukke bemanning, van het
harde werk van een
zeeman, van de wanhoop
van een exotisch volk dat
gevangen zit in een
donkere, vochtige kelder.
Een duidelijk ritme dat
ons doet denken aan de
salero van Andalusië,
met zijn Arabische
invloeden en zijn mensen,
het sussen van de
berusting van anderen die
gedwongen worden zich te
onderwerpen. Dan horen we
duidelijk een crescendo
dat ons de lijdensweg
doet voorstellen van de
aanvaring die voorafgaat
aan de schipbreuk. Het
breken van de romp, het
water dat alles
overspoelt, de wanhoop,
het botsen van lichamen
op de rotsen, de tragedie
die komen gaat. Vóór de
grote finale, waarin de
terugkeer van de muzikale
zachtheid ons eraan
herinnert dat het verhaal
voorbij is. De overmacht
van de natuur over de
hebzucht van de mens. De
golven, hoewel zacht,
vegen het wrak, de levens
en de schatten van de
Nieuwe Wereld naar de
bodem van de
zee.
Le galion de
guerre espagnol de 64
canons, construit à Cuba
entre 1770 et 1771 pour
un armateur anglais au
service du roi d'Espagne,
a quitté le Pérou pour
Cadix en 1784 avec à son
bord une énorme
cargaison de cuivre,
d'or, d'argent et
d'autres objets de
valeur. Il y avait
également plus de 400
personnes à bord, dont
des passagers, des
membres d'équipage et
des prisonniers incas à
la suite d'une révolte.
La traversée de
l'Atlantique s'est
déroulée sans encombre,
en passant par le
Portugal pour profiter
des vents favorables. Le
naufrage au large de
Peniche est le résultat
d'une erreur humaine,
apparemment due à des
cartes françaises
comportant des erreurs
dramatiques dans la
position des îles de
Berlengas et des îlots
voisins. Le 2 février
1786, alors que la mer
est calme et la nuit
claire, le navire heurte
la formation rocheuse de
Papoa et la coque se
brise immédiatement en
deux. Le fond coule
rapidement, tandis que le
pont reste à flot
pendant un certain temps.
128 personnes ont perdu
la vie, dont de nombreux
Indiens qui étaient
coincés dans les
sous-sols. Ce naufrage
est considéré comme
l'un des plus importants
de l'histoire
maritime.
Ce que
le compositeur veut
transmettre, et ce que
l'on ressent à
l'écoute, c'est d'abord
le son de la puissance,
de l'espoir, de la gloire
de la conquête, de la
splendeur de la richesse.
C'est ensuite la
perception de
l'environnement maritime,
l'harmonie avec la
douceur de l'océan, le
glissement de la coque
dans l'écume de la mer
par des journées bleues
et ensoleillées. Mais à
côté de cette
tranquillité, on entend
bientôt une chaîne
rythmique qui nous fait
ressentir une
représentation de
l'agitation, de
l'équipage affairé, du
dur labeur d'un marin, du
désespoir d'un peuple
exotique emprisonné dans
une cave sombre et
humide. Un rythme
distinct qui nous
rappelle le salero
d'Andalousie, avec ses
influences arabes et son
peuple, l'apaisement de
la résignation des
autres qui sont obligés
de se soumettre. Puis on
entend clairement un
crescendo qui nous fait
imaginer l'agonie de la
collision qui précède
le naufrage. La rupture
de la coque, l'eau qui
envahit tout, le
désespoir, le choc des
corps sur les rochers, la
tragédie à venir. Avant
le grand final, où le
retour de la douceur
musicale nous rappelle
que l'histoire est
terminée. La suprématie
de la nature sur la
cupidité humaine. Les
vagues, bien que douces,
emportent les épaves,
les vies et les trésors
du Nouveau Monde au fond
de la mer.
Die
spanische Kriegsgaleone
mit 64 Kanonen, die
zwischen 1770 und 1771
auf Kuba für einen
englischen Reeder im
Dienste des spanischen
Königs gebaut wurde,
verließ Peru 1784 in
Richtung Cádiz mit einer
riesigen Ladung Kupfer,
Gold, Silber und anderen
Wertgegenständen an
Bord. An Bord befanden
sich auch mehr als 400
Menschen, darunter
Passagiere,
Besatzungsmitglieder und
Inka-Gefangene nach einem
Aufstand. Die
Atlantiküberquerung
verlief reibungslos,
wobei Portugal passiert
wurde, um die günstigen
Winde zu nutzen. Der
Schiffbruch vor Peniche
war das Ergebnis
menschlichen Versagens,
das offenbar auf
französische Karten
zurückzuführen war, die
in Bezug auf die Position
der Inseln Berlengas und
der benachbarten Eilande
dramatische Fehler
enthielten. Am 2. Februar
1786 stießen sie bei
ruhiger See und klarer
Nacht auf die
Felsformation Papoa und
der Rumpf brach sofort
entzwei. Der Boden sank
schnell, während das
Deck noch einige Zeit
über Wasser blieb. 128
Menschen kamen ums Leben,
darunter viele Indianer,
die im Keller
eingeschlossen waren.
