| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| The Folksong Fake Book - C Edition
Fake Book [Fake Book] Hal Leonard
For voice and C instrument. Format: fakebook. With vocal melody, lyrics and chor...(+)
For voice and C
instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Folk. Series: Hal
Leonard Fake Books. 536
pages. 9.6x12 inches.
Published by Hal Leonard.
(10)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Pied Piper of Hamelin - Intermédiaire/avancé Hal Leonard
Fanfare Band; Fanfare Band Set (Score) - Grade 4 SKU: HL.4007962 For F...(+)
Fanfare Band; Fanfare
Band Set (Score) - Grade
4 SKU: HL.4007962
For Fanfare Band for
Fanfare Band, Grade 4
14:17 Score. Composed
by Otto M. Schwarz.
Concert. Softcover.
Duration 857 seconds. Hal
Leonard #SDP059.21-101.
Published by Hal Leonard
(HL.4007962).
Stories, sagas
and legends - who among
us don't know them?
Always delivered with a
tinge of brutality, these
cautionary tales are a
legacy of moral education
from times past:
inquisitive children
alone in the forest are
generally eaten by a
witch; the 'Soup-Kasper'
of Hoffman's
Struwwelpeter dies from
starvation eather than
eating his soup; anyone
letting in strangers
usually gets devoured;
anyone who plays with
matches gets burned; and
thumb-suckers get their
thumbs cut off. The list
of unfortunate demises is
almost endless. In the
tale of The Pied Piper of
Hamelin, parents lose
their children through
greed, ridicule, scom and
a failure to appreciate
art. There is still a
street in the town of
Hamelin in which neither
drumming nor playing has
not been allowed since
130 children disappeared
into a mountain, never to
be seen again. This
composition by Otto M.
Schwarz opens with
exactly this scene,
taking us back to the
year 1284. As in many
towns at the time,
Hamelin in Germany
suffered with hygiene
problems - rats and mice
began to multiply
rapidly, and the town was
overrun with the plague.
There appeared a man
dressed in coorful
clothes who promised the
locals to free them from
this burden. They agreed
and settled on a fee.
Then the man pulled out a
pipe and began to play.
When the rate and mice
heard this, they followed
him. He led the animals
into the Weser River,
where they all drowned.
Back in town, the people
refused to pay him. They
didn't recognize this
man's skills and
knowledge and were only
prepared to pay for
simple labor. A pact with
the devil was made, which
led to the Pied Piper
leaving the town in a
furious rage. One Sunday,
when many people were at
church, he returned, took
out his flute and began
to play. The
town'schildren were so
enchanted by his playing
that they followed him.
He led them out of the
town and disappeaed with
them forever into a
mountain. Of all the
children, only two
survived - however one
was mute, and one was
blind. In the street from
which the children left
Hamelin, music may no
longer be played in
memory of this event. $40.00 - Voir plus => Acheter | | |
| The Pied Piper of Hamelin - Intermédiaire/avancé Hal Leonard
Brass Band (Score) - Grade 4 SKU: HL.4007972 For Brass Band. Compo...(+)
Brass Band (Score) -
Grade 4 SKU:
HL.4007972 For
Brass Band. Composed
by Otto M. Schwarz.
Concert. Duration 857
seconds. Hal Leonard
#SDP068.21-201. Published
by Hal Leonard
(HL.4007972).
Stories, sagas
and legends--who among us
doesn't know them? Always
delivered with a tinge of
brutality, these
cautionary tales are a
legacy of moral education
from times past:
inquisitive children
alone in the forest are
generally eaten by a
witch; the Soup-Kasper of
Hoffmann's Struwwelpeter
dies from starvation
rather than eating his
soup; anyone letting in
strangers usually gets
devoured; anyone who
plays with matches gets
burned; and thumb-suckers
get their thumbs cut off.
The list of unfortunate
demises is almost
endless.In the tale of
The Pied Piper of
Hamelin, parents lose
their children through
greed, ridicule, scorn
and a failure to
appreciate art. There is
still a street in the
town of Hamelin in which
neither drumming nor
playing has not been
allowed since 130
children disappeared into
a mountain, never to be
seen again. This
composition by Otto M.
Schwarz opens with
exactly this scene,
taking us back to the
year 1284. As in many
towns at the time,
Hamelin in Germany
suffered with hygiene
problems--rats and mice
began to multiply
rapidly, and the town was
overrun with the plague.
