Concert Band - Grade 3

SKU: BT.DHP-1064021-040

From Rienzi. Composed by Richard Wagner. Arranged by Wil van der Beek. The Great Classics. Transcription. Set (Score & Parts). Composed 2006. De Haske Publications #DHP 1064021-040. Published by De Haske Publications (BT.DHP-1064021-040).

9x12 inches. English-German-French-Dut ch.

Rienzi remains one of the most popular works from the ?master of romantic opera?, Richard Wagner. The Friedensmarsch from the fourth act (scene 2) of Rienzi is subdued and solemn in character: in the sounds of this march, Rienzi strides to a stately church service. This is sure to be a very popular addition to any performance and is one not to be missed.

Entdecken Sie Wagner neu mit Rienzi, der Letzte der Tribunen, einer Oper, die heute nicht mehr zu den bekanntesten Werken Richard Wagners zählt, aber seinerzeit sehr gut beim Publikum ankam. Das war auf zahlreiche Elemente des Werkes zurückzuführen: Prozessionen, Märsche, Schlachten, Hymnen, ein großes Ballett, Glockengeläut, Trompetensignale und vieles mehr. Wil van der Beek wählte sich den eher gedämpften, ruhigen Friedensmarsch aus dem vierten Akt von Rienzi für diese attraktive Blasorchesterbearbeitung aus.

Richard Wagner est un compositeur unique dans l’histoire. Il enrichit l’harmonie d’agrégations jusqu’alors inusitées, ses orchestrations sont différentes de celles de ses contemporains, ses mélodies semblent infinies, les leitmotiv naissent avec fluidité et ses thèmes d’opéras sont en rupture avec les courants de l’époque. Rienzi (1840) est une oeuvre de jeunesse qui contient en germe tous ces éléments innovateurs. Friedensmarsch est une marche la fois sombre et majestueuse extraite de l’Acte IV, scène 2 de l’opéra.

Richard Wagner è un compositore unico: arricchisce l’armonia di aggregazioni fino ad allora non utilizzate, le sue orchestrazioni sono diverse da quelle dei suoi contemporanei, le sue melodie sembrano infinite, i leitmotif nascono con fluidit e i temi delle sue opere sono in rottura con le correnti dell’epoca. Rienzi (1840) è un’opera che contiene tutti questi elementi innovatori. Friedensmarsch è una marcia cupa, ma allo stesso tempo maestosa, estratta dall’Atto IV, scena 2 dell’opera.

Rockschool. Rockschool Music Production. Tuition. Book Only. Composed 2018. 76 pages. Hal Leonard Europe #RSK200085. Published by Hal Leonard Europe

Concert Band/Harmonie - Grade 4

SKU: BT.CMP-0226-98-010

Composed by Richard Wagner. Arranged by James Hosay. Sinfonia Series. Set (Score and Parts). Composed 1998. Curnow Music #CMP 0226-98-010. Published by Curnow Music (BT.CMP-0226-98-010).

Wagner on Stage uses extracts from four best-loved of Wagnerâ??s operas: Tannhäuser, Götterdämmerung, Lohengrin and Die Meistersinger von Nu?rnberg. Richard Wagner certainly wrote the most dramatic operas of his time. His works are full of passion, dynamic, but also sentimentality. James L. Hosayâ??s arrangement offers therefore a great insight into the creative world of Wagner, whose 200th birthday is celebrated in 2013.

In Wagner on Stage komen fragmenten van de vier mooiste operaâ??s van Wagner aan bod: Tannhäuser, Die Götterdämmerung, Lohengrin en Die Meistersinger. Richard Wagner staat bekend om de meest theatrale operaâ??s van zijn tijd. Zijn partituren zitten vol hartstocht, dynamiek en sentiment. Het arrangement van James L. Hosays geeft een prachtige indruk van de muzikale prestaties van Wagner. Bovendien staat het jaar 2013 in het teken van de tweehonderdste geboortejaar van deze bekende Duitse componist. Een mooi gegeven om bij stil te staan met uw orkest!

Wagner on Stage verwendet Auszu?ge aus den vier schönsten Wagner-Opern: Tannhäuser, Götterdämmerung, Lohengrin und Die Meistersinger von Nu?rnberg. Richard Wagner schrieb wohl die dramaturgischsten Opern seiner Zeit. Seine Partituren sind voller Leidenschaft, Dynamik, aber auch Sentimentalität. James L. Hosays Arrangement bietet somit einen schönen Einblick in die musikalische Schaffenskraft Wagners, dessen 200. Geburtstag wir im Jahr 2013 feiern.

Wagner on Stage met en scène des extraits de quatre opéras de Wagner : Tannhäuser, Le crépuscule des dieux, Lohengrin et Les maîtres chanteurs de Nurenberg. Richard Wagner a probablement écrit les opéras les plus dramatiques de son temps. Ses compositions, pleines de passion, de dynamisme, mais également de sentimentalité, ont inspiré James L. Hosay. Wagner on Stage est un arrangement fidèle donnant un large aperçu de la grande créativité de Richard Wagner, dont le 200e anniversaire sera célébré en 2013.

Wagner on Stage mette in scena estratti di quattro opere di Wagner: Tannhäuser, Il Crepuscolo degli Dei, Lohengrin e I maestri cantori di Norimberga. Richard Wagner ha probabilmente composto queste opere in momenti drammatici del suo tempo. Le sue composizioni piene di passione, di dinamismo ma anche di sentimentalismo, hanno inspirato James J. Hosay. Wagner on Stage è un arrangiamento fedele che illustra la grande creativit di Richard Wagner il cui 200° anniversario dalla nascita sar celebrato nel 2013.