Dieses Schiffswrack gilt
als eines der
bedeutendsten
Was
der Komponist vermitteln
will und was man beim
Zuhören spürt, ist
zunächst der Klang der
Macht, der Hoffnung, des
Ruhms der Eroberung, des
Glanzes des Reichtums. Es
folgt die Wahrnehmung der
maritimen Umgebung, die
Harmonie mit der
Sanftheit des Meeres, das
Gleiten des
Schiffsrumpfes im Schaum
des Meeres an sonnigen,
blauen Tagen. Doch neben
dieser Ruhe hört man
bald eine rhythmische
Kette, die die Hektik,
die geschäftige
Mannschaft, die harte
Arbeit eines Seemanns,
die Verzweiflung eines
exotischen Volkes, das in
einem dunklen, feuchten
Keller gefangen ist,
wiedergibt. Ein
ausgeprägter Rhythmus,
der an den Salero
Andalusiens erinnert, mit
seinen arabischen
Einflüssen und seinen
Menschen, der die
Resignation der anderen
besänftigt, die
gezwungen sind, sich zu
fügen. Dann hören wir
deutlich ein Crescendo,
das uns die Qualen des
Zusammenstoßes, der dem
Schiffbruch vorausgeht,
erahnen lässt. Das
Zerbrechen des Rumpfes,
das Wasser, das alles
überflutet, die
Verzweiflung, das
Aufeinanderprallen der
Körper auf den Felsen,
die bevorstehende
Tragödie. Vor dem
großen Finale, in dem
die Rückkehr der
musikalischen Sanftheit
uns daran erinnert, dass
die Geschichte zu Ende
ist. Die Vorherrschaft
der Natur über die
menschliche Gier. Die
Wellen, so sanft sie auch
sein mögen, spülen die
Trümmer, das Leben und
die Schätze der Neuen
Welt auf den Grund des
Meeres.
Missa Brevis Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie/Fanfare Band/Brass Band and opt. Choir - Grade 2 SKU: B...(+)
Concert
Band/Harmonie/Fanfare
Band/Brass Band and opt.
Choir - Grade 2
SKU:
BT.DHP-1033337-170
Composed by Jacob De
Haan. Musica Sacra. Hymns
and Chorals. Score Only.
Composed 2003. 28 pages.
De Haske Publications
#DHP 1033337-170.
Published by De Haske
Publications
(BT.DHP-1033337-170).
A4 (210X297)
inches.
Missa
Brevis is a major
work for choir and brass
band for performance in
church or in the concert
hall. For this mass,
there are many
performance possibilities
depending on the
musicians available. In
addition to the standard
orchestration ofchoir and
band a brass quartet can
also play the choral
parts. For this it is
desirable for the brass
quartet to be positioned
separately from the rest
of the band (on a
gallery, for example), so
that the idea of two
choirs is heard. It is
alsopossible to perform
the work with brass band
and organ. A truly
flexible religious
masterpiece. Choral parts
available
separately.
In een
uitvoering voor brassband
en koor is het in de
meeste gevallen aan te
bevelen de optie voor
scherp koper weg te
laten. Het koor zingt
zelfstandig, begeleid
door een volledige
brassband. In een
instrumentale uitvoering
kunt u denken aan
eencombinatiekwartet
(twee cornetten en twee
trombones)
brassband.Koorpartijen
apart
verkrijgbaar.
M
issa Brevis, eine
Messe für Brass
Band und Chor ad libitum,
kann in diversen
variablen
Spielstärken
aufgeführt werden.
Zahlreiche
mögliche
Instrumentenkombinationen
diverse mögliche
Kombinationen mit
großen oder
kleineren Chören,
lassen eineVielzahl von
verschiedenen
Aufführungen
dieser Messe zu. So kann
z. B. ein
Blechbläserquartet
t, von der Kirchenempore
herab spielend, die
Chorpartien
übernehmen.
Darüber hinaus
ergeben sich durch die
Orgelbegleitung weitere
Aufführungsvariant
en. EineAufstellung der
Wahlmöglichkeiten
wird vom Komponisten
mitgeliefert. Die
wunderschöne Musik
aus der Feder von Jacob
de Haan garantiert in
jedem Fall einen
gelungenen
Auftritt!Chorstimmen
separat
erhältlich.
Bass Flute, Electronics, Scene SKU: CA.1631000 (georgiques I), fur bas...(+)
Bass Flute, Electronics,
Scene
SKU:
CA.1631000
(georgiques I), fur
bass flute and live
electronics. Composed
by Walter Feldmann. This
edition: Paperbound.
(r)TELLEMENT FROID QUE-
(GEORGIQUES I). Full
score. Composed 1995-96.
66 pages. Duration 20
minutes. Carus Verlag #CV
16.310/00. Published by
Carus Verlag
(CA.1631000).
ISBN
9790007242800. Language:
all
languages.
1989.