There appeared a man
dressed in colorful
clothes who promised the
locals to free them from
this burden. They agreed
and settled on a fee.
Then the man pulled out a
pipe and began to play.
When the rats and mice
heard this, they followed
him. He led the animals
into the Weser River,
where they all drowned.
Back in town, the people
refused to pay him. They
didn't recognize this
man's skills and
knowledge and were only
prepared to pay for
simple labour. A pact
with the devil was made,
which led to the Pied
Piper leaving the town in
a furious rage. One
Sunday, when many people
were at church, he
returned, took out his
flute and began to play.
The town's children were
so enchanted by his
playing that they
followed him. He led them
out of the town and
disappeared with them
forever into a mountain.
Of all the children, only
two survived--however one
was mute, and one was
blind. In the street from
which the children left
Hamelin, music may no
longer be played in
memory of this event. $27.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Pied Piper of Hamelin Orchestre d'harmonie - Intermédiaire/avancé Hal Leonard
Concert Band; Concert Band Set (Score) - Grade 4 SKU: HL.4007945 For C...(+)
Concert Band; Concert
Band Set (Score) - Grade
4 SKU: HL.4007945
For Concert Band,
Grade 4, 14:17 Score.
Composed by Otto M.
Schwarz. Concert.
Softcover. Duration 857
seconds. Hal Leonard
#SDP041.21-01. Published
by Hal Leonard
(HL.4007945).
Stories, sagas
and legends--who among us
doesn't know them? Always
delivered with a tinge of
brutality, these
cautionary tales are a
legacy of moral education
from times past:
inquisitive children
alone in the forest are
generally eaten by a
witch; the
“Soup-Kasperâ€
of Hoffmann's
Struwwelpeter dies from
starvation rather than
eating his soup; anyone
letting in strangers
usually gets devoured;
anyone who plays with
matches gets burned; and
thumb-suckers get their
thumbs cut off. The list
of unfortunate demises is
almost endless.In the
tale of The Pied Piper of
Hamelin, parents lose
their children through
greed, ridicule, scorn
and a failure to
appreciate art. There is
still a street in the
town of Hamelin in which
neither drumming nor
playing has not been
allowed since 130
children disappeared into
a mountain, never to be
seen again. This
composition by Otto M.
Schwarz opens with
exactly this scene,
taking us back to the
year 1284. As in many
towns at the time,
Hamelin in Germany
suffered with hygiene
problems--rats and mice
began to multiply
rapidly, and the town was
overrun with the plague.
There appeared a man
dressed in colorful
clothes who promised the
locals to free them from
this burden. They agreed
and settled on a fee.
Then the man pulled out a
pipe and began to play.
When the rats and mice
heard this, they followed
him. He led the animals
into the Weser River,
where they all drowned.
Back in town, the people
refused to pay him. They
didn't recognize this
man's skills and
knowledge and were only
prepared to pay for
simple labour. A pact
with the devil was made,
which led to the Pied
Piper leaving the town in
a furious rage. One
Sunday, when many people
were at church, he
returned, took out his
flute and began to play.
The town's children were
so enchanted by his
playing that they
followed him. He led them
out of the town and
disappeared with them
forever into a mountain.
Of all the children, only
two survived--however one
was mute, and one was
blind. In the street from
which the children left
Hamelin, music may no
longer be played in
memory of this event. $38.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Complete Keyboard Player: Book 1 Clavier Music Sales
Keyboard SKU: BT.MUSAM91383 Composed by Kenneth Baker. The Complete Keybo...(+)
Keyboard SKU:
BT.MUSAM91383
Composed by Kenneth
Baker. The Complete
Keyboard Player. Tuition.
Book Only. Music Sales
#MUSAM91383. Published by
Music Sales
(BT.MUSAM91383). ISBN
9780711936485.
English. Based on
popular songs and with
easy-to-follow text and
diagrams, this excellent
course assumes no prior
knowledge of keyboards or
music yet right from the
beginning, you will be
playing arrangements
which include a
completerhythmsection
with full sounding
chords, bass and drums.
Book 1 contains 15 famous
songs including 'Let It
Be', 'Super Trouper', 'Oh
Lonesome Me' and 'Blowin'
In The Wind'.