Piano solo

SKU: HH.HH566-SOL

Composed by J.N. Hummel and Wolfgang Amadeus Mozart. Edited by Sarah Jenner. Playing score. Edition HH Music Publishers #HH566-SOL. Published by Edition HH Music Publishers (HH.HH566-SOL).

ISBN 9790708185819.

Moza rt’s final three symphonies were composed, according to Mozart’s autograph Verzeichnüß, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozart’s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummel’s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.

Piano solo

SKU: HH.HH531-SOL

Composed by J.N. Hummel and Wolfgang Amadeus Mozart. Edited by Sarah Jenner. Playing score. Edition HH Music Publishers #HH531-SOL. Published by Edition HH Music Publishers (HH.HH531-SOL).

ISBN 9781914137280.

Moza rtâ??s final three symphonies were composed, according to Mozartâ??s autograph VerzeichnüÃ?, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozartâ??s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummelâ??s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.

Piano solo

SKU: HH.HH532-SOL

Composed by J.N. Hummel and Wolfgang Amadeus Mozart. Edited by Sarah Jenner. Playing score. Edition HH Music Publishers #HH532-SOL. Published by Edition HH Music Publishers (HH.HH532-SOL).

ISBN 9790708185444.

Moza rt’s final three symphonies were composed, according to Mozart’s autograph Verzeichnüß, in the space of a few weeks, from late June to early August 1788. During that year the 11-year-old Hummel was a resident pupil of Mozart and would have been a daily witness to the creation of these foundational works of the Western musical canon. There is an almost total lack of documentary evidence concerning the circumstances of these works, however, which has led to considerable speculation as to their origins, early performances and reception. There are three plausible scenarios for the genesis of these symphonies: that they were written for a series of subscription concerts scheduled for autumn 1788; that Mozart wrote them with the (unfulfilled) intention of publication as an opus; that they may have been prepared in advance of Mozart’s projected visit to London with his British friends the Storace family, Thomas Attwood and Michael Kelly (again unfulfilled). A contemporaray review in The Harmonicum (1823) of Hummel’s piano arrangements of these works notes, approvingly, that they show his perfect knowledge of the instrument and his nice [= fastidious] discrimination in selecting the most effective parts from the score in those places where the whole could not be taken.

Drums in the Rhythm Section. (Designed to Teach the Drummer How to Perform and Interact within a Rhythm Section). By Steven Houghton. For Drumset. Artist/Personality; Method/Instruction; Percussion - Drum Set Method or Collection; Play-Along. The Contemporary Rhythm Section Series. Book and CD. 38 pages. Published by Alfred Music Publishing

Piano

SKU: HL.48188704

Composed by Darius Milhaud. Leduc. Classical. CD. 66 pages. Heugel & Cie #HE33226. Published by Heugel & Cie (HL.48188704).

UPC: 888680883966. 9x12.25 inches. French.

“Fren ch composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, the Ballet, The Blue Train, being no exception. Milhaud's compositions are influenced by jazz and polytonality, as exemplified in The Blue Train. Composed in 1924, The Blue Train is a Ballet based on a scenario by Jean Cocteau, and composed for the Ballets Russes. The title is taken from a night train called The Blue Train, which transported wealth passengers from Calais to the Mediterranean Sea. In his reduction for Piano, Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud's The Blue Train is essential to all advanced pianists seeking modern and exciting repertoire.&rdquo.

Piano

SKU: BT.ALHE33226

Composed by Darius Milhaud. Ballet. Book Only. 66 pages. Heugel & Cie #ALHE33226. Published by Heugel & Cie (BT.ALHE33226).

French.

French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, the Ballet, The Blue Train, being no exception. Milhaud'scompositions are influenced by jazz and polytonality, as exemplified in The Blue Train. Composed in 1924, The Blue Train is a Ballet based on a scenario by Jean Cocteau, and composed for the Ballets Russes. The title is taken froma night train called The Blue Train, which transported wealth passengers from Calais to the Mediterranean Sea. In his reduction for Piano, Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals,harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud's The Blue Train is essential to all advanced pianists seeking modern and exciting repertoire.

Piano - Grade 5

SKU: FA.MFCD014PN

Composed by Claude Debussy and Robert Orledge. Rediscoverd Debussy. Classical, Impressionistic. Score. Musik Fabrik #MFCD014PN. Published by Musik Fabrik (FA.MFCD014PN).

8.27 x 11.69 inches.

Fetes galantes was actually planned as a hybrid opera-ballet to a libretto by Debussy's friend Louis Laloy. For this, Laloy arranged selected poetry by Paul Verlaine into three tableaux, replacing an earlier (unstarted) Debussyan project with Charles Morice entitled Crimen amoris. During his last productive summer of 1915, Debussy set a sequence from the start of the first tableau, 'Les Masques', involving stanzas 1 and 3 of the opening song for Mezzetin in Verlaine's comedy Les Uns et les autres. The action is set in a park a la Watteau late one summer afternoon as Mezzetin attempts to entertain a group of nonchalant masqueraders with only the aid of his voice and a mandolin.

This appears to have been prefaced by a slower, elegiac introduction reminiscent of the opening of the comtemporary Cello Sonata and it leads to a danced minuet by the masqued dancers which has clear echoes of the piano piece L'Isle Joyeuse (1904). Following Laloy's scenario, the mas-queraders then sing extracts from Verlaine's 'A la promenade' (from Fetes galantes itself). The minuet returns at greater length before being cut short by a chilly gust of wind, after which the park returns to its orginal state (and music) as though nothing had really happened.