Stay in Aix-en-Provence,
France, doing a language
course. Reading,
discussing and analyzing
Les Georgiques; this
pursuit is going to be
the foundation of the
multiple intellectual and
literary levels of my
composing. 2. THE WOODEN
PLATFORM IS COVERED WITH
FINE WHITE SAND (OR
SALT), THE TWO SHELVES
WITH BLACK CLOTH ... At
the time I work on my
first serious piece,
still a far cry from the
under-standing of writing
music I have today. <<
tellement froid que >>
(georgiques I) for bass
flute, electronics and
scene (1995-96), sections
1-7. << comme si le froid
>> (georgiques II) for
baritone saxophone,
timpani and piano (1998),
sections 18-24. <<
n'etait le froid >>
(georgiques III) for
orchestra (2000-2002),
sections not yet decided.
3. THE INTERPRETER WILL
BE DRESSED IN BLACK AND
WHITE, MAINLY WHITE IF
BLUISH LIGHT IS AT HAND
... The enormously rich
vocabulary and the
accuracy of expression -
in temporal, spatial and
material terms - is
particularly impressive.
To comprehend all of it,
a reading on three
different levels is
called for: a first
reading of one passage,
then the acquisition of
unknown vocabulary;
thirdly a repeated -
knowing - reading, which
points out the utopia of
precise expression: The
text is treated in a
rather problematic (cold:
le froid?) manner: it's
not the semantic content
that is primarily
dominant, but rather the
outward appearance, the
mise en page and the
syntactic structure. 4.
THE INTERPRETER ENTERS
THE STAGE WITH ALL THE
FLUTES (S)HE WILL PLAY
DURING THE CONCERT AND
DEPOSITS THEM - EXCEPT
FOR THE BASS FLUTE - ON
SHELF B; IF (S)HE ONLY
PLAYS THIS PIECE, (S)HE
SHOULD PUT THE PROGRAMME
OF THE CONCERT THERE; IN
ANY CASE THE INSTRUCTIONS
IN BAR 195 MUST BE
FOLLOWED ... In concrete
terms the 10 centimetres
of a line in the minuit
edition correspond to 10
seconds of musical
structure (which is three
times as slow as the
average reading speed).
Only seven years later is
the term / expression
casse ferique changed
into casse ferrique, and
thus its secret is
revealed, which almost
becomes - due to its
unreadability - the key
to the planned musical
cycle. The text is
measured from section to
section (big format: each
section is marked with a
continuous, ,,cold chord
by the bass flute, played
on tape recorder), from
full stop to full stop
(new entry of keynote
material), from comma to
comma (tripling of
continuous resonances)
etc. 5. DURING THE
PERFORMANCE UP TO BAR
195, THE INTERPRETER WILL
TRY - IN A KIND OF
THEATRICAL ADAPTATION -
TO EXPRESS HIS/HER OWN
FEELING OF IRREPRESSIBLY
GROWING FRUSTRATION; FROM
BAR 195 ONWARDS (S)HE
WILL DEFINITELY HAVE PUT
UP WITH THE BASS FLUTE
... Brackets in the text
bring about a reduction
of sound (the
differentiating micro
tones are no longer
used), the syntactical
progression to
subordinate clauses of
the remotest degree has
its immediate effect on
dynamics (degree of
volume). Then: the
perception of a logical
and yet erratic syntax,
vastly progressive layers
of subordinate clauses
and brackets (lowering
tone of voice?), a
polyphony of ,,memoire,
which leads to a
maelstrom of attention, a
tonally centric /
concentrated (main
material?) and
progressive (subordinate
and brackets-material?)
reading, listening and
proceeding. The different
levels are constantly in
touch - transferring the
sensuous moment of scenes
of bodily encounter
(Tryptique) that are
evoked again and again -
in perpetual excitement
of text and imagination,
memory and remembering
sensitivity. 6. THE BODY
MOVEMENTS AND FIXATION
(FIGE) , BOTH CLEARLY
PERCEPTIBLE, WILL EVOKE
AND SUPPORT THE SAME
EMOTIONS ... The basic
moods of the text will be
reflected in the
relationship (which is
very important here) of
the interpreter to the
music; (s)he is somehow
at the mercy of given
(and not always
transparent) structures
on the one hand and the
complexity of musical
sensations on the other,
which has to be defeated
inspite of exhaustion.
It's not only here that
semantic agreement
(besides the
materialistic structure)
of music and text can be
felt: On top of that
there's the existential
helplessness in view of
the mercilessly flowing
polyphony of levels and
events -- as a mirror of
this there are the
remembered scenes of the
Flemish cold in the
second chapter (Les
Georgiques). The
interpreters are
confronted with unusual
directions which
correspond to the
adjectives in the
respective passages of
the text: anachronique,
engourdi, glace et acre,
monotone et desert etc.
The possibilities of
interpretation are
amplified, the ability to
perceive and personal
reaction is opened. The
impression of this
inexorability is
multiplied in the
extremest way by the fact
that the particular
layers can be found in
Simon's complete works.