Instrumental effects
include piano, guitar,
vibes andmanyothers. $15.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tales of Vandosar Orchestre [Conducteur et Parties séparées] - Intermédiaire Highland/Etling
Composed by Richard Meyer. Orchestra. For full (timp, bells/xylophone, Suspended...(+)
Composed by Richard
Meyer. Orchestra. For
full (timp,
bells/xylophone,
Suspended Cymbal, Crash
Cymbals, Triangle, Snare
Drum, Tambourine,
Castanets). Full
Orchestra; Part(s);
Score. Highland Full
Orchestra. Form:
Overture. Grade 3. 220
pages. Published by
Highland/Etling
$72.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Classic of Mountains and Seas Theodore Presser Co.
Orchestra Concert Band SKU: PR.11642169L Concerto for Orchestra. C...(+)
Orchestra Concert Band
SKU: PR.11642169L
Concerto for
Orchestra. Composed
by Zhou Long. Large
Score. Duration 36
minutes. Theodore Presser
Company #116-42169L.
Published by Theodore
Presser Company
(PR.11642169L). UPC:
680160692118. Chine
se mythology is a
cultural heritage that
has been passed down
through the ages. It is
full of bizarre
andsupernatural artistic
charm. Shan Hai Jing is
like a history book,
which contains many
mythological stories
depictingthousands of
mountains and waters,
geography and humanities,
The Concerto for
Orchestra Shan Hai Jing
is using alarge scyle
orchestra in
multi-movements, inspired
by the anceint
supernatural aesthetics,
and creates an
imaginaryuniverse and
human illusion with an
abstract sound world.
This work is not based on
the story of the ancient
gods, butbased on the
geographical distribution
of the Fivering
Mountains, metaphorical
waters, mountains range,
folkcustoms, and rituals
of the gods, depicting
the north, west, east,
south, and middle
respectively in five
movements.
Thecharacteristics of the
mountain system and the
regional customs.The
first movement, Beishan
Jing (Largo) (page 1-30).
In this movement, folk
music elements such as
the traditionalMongolian
“Humai” and the
traditional Tibetan
“Bon’e’ri” are
used to Ode the folk
customs and heroism of
the vastmountains and
plains and different
ethnic groups.The second
movement, Xishan Jing
(Allegro and Adagio)
(page 31-52). The music
of this movement has the
westernstyle of Gansu and
Qinghai Plateau.The third
movement, Dongshan Jing
(Adagio and Allegro)
(page 53-86). The legend
of great bells that
ringspontaneously without
being struck has origins
in the ancient Classic of
Mountains and Seas, in
which we read:“Upon the
Mountains of Plenty, Nine
Bells ring with Knowledge
of the Frost.”Tales of
those blasts of wind that
pulse like a heartbeat
through caverns in the
limestone cliffs, setting
off a
mysterioussympathetic
ringing from bells
encrusted in frost, led
to “Frost-Bell”
becoming a word during
the Tang dynasty, almosta
millennium after the
Mountains and Seas
classic first
appeared.The fourth
movement, Nanshan Jing
(Adagio and Andante)
(page 87-100) . The music
is characterized by
thewoodwinds and string
harmonics texture
depicting of the cloud
mountain in the south of
the Yangtze River,
Fujian,Guangdong and
Hunan.The fifth movement,
Zhongshan Jing
(Allegretto) (page
101-118) symbolizes the
end of the ritual
ceremony, which isroughly
centered on the sacred
place of Chu. The people
danced together, waving
flowers and hitting the
bronze drums,just like
sending the Divine
Comedy, the scene is
lively, the atmosphere is
Solemn and lively. $92.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Classic of Mountains and Seas Theodore Presser Co.
Orchestra Concert Band SKU: PR.11642169S Concerto for Orchestra. C...(+)
Orchestra Concert Band
SKU: PR.11642169S
Concerto for
Orchestra. Composed
by Zhou Long. Study
Score. Duration 36
minutes. Theodore Presser
Company #116-42169S.
Published by Theodore
Presser Company
(PR.11642169S). UPC:
680160692101. Chine
se mythology is a
cultural heritage that
has been passed down
through the ages. It is
full of bizarre
andsupernatural artistic
charm. Shan Hai Jing is
like a history book,
which contains many
mythological stories
depictingthousands of
mountains and waters,
geography and humanities,
The Concerto for
Orchestra Shan Hai Jing
is using alarge scyle
orchestra in
multi-movements, inspired
by the anceint
supernatural aesthetics,
and creates an
imaginaryuniverse and
human illusion with an
abstract sound world.