It's a continuous work of
art in which each novel
turns into a chapter of a
complex, cyclic whole;
its title denoting only
one main strand, as it
were. A personal comment
is made also as regards
the clearly defined
stage; the mise en scene
points out the
extra-musical elements
and the correlation
between text, human being
and music. 7. THE
INTERPRETER IS ASKED TO
MOVE FREELY WITHIN A
DEFINED SPOT WITHOUT
LOOKING ARTIFICIAL;
SOUNDS CAUSED BY THE FEET
MOVING ON THE SAND ARE
WELCOME DURING THE WHOLE
PIECE ... And here the
idea of a cycle is born,
an attempt to transfer
these nuances of
memorized structures,
this clarity and
coldness, to transform
the text into musical
material. Walter
Feldmann.
Whispering Wind Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band - Grade 4 SKU: BT.DHP-1053880-040 Composed by Maxime Aulio. ...(+)
Concert Band - Grade 4
SKU:
BT.DHP-1053880-040
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053880-040.
Published by De Haske
Publications
(BT.DHP-1053880-040).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Whispering Wind Orchestre d'harmonie [Conducteur] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053880-140 Composed by Maxim...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053880-140
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Score
Only. Composed 2005. 28
pages. De Haske
Publications #DHP
1053880-140. Published by
De Haske Publications
(BT.DHP-1053880-140).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Whispering Wind Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire De Haske Publications
Concert Band/Harmonie - Grade 4 SKU: BT.DHP-1053880-010 Composed by Maxim...(+)
Concert Band/Harmonie -
Grade 4
SKU:
BT.DHP-1053880-010
Composed by Maxime Aulio.
Inspiration Series.
Concert Piece. Set (Score
& Parts). Composed 2005.
De Haske Publications
#DHP 1053880-010.
Published by De Haske
Publications
(BT.DHP-1053880-010).
9x12 inches.
English-German-French-Dut
ch.
“Donâ€
™t listen to
anyone’s advice,
but listen to the lessons
of the wind passing and
telling the history of
the world.†Claude
Debussy Since the dawn of
time, the wind has played
an important role in all
civilisations. Worshipped
as a deity,
“mastermindâ€
of poetry, driving force,
or heaven’s
messenger, the wind took
on the most varied shapes
according to the era and
people. In Claude
Debussy’s time,
music listened to the
voice of nature, and
imagination found its
primary rights again.
This importance of wind
was the inspiration for
Maxime Aulio’s
work Whispering Wind with
its suspended
atmospheres, vaporous
lines and luminous
colours. The wind
caresses the canvas. A
fascinatingnew work for
concert band.
“Luister
niet naar adviezen van
wie dan ook, maar naar de
lessen van de wind die
voorbij waait en de
geschiedenis van de
wereld vertelt.â€
(Claude Debussy) Sinds
het begin der tijden
heeft de wind in alle
beschavingen een
belangrijkerol gespeeld.
In de tijd van Claude
Debussy gaf muziek het
geluid van de natuur weer
en stond
verbeeldingskracht in
hoog aanzien. Het is deze
Franse sensibiliteit die
Maxime Aulio’s
werk Whispering
Wind kenmerkt, met
vluchtigelijnen en
heldere kleuren. De wind
raakt het doek,
suggereert en roept
slechts op, maar met een
indrukwekkende precisie.
Een mooie en bijzondere
compositie!
Seit
Menschengedenken hat der
Wind immer eine wichtige
Rolle in allen
Zivilisationen gespielt.
Vor allem auch zu
Lebzeiten von Claude
Debussy hörte die
Musik auf die Stimme der
Natur. Jedes Instrument
schien Symbol eines
Bildes oder einer
Vorstellung zu sein.
Genau diese typisch
französische
Empfindsamkeit zeichnet
auch deutlich Maxime
Aulios Whispering Wind
mit seinen
spannungsreichen
Stimmungen, nebelhaften
Linien und leuchtenden
Farben aus. Ein sehr
ausdruckvolles
Werk!
“Non
ascoltate i suggerimenti
degli altri, ma ascoltate
le lezioni del vento che
passa raccontando la
storia del mondo.â€
Claude Debussy Le strade
del vento sono quelle che
non sono tracciate in
precedenza, ci raccontato
mille storie di altri
luoghi. I mormorii del
vento sono i sentieri
diafani
dell’anima, i
colori
dell’effimero, la
poesia dei suoni. Con
Claude Debussy, la musica
ascoltava le voci della
natura. Ritroviamo questa
sensibilit tutta francese
che Debussy contribuì
a formare in Whispering
Wind (Il mormorio del
vento), brano del giovane
compositore francese
Maxime Aulio. Tratti
vaporosi, colori
luminosi, il vento che
accarezza, suggerisce,
evoca con
sorprendenteprecisione.
Il vento è una parola
nomade che viaggia a
lungo nel nostro
interiore.
Yesterday Quatuor à cordes: 2 violons, alto, violoncelle - Intermédiaire De Haske Publications
String Quartet - intermediate SKU: BT.DHP-1175851-070 As performed by ...(+)
String Quartet -
intermediate
SKU:
BT.DHP-1175851-070
As performed by The
Beatles. Composed by
John Lennon and Paul
McCartney. Arranged by
Nico Dezaire. De Haske
Pops for String Quartet.
Set (Score and Parts).
Composed 2017. De Haske
Publications #DHP
1175851-070. Published by
De Haske Publications
(BT.DHP-1175851-070).
ISBN 9789043153829.
English-German-French-Dut
ch.
Almost no other
song in the history of
pop has been covered in
as many versions as the
Beatles classic
Yesterday from
1965. The original
contains a string quartet
accompaniment that
provides the perfect
backing for Paul
McCartneyâ??s vocal and
guitar parts. Nico
Dezaire's arrangement
recreates the
unmistakable sound of the
original whilst giving
the impression that the
entire song ideal was
always meant to be played
by string instruments.
Bijna geen andere
song in de geschiedenis
van de pop is in zo veel
verschillende versies
gecoverd als
Yesterday, de
Beatles-klassieker uit
1965. Het origineel heeft
een
strijkkwartetbegeleiding
die de perfecte backing
vormt voor de zang en het
gitaarspel van Paul
McCartney. Vanuit dat
gegeven is het maar een
kleine stap naar een
arrangement van de song
voor alleen
strijkkwartet. Deze
bewerking van Nico
Dezaire roept de
oorspronkelijke sound op
en geeft tegelijkertijd
het idee dat niet alleen
de begeleiding maar ook
de melodie altijd al
bedoeld was geweest om
door strijkinstrumenten
te worden
gespeeld.
Wohl
kaum ein anderer Song der
Popgeschichte wurde in so
vielen verschiedenen
Versionen bearbeitet wie
der Beatles-Klassiker
Yesterday aus dem
Jahr 1965. Im Original
bildet eine
Streichquartett-Begleitun
g die perfekte klangliche
Grundlage für Paul
McCartneys Sologesang und
sein Gitarrenspiel. Was
also liegt näher, als
den Evergreen gleich in
Streichquartett-Besetzung
aufzuführen? Nico
Dezaires Bearbeitung
lässt den Sound der
Originalversion
unverkennbar durchklingen
und vermittelt doch den
Eindruck, als sei nicht
nur die Begleitung,
sondern auch die Melodie
selbst schon immer von
Streichinstrumenten
gespielt worden ...
Essential Classics Orchestre d'harmonie [Conducteur] - Débutant De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094806-401 Small ...(+)
Concert Band/Harmonie -
very easy, easy
SKU:
BT.DHP-1094806-401
Small Masterpieces for
Great Performances.
Arranged by Jan de Haan.
Essential Elements. Score
Only. Composed 2009. 80
pages. De Haske
Publications #DHP
1094806-401. Published by
De Haske Publications
(BT.DHP-1094806-401).
ISBN 9789043132657.
9x12 inches.
English.
ESSENTIAL
CLASSICS is a collection
of pieces ideally suited
to introduce beginning
bands, whether in or
outside of school, to the
classical repertoire. The
easy arrangements make
the most popular melodies
of all time accessible to
young musicians, without
the frustration of
playing music that is too
difficult for them. Now
they can enjoy music from
instrumental works and
operas to oratorios and
lieder, from Tylman
Susato to George
Gershwin. The pieces are
arranged in ascending
order of difficulty,
coinciding with the
progress students are
making in Volumes 1 and 2
of ESSENTIAL ELEMENTS the
complete method for music
education in schools and
bands. But even without
ESSENTIALELEMENTS,
ESSENTIAL CLASSICS is an
excellent source of
repertoire by itself. In
addition to the music the
individual parts contain
short snippets of
information about the
music, composer and
genre, written in a style
younger players will
understand. The full
score contains more
in-depth information on
the music. No matter how
you use ESSENTIAL
CLASSICS with your band,
your players will love
all the fun and engaging
arrangements it as to
offer.
Die
deutschsprachige Ausgabe
dieser Reihe ist unter
dem Titel Bläserklasse
Klassik
erhältlich.
ESSENTIAL
CLASSICS è il
materiale ideale per far
familiarizzare le bande
principianti o junior con
il repertorio della
musica classica. Gli
arrangiamenti, ideati in
ordine progressivo di
difficolt , sono ideali
per sviluppare le prime
conoscenze gi acquisite e
rinforzare la capacit di
applicazione in un
contesto strutturato in
maniera pedagogica e
motivante. Da Susato a
Gershwin,
dall’oratorio al
lied, passando per
l’opera e altri
generi musicali,
ESSENTIAL CLASSICS
propone
un’immersione
nell’universo
classico. La versione
integrale di ogni
arrangiamento è
disponibile sul CD di
accompagnamento venduto
separatamente.
Composed by Jacob De
Haan. Musica Sacra. Score
Only. Composed 2007. 120
pages. De Haske
Publications #DHP
1074421-140. Published by
De Haske Publications
(BT.DHP-1074421-140).
9x12 inches.
English-German-French-Dut
ch.
Missa Katharina
is a mass - comprising of
the standard
movementsKyrie, Gloria,
Credo, Sanctus,
Benedictus and Agnus Dei.