This work is not based on
the story of the ancient
gods, butbased on the
geographical distribution
of the Fivering
Mountains, metaphorical
waters, mountains range,
folkcustoms, and rituals
of the gods, depicting
the north, west, east,
south, and middle
respectively in five
movements.
Thecharacteristics of the
mountain system and the
regional customs.The
first movement, Beishan
Jing (Largo) (page 1-30).
In this movement, folk
music elements such as
the traditionalMongolian
“Humai” and the
traditional Tibetan
“Bon’e’ri” are
used to Ode the folk
customs and heroism of
the vastmountains and
plains and different
ethnic groups.The second
movement, Xishan Jing
(Allegro and Adagio)
(page 31-52). The music
of this movement has the
westernstyle of Gansu and
Qinghai Plateau.The third
movement, Dongshan Jing
(Adagio and Allegro)
(page 53-86). The legend
of great bells that
ringspontaneously without
being struck has origins
in the ancient Classic of
Mountains and Seas, in
which we read:“Upon the
Mountains of Plenty, Nine
Bells ring with Knowledge
of the Frost.”Tales of
those blasts of wind that
pulse like a heartbeat
through caverns in the
limestone cliffs, setting
off a
mysterioussympathetic
ringing from bells
encrusted in frost, led
to “Frost-Bell”
becoming a word during
the Tang dynasty, almosta
millennium after the
Mountains and Seas
classic first
appeared.The fourth
movement, Nanshan Jing
(Adagio and Andante)
(page 87-100) . The music
is characterized by
thewoodwinds and string
harmonics texture
depicting of the cloud
mountain in the south of
the Yangtze River,
Fujian,Guangdong and
Hunan.The fifth movement,
Zhongshan Jing
(Allegretto) (page
101-118) symbolizes the
end of the ritual
ceremony, which isroughly
centered on the sacred
place of Chu. The people
danced together, waving
flowers and hitting the
bronze drums,just like
sending the Divine
Comedy, the scene is
lively, the atmosphere is
Solemn and lively. $52.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Three Mysteries of Nagasaki Theodore Presser Co.
Chamber Music Anvil, Bass Drum, Crotales, Glockenspiel, Gong, Percussion, Suspen...(+)
Chamber Music Anvil, Bass
Drum, Crotales,
Glockenspiel, Gong,
Percussion, Suspended
Cymbal, Tam-tam,
Triangle, Tubular Bells,
Vibraphone, Violin
SKU: PR.114410790
Composed by Daniel Dorff.
Set of performance
scores. With Standard
notation. Composed 1993.
32+32 pages. Duration 13
minutes. Theodore Presser
Company #114-41079.
Published by Theodore
Presser Company
(PR.114410790). ISBN
9781491112687. UPC:
680160015580. 9 x 12
inches. THREE
MYSTERIES OF NAGASAKI was
inspired by the eerie
darkness and ambiguous
bells of the oldest
Western church in Japan.
Dorff’s program
note describes
impressions of his visit
to Nagasaki while
withholding any
explanation of the three
movements. The 13-minute
work is a duo for violin
and one percussionist,
with an array of pitched
and unpitched ringing
metallic instruments plus
bass drum. THREE
MYSTERIES OF NAGASAKI was
inspired by the ambiguous
bells of the oldest
Western church in
Japan.In an island nation
that used to thrive on
isolation from the rest
of the world, Nagasaki
has long been a
vulnerable exception.
From the 16th through
19th centuries, it was
Japan’s only
international port, open
to Portuguese and Dutch
traders. From this sole
crossroads, Christianity
(along with European
food, flowers, and
language) began flowing
into the otherwise
insular culture. The US
Navy’s presence in
the 1800s added to
Nagasaki being
Japan’s exposed
Achilles’ heel,
which may be why
Puccini’s Madama
Butterfly is set in this
city, with
Cho-Cho-San’s
vulnerability symbolizing
the risk of openness to
Western
influence.I’ve had
occasion to visit
Nagasaki, and have never
felt so haunted. Aside
from the unspeakable
atrocity of 1945 and the
lasting presence of that
horror, there also
remains a mysterious air
of not really being in
pure Japan, or in the
present day. Nowhere was
this more obvious than
within the ÅŒura
Basilica, the earliest
Christian church built in
Japan. Decades after
visiting the basilica, I
still recall its oddly
distorted and slowly
pealing bells, and
timeless incense floating
in relative darkness. The
mysterious bells have
stayed with me both for
their own sonority, and
as a subconscious
reminder of everything
Nagasaki is and
was.Composed for a
violinist-percussionist
couple who ended a
decades-long relationship
just as I completed the
work (and never
performing it), it was
originally called simply
THREE MYSTERIES; I
couldn’t make a
direct reference in the
title because it felt too
raw. Looking back years
later, the updated title
THREE MYSTERIES OF
NAGASAKI seems to ask
more questions than it
answers. $21.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Scrimshaw Tales Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn 1, Horn 2, Horn 3,
Horn 4, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal and more. SKU:
CF.CPS270F Composed
by Carl Strommen. Full
score. 32 pages. Carl
Fischer Music #CPS270F.