In additionto this the
composer has added
additional instrumental
movements- Prelude,
Offertory, Postludium and
the massmovements
Alleluiaand Amen. Missa
Katharina was primarily
written for choir,
sopranosolo and concert
band but can also be
performed with a
choir,accompanied by an
organ or piano only. If
there is no good
solosoprano voice
available, the sopranos
canalso sing the
sopranopart tutti,
standing before the
choir. A truly flexible
work that willbe equally
at home performed in the
church or in the concert
hall.Choral parts
available
separately.
<Mi
ssa Katharina is een
mis die bestaat uit de
gebruikelijke delen
Kyrie, Gloria, Credo,
Sanctus, Benedictus
en Agnus dei. Er
zijn instrumentale delen
toegevoegd: een
Preludium,
Offertorium en
Postludium,evenals
eenAlleluia en een
Amen. Het
Preludium is
bedoeld voor de aanvang
van de mis, het
Offertorium komt
tussen de preek en de
communieviering en het
Postludium komt
aan het eind vande mis.
Het Alleluia wordt
gezongenna het
Gloria, het
Amen volgt het
Agnus dei.Er zijn
verschillende
uitvoeringsmogelijkheden:
- een integrale versie,-
een versie met alleen de
gebruikelijke delen,-
eenversie zonder koor,
met alleen drie
instrumentale delen,-
eenuitvoering van elk
afzonderlijk
deel.Missa
Katharina is in
eerste instantie
geschreven voor koor,
sopraansolo en
harmonieorkest. De mis
kan ook worden
uitgevoerdmet koor en
orgel of piano. Als er
geen geschikte sopraan te
vinden is, kunnen
desopranen van het koor
de solo voor hun rekening
nemen.Koorpartijen apart
verkrijgbaar.
M
issa Katharina ist
eine Messe aus den
Ordinariumsteilen
Kyrie, Gloria, Credo,
Sanctus, Benedictus
und Agnus Die.
Dazu kommen die
Instrumentalteile
Präludium,
Offertorium und
Postludium sowie
die
MesseteileAlleluja
und Amen. Missa
Katharina ist in
erster Linie geschrieben
für Chor, Sopran-Solo
und symphonisches
Blasorchester.
Verschiedene
Aufführungsmöglichk
eiten (z.B. rein
instrumental oder in
unterschiedlich langen
Versionen)
eröffnenzahlreiche
Verwendungsmöglichkeit
en für dieses
eindrucksvolle Werk, mit
dem der Komponist 2007
einen internationalen
Kompositionswettbewerb
gewann.Chorstimmen
separat
erhältlich.
Composed by Jacob De
Haan. Musica Sacra. Set
(Score & Parts). Composed
2007. De Haske
Publications #DHP
1074421-010. Published by
De Haske Publications
(BT.DHP-1074421-010).
9x12 inches.
English-German-French-Dut
ch.
Missa Katharina
is a mass - comprising of
the standard
movementsKyrie, Gloria,
Credo, Sanctus,
Benedictus and Agnus Dei.
In additionto this the
composer has added
additional instrumental
movements- Prelude,
Offertory, Postludium and
the massmovements
Alleluiaand Amen. Missa
Katharina was primarily
written for choir,
sopranosolo and concert
band but can also be
performed with a
choir,accompanied by an
organ or piano only. If
there is no good
solosoprano voice
available, the sopranos
canalso sing the
sopranopart tutti,
standing before the
choir. A truly flexible
work that willbe equally
at home performed in the
church or in the concert
hall.Choral parts
available
separately.
Mis
sa Katharina is een
mis die bestaat uit de
gebruikelijke delen
Kyrie, Gloria, Credo,
Sanctus, Benedictus
en Agnus dei. Er
zijn instrumentale delen
toegevoegd: een
Preludium,
Offertorium en
Postludium,evenals
eenAlleluia en een
Amen. Het
Preludium is
bedoeld voor de aanvang
van de mis, het
Offertorium komt
tussen de preek en de
communieviering en het
Postludium komt
aan het eind vande mis.
Het Alleluia wordt
gezongenna het
Gloria, het
Amen volgt het
Agnus dei.Er zijn
verschillende
uitvoeringsmogelijkheden:
- een integrale versie,-
een versie met alleen de
gebruikelijke delen,-
eenversie zonder koor,
met alleen drie
instrumentale delen,-
eenuitvoering van elk
afzonderlijk
deel.Missa
Katharina is in
eerste instantie
geschreven voor koor,
sopraansolo en
harmonieorkest. De mis
kan ook worden
uitgevoerdmet koor en
orgel of piano. Als er
geen geschikte sopraan te
vinden is, kunnen
desopranen van het koor
de solo voor hun rekening
nemen.Koorpartijen apart
verkrijgbaar.
M
issa Katharina ist
eine Messe aus den
Ordinariumsteilen
Kyrie, Gloria, Credo,
Sanctus, Benedictus
und Agnus Die.
Dazu kommen die
Instrumentalteile
Präludium,
Offertorium und
Postludium sowie
die
MesseteileAlleluja
und Amen. Missa
Katharina ist in
erster Linie geschrieben
für Chor, Sopran-Solo
und symphonisches
Blasorchester.
Verschiedene
Aufführungsmöglichk
eiten (z.B. rein
instrumental oder in
unterschiedlich langen
Versionen)
eröffnenzahlreiche
Verwendungsmöglichkeit
en für dieses
eindrucksvolle Werk, mit
dem der Komponist 2007
einen internationalen
Kompositionswettbewerb
gewann. Chorstimmen
separat
erhältlich.
Essential Classics Orchestre d'harmonie - Débutant De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094811-401 Small ...(+)
Concert Band/Harmonie -
very easy, easy
SKU:
BT.DHP-1094811-401
Small Masterpieces for
Great Performances.
Arranged by Jan de Haan.
Essential Elements. Book
Only. Composed 2009. 24
pages. De Haske
Publications #DHP
1094811-401. Published by
De Haske Publications
(BT.DHP-1094811-401).
ISBN 9789043132701.
9x12 inches.
English.
ESSENTIAL
CLASSICS is a collection
of pieces ideally suited
to introduce beginning
bands, whether in or
outside of school, to the
classical repertoire. The
easy arrangements make
the most popular melodies
of all time accessible to
young musicians, without
the frustration of
playing music that is too
difficult for them. Now
they can enjoy music from
instrumental works and
operas to oratorios and
lieder, from Tylman
Susato to George
Gershwin. The pieces are
arranged in ascending
order of difficulty,
coinciding with the
progress students are
making in Volumes 1 and 2
of ESSENTIAL ELEMENTS the
complete method for music
education in schools and
bands. But even without
ESSENTIALELEMENTS,
ESSENTIAL CLASSICS is an
excellent source of
repertoire by itself. In
addition to the music the
individual parts contain
short snippets of
information about the
music, composer and
genre, written in a style
younger players will
understand. The full
score contains more
in-depth information on
the music. No matter how
you use ESSENTIAL
CLASSICS with your band,
your players will love
all the fun and engaging
arrangements it as to
offer.
Die
deutschsprachige Ausgabe
dieser Reihe ist unter
dem Titel Bläserklasse
Klassik
erhältlich.
ESSENTIAL
CLASSICS è il
materiale ideale per far
familiarizzare le bande
principianti o junior con
il repertorio della
musica classica. Gli
arrangiamenti, ideati in
ordine progressivo di
difficolt , sono ideali
per sviluppare le prime
conoscenze gi acquisite e
rinforzare la capacit di
applicazione in un
contesto strutturato in
maniera pedagogica e
motivante. Da Susato a
Gershwin,
dall’oratorio al
lied, passando per
l’opera e altri
generi musicali,
ESSENTIAL CLASSICS
propone
un’immersione
nell’universo
classico. La versione
integrale di ogni
arrangiamento è
disponibile sul CD di
accompagnamento venduto
separatamente.separatamen
te.
Essential Classics Orchestre d'harmonie - Débutant De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094814-401 Small ...(+)
Concert Band/Harmonie -
very easy, easy
SKU:
BT.DHP-1094814-401
Small Masterpieces for
Great Performances.
Arranged by Jan de Haan.
Essential Elements. Book
Only. Composed 2009. 24
pages. De Haske
Publications #DHP
1094814-401. Published by
De Haske Publications
(BT.DHP-1094814-401).
ISBN 9789043132732.
9x12 inches.
English.
ESSENTIAL
CLASSICS is a collection
of pieces ideally suited
to introduce beginning
bands, whether in or
outside of school, to the
classical repertoire. The
easy arrangements make
the most popular melodies
of all time accessible to
young musicians, without
the frustration of
playing music that is too
difficult for them. Now
they can enjoy music from
instrumental works and
operas to oratorios and
lieder, from Tylman
Susato to George
Gershwin. The pieces are
arranged in ascending
order of difficulty,
coinciding with the
progress students are
making in Volumes 1 and 2
of ESSENTIAL ELEMENTS the
complete method for music
education in schools and
bands. But even without
ESSENTIALELEMENTS,
ESSENTIAL CLASSICS is an
excellent source of
repertoire by itself. In
addition to the music the
individual parts contain
short snippets of
information about the
music, composer and
genre, written in a style
younger players will
understand. The full
score contains more
in-depth information on
the music. No matter how
you use ESSENTIAL
CLASSICS with your band,
your players will love
all the fun and engaging
arrangements it as to
offer.
Die
deutschsprachige Ausgabe
dieser Reihe ist unter
dem Titel Bläserklasse
Klassik
erhältlich.
ESSENTIAL
CLASSICS è il
materiale ideale per far
familiarizzare le bande
principianti o junior con
il repertorio della
musica classica. Gli
arrangiamenti, ideati in
ordine progressivo di
difficolt , sono ideali
per sviluppare le prime
conoscenze gi acquisite e
rinforzare la capacit di
applicazione in un
contesto strutturato in
maniera pedagogica e
motivante. Da Susato a
Gershwin,
dall’oratorio al
lied, passando per
l’opera e altri
generi musicali,
ESSENTIAL CLASSICS
propone
un’immersione
nell’universo
classico. La versione
integrale di ogni
arrangiamento è
disponibile sul CD di
accompagnamento venduto
separatamente.