Published by Carl Fischer
Music (CF.CPS270F).
ISBN 9781491164099.
UPC:
680160922888. Scrim
shaw is the technique of
whalebone and ivory
carving that was started
by sailors centuries ago.
Inspired by the
composer's stay in
Utqiagvik, Alaska, this
composition musically
illustrates scenes from
these carvings
that depict a day of
Alaskan fishing. Starting
broadly and majestically,
the music quickly moves
to a lively and energetic
section that features
syncopation and
introduces the concept of
canonic entrances. A
return to the initial
thematic material brings
the piece to an
exciting conclusion.
Although challenging in
many ways, this
composition fully rewards
all performers and
listeners with a
thrilling musical
journey. Scrimshaw is
the technique of ivory
carving, an art form I
saw firsthand during my
stay in Barrow
(Utqiagvik), the
northernmost town in
North America. Scrimshaw
Tales depicts some of the
scenes that sailors and
artists once carved into
whale bone and ivory,
often related to the
day-to-day activities of
Alaskan fishing crews.The
opening 28 measures (Port
at Dawn) should be played
broadly and majestically.
Measures 29 through 66 (A
Gathering of Ships)
should be playing in a
lively and energetic
manner. The various
canonic entrances
represent the ships as
they leave port
one-by-one. Measures 67
through 132 (Out to Sea)
should be played
forcefully and
energetically. Each
successive entrance
should push the pulse of
this section to its
conclusion at
132.Measures 133 through
150 (Return to Port)
recalls the opening
section, played with
sweeping grandeur. $13.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Third Half of the Circle Innovative Percussion
Multi-Percussion Solo w/ CD Accompaniment Multi-percussion Solo with CD Accompan...(+)
Multi-Percussion Solo w/
CD Accompaniment
Multi-percussion Solo
with CD Accompaniment
(marimba (low e),
vibraphone (pedal fixed
down), crotales (low
octave - DO NOT use high
octave), large (22) and
medium (18) chinese
cymbals china splash (8)
or similar effect cymbal,
large and small log drums
(multiple pitches), 2
mark trees (double row) -
Level 5 SKU:
IP.S-GF-THI Composed
by Gene Fambrough. Book
and CD. Duration 13
minutes. Innovative
Percussion #S-GF-THI.
Published by Innovative
Percussion (IP.S-GF-THI).
8.5x11
inches. Composer's
notes: The concept behind
this work is for the
performer to accompany
him / herself on marimba
through the use of
sustaining metal
instruments, sounding
like multiple performers
within a solo work. When
multiple vibraphones are
available, choose the
instrument with the
longest sustain. It is
necessary to use the low
octave of crotales for
best sustain.
This
is a multiple percussion
work with a brief section
of CD accompaniment. The
work is scored for
marimba (low E),
vibraphone, crotales,
cymbals, log drums, and
multiple sets of wind
chimes. The composer
states that the general
premise of the work is
the ability of the
marimbist to accompany
himself with longer
resonating metallic
instruments. It begins
with a free section
emphasizing mark tree,
cymbals and crotales. The
marimba emerges from this
texture with
sixteenth-note triplets
that suggest the primary
theme of the work. After
a brief interlude of
cymbals, crotales and
vibraphone, the
sixteenth-note figures
return in the marimba,
with punctuating, long
tones on the crotales.
This section continues
for a while, finally
yielding to a
transitional segment of
linear figures in the
marimba, culminating in
an explosive run to the
top of the instrument.
The tension it creates is
quickly released in the
ensuing chorale section.