Essential Classics Orchestre d'harmonie - Débutant De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094816-401 Small ...(+)
Concert Band/Harmonie -
very easy, easy
SKU:
BT.DHP-1094816-401
Small Masterpieces for
Great Performances.
Arranged by Jan de Haan.
Essential Elements. Book
Only. Composed 2009. 24
pages. De Haske
Publications #DHP
1094816-401. Published by
De Haske Publications
(BT.DHP-1094816-401).
ISBN 9789043132756.
9x12 inches.
English.
ESSENTIAL
CLASSICS is a collection
of pieces ideally suited
to introduce beginning
bands, whether in or
outside of school, to the
classical repertoire. The
easy arrangements make
the most popular melodies
of all time accessible to
young musicians, without
the frustration of
playing music that is too
difficult for them. Now
they can enjoy music from
instrumental works and
operas to oratorios and
lieder, from Tylman
Susato to George
Gershwin. The pieces are
arranged in ascending
order of difficulty,
coinciding with the
progress students are
making in Volumes 1 and 2
of ESSENTIAL ELEMENTS the
complete method for music
education in schools and
bands. But even without
ESSENTIALELEMENTS,
ESSENTIAL CLASSICS is an
excellent source of
repertoire by itself. In
addition to the music the
individual parts contain
short snippets of
information about the
music, composer and
genre, written in a style
younger players will
understand. The full
score contains more
in-depth information on
the music. No matter how
you use ESSENTIAL
CLASSICS with your band,
your players will love
all the fun and engaging
arrangements it as to
offer.
Die
deutschsprachige Ausgabe
dieser Reihe ist unter
dem Titel Bläserklasse
Klassik
erhältlich.
ESSENTIAL
CLASSICS è il
materiale ideale per far
familiarizzare le bande
principianti o junior con
il repertorio della
musica classica. Gli
arrangiamenti, ideati in
ordine progressivo di
difficolt , sono ideali
per sviluppare le prime
conoscenze gi acquisite e
rinforzare la capacit di
applicazione in un
contesto strutturato in
maniera pedagogica e
motivante. Da Susato a
Gershwin,
dall’oratorio al
lied, passando per
l’opera e altri
generi musicali,
ESSENTIAL CLASSICS
propone
un’immersione
nell’universo
classico. La versione
integrale di ogni
arrangiamento è
disponibile sul CD di
accompagnamento venduto
separatamente.
Essential Classics Orchestre d'harmonie - Débutant De Haske Publications
Concert Band/Harmonie - very easy, easy SKU: BT.DHP-1094820-401 Small ...(+)
Concert Band/Harmonie -
very easy, easy
SKU:
BT.DHP-1094820-401
Small Masterpieces for
Great Performances.
Arranged by Jan de Haan.
Essential Elements. Book
Only. Composed 2009. 24
pages. De Haske
Publications #DHP
1094820-401. Published by
De Haske Publications
(BT.DHP-1094820-401).
ISBN 9789043132794.
9x12 inches.
English.
ESSENTIAL
CLASSICS is a collection
of pieces ideally suited
to introduce beginning
bands, whether in or
outside of school, to the
classical repertoire. The
easy arrangements make
the most popular melodies
of all time accessible to
young musicians, without
the frustration of
playing music that is too
difficult for them. Now
they can enjoy music from
instrumental works and
operas to oratorios and
lieder, from Tylman
Susato to George
Gershwin. The pieces are
arranged in ascending
order of difficulty,
coinciding with the
progress students are
making in Volumes 1 and 2
of ESSENTIAL ELEMENTS the
complete method for music
education in schools and
bands. But even without
ESSENTIALELEMENTS,
ESSENTIAL CLASSICS is an
excellent source of
repertoire by itself. In
addition to the music the
individual parts contain
short snippets of
information about the
music, composer and
genre, written in a style
younger players will
understand. The full
score contains more
in-depth information on
the music. No matter how
you use ESSENTIAL
CLASSICS with your band,
your players will love
all the fun and engaging
arrangements it as to
offer.
Die
deutschsprachige Ausgabe
dieser Reihe ist unter
dem Titel Bläserklasse
Klassik
erhältlich.
ESSENTIAL
CLASSICS è il
materiale ideale per far
familiarizzare le bande
principianti o junior con
il repertorio della
musica classica. Gli
arrangiamenti, ideati in
ordine progressivo di
difficolt , sono ideali
per sviluppare le prime
conoscenze gi acquisite e
rinforzare la capacit di
applicazione in un
contesto strutturato in
maniera pedagogica e
motivante. Da Susato a
Gershwin,
dall’oratorio al
lied, passando per
l’opera e altri
generi musicali,
ESSENTIAL CLASSICS
propone
un’immersione
nell’universo
classico. La versione
integrale di ogni
arrangiamento è
disponibile sul CD di
accompagnamento venduto
separatamente.