Here again, the performer
is asked to sustain notes
in the marimba via
independent roll, while
the other hand plays
figures on the vibes and
crotales. The CD
accompaniment begins at
the end of this section.
The performer begins to
improvise in the style of
the opening of the work
over the gong, cymbal and
drum sounds on the
recording. The marimba
re-enters with groovy
sixteenth notes over the
recorded drum sounds. The
rhythms in the marimba
part become increasingly
syncopated as the
intensity builds, then
gradually wind down into
a short, improvised
section on log drums. As
the CD fades away, the
performer is left playing
sparse figures on the
resonant metal sounds.
The work ends with three,
very soft rolled chords
in the marimba with a
single, introspective
note on the crotales as a
finale. The mixture of
coloristic and rhythmic
devices used in this work
make is interesting for
the performer and the
listener. - Scott Herring
Percussive Notes, April
2006. $15.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Double Play Violon Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contraba...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Bongos, Cello, Clarinet,
Contrabass, Crotales,
Cymbals, English Horn,
Field Drum, Flute,
Glockenspiel, Horn 1,
Horn 2, Oboe 1, Oboe 2,
Percussion, Piano, Snare
Drum, Triangle, Trumpet,
Vibraphone, Viola and
more. SKU:
PR.416411770 For
Violin, Piano, and
Chamber Orchestra.
Composed by William
Kraft. Full score. With
Standard notation.
Duration 17 minutes.
Theodore Presser Company
#416-41177. Published by
Theodore Presser Company
(PR.416411770). UPC:
680160091508. I was
tempted to call the piece
Throw Back because it
consciously employs
rhythmic and harmonic
approaches characteristic
of the earlier part of
the twentieth century,
much of which plays a
part in forging my
musical personality.
Going along with the
impetus, I have paid
homage by subtly
interpolating stylistic
or actual references to
such unexpected
bedfellows as Scriabin,
Ravel, Debussy, Piston,
Roussel, and Ysaye. I
hope I will be musically
forgiven. In one
continuous movement,
there are three definite
internal sections:
Presto-Largo-Allegro. The
first section opens with
a very soft percussion
cadenza. If the acoustics
allow it, the player will
use sponge pottery
mallets (sponge-headed
mallets employed to
smooth the interior of a
pot as it is being
spin-dried). No matter
how hard the
percussionist strikes the
drums, the dynamic cannot
go above pp (pianissimo).
This cadenza serves as a
basis for the first
movement. The elements of
the cadenza are taken by
the orchestra to make the
first major statement,
similar to the classical
concerto; but rather than
making a restatement, the
soloists, when they come
in, begin with
variational ideas. The
second section is given
over to the soloists, and
is lyrical. The third
section begins with an
alternation between
strict rhythmic pulsation
and free-sounding
timbres, as if reluctant
to leave the second
section behind. The
rhythmic aspect takes
over more and more as the
piece progresses toward
its conclusion. Double
Play was commissioned by
the Saint Paul Chamber
Orchestra with financial
assistance from the
Northwest Area
Foundation. It received
its premiere on January
7, 1983, in St. Paul,
with the St. Paul Chamber
Orchestra; Pinchas
Zukerman, violinist; Marc
Neikrug, piano; and the
composer conducting. $26.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Encounters VI Theodore Presser Co.
Bass Drum, Chimes, Glockenspiel, Percussion, Percussion 1, Percussion 2, Percuss...(+)
Bass Drum, Chimes,
Glockenspiel, Percussion,
Percussion 1, Percussion
2, Percussion 3,
Percussion 4, Spring
Coil, Tam-tam,
Vibraphone, Wind Chimes
SKU: PR.11440986S
Composed by William
Kraft. Full score. With
Standard notation. 27
pages. Duration 10
minutes. Theodore Presser
Company #114-40986S.
Published by Theodore
Presser Company
(PR.11440986S). UPC:
680160014651. Here
I have adapted a standard
musical form to a
contemporary medium. The
concertino is a small
concerto: a one-movement
work that draws upon the
basic principles of the
concerto form - two
bodies of sound which at
times compete, contrast,
or act together. The
piece explores the
musical possibilities of
Roto-toms. The sound of
these drums is a cross
between a tom-tom and a
timpani, and their pitch
is changed by rotating
the drum. During the
course of the work, the
various effects used
include pitch and
fingernail glissandi;
playing on the rims; and
playing on the heads with
fingers, brushes, timpani
sticks, wood mallets or
rattan. Harmonics on the
octave and the fourth
above the fundamental
pitch are produced by the
drums when weights (in
this case, small pitched
cymbales called crotales)
are placed in the center
of the drum heads. In
return the drum itself
acts a resonator for the
crotales, which also have
a fundamental pitch when
played on the face and a
partial a fifth above
when played on the center
dome. The opening section
of the concertino
introduces a motive,
played by the soloist,
while the ensemble
sustains a bowed chord on
the vibraphone. Following
this cadenza-like
introduction, the piece
gradually moves into a
bright 6/8 tempo that is
characterized by constant
sixteenth notes in all
parts. After a brief
period of interaction,
the ensemble continues
its sixteenth notes
patterns and the soloist
plays and improvised
solo. Next, an interlude
is presented by the
ensemble which leads to a
dramatic recapitulation
by the soloist of the
motivic material. A
thematically-derived coda
concludes the work.
Encounters VI,
commissioned by Remo
Belli, is dedicated to
Jennifer Kraft, the
composer's daughter. The
premiere performance took
place in 1976 at the MENC
National Convention in
Atlantic City, New
Jersey, and was performed
by the Temple University
Percussion Ensemble
conducted by Glenn
Steele. --William
Kraft. $12.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Christmas Song Ensemble de Percussions C. Alan Publications
Composed by Mel Torme and Robert Wells. Arranged by R. Gipson. Percussion ensemb...(+)
Composed by Mel Torme and
Robert Wells. Arranged by
R. Gipson. Percussion
ensemble. For bells,
vibraphone I, vibraphone
II, crotales, marimba I
(4-octave), marimba II
(4-octave), marimba III
(4-octave), marimba IV
(4-octave), bass marimba
(5-octave), percussion I
(finger cymbals,
suspended cymbal),
percussion II (triangle),
percussion III (m (12
players). Difficulty:
Medium. Duration 3:25.
Published by C. Alan
Publications
$30.00 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Focus [Complete Set] Orchestre à Cordes [Conducteur et Parties séparées] Jazz Lines Publications
By Stan Getz and Beaux Arts String Ensemble. By Eddie Sauter. Edited by Rob Dubo...(+)
By Stan Getz and Beaux
Arts String Ensemble. By
Eddie Sauter. Edited by
Rob Duboff, Jeffrey
Sultanof, Alex Chilowicz,
and Andrew Homzy.
Arranged by Eddie Sauter.
For string ensemble
(score and parts)
(Soloist (parts in
concert, B-flat, and
E-flat), Violin I (8
parts), Violin II (8
parts), Viola (5 Parts),
Cello (5 Parts) , Double
Bass (3 Parts), Harp,
Piano/Celeste, Percussion
(Snare Drum, Marimba,
Tambourine)). Advanced.
Score and parts.
Published by Jazz Lines
Publications
$399.98 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Scrimshaw Tales - Intermédiaire Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Chimes, Clarinet 1, Clarinet 2, Clarinet...(+)
Band Bass Clarinet, Bass
Drum, Bassoon, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute,
Horn 1, Horn 2, Horn 3,
Horn 4, Mallet
Percussion, Oboe,
Percussion 1, Percussion
2, Snare Drum, Suspended
Cymbal and more. - Grade
3.5 SKU: CF.CPS270
Composed by Carl
Strommen. Set of Score
and Parts. Carl Fischer
Music #CPS270. Published
by Carl Fischer Music
(CF.CPS270). ISBN
9781491163696. UPC:
680160922482. Scrim
shaw is the technique of
ivory carving, an art
form I saw firsthand
during my stay in Barrow
(Utqiagvik), the
northernmost town in
North America. Scrimshaw
Tales depicts some of the
scenes that sailors and
artists once carved into
whale bone and ivory,
often related to the
day-to-day activities of
Alaskan fishing crews.The
opening 28 measures (Port
at Dawn) should be played
broadly and majestically.
Measures 29 through 66 (A
Gathering of Ships)
should be playing in a
lively and energetic
manner. The various
canonic entrances
represent the ships as
they leave port
one-by-one. Measures 67
through 132 (Out to Sea)
should be played
forcefully and
energetically. Each
successive entrance
should push the pulse of
this section to its
conclusion at
132.Measures 133 through
150 (Return to Port)
recalls the opening
section, played with
sweeping grandeur. $90.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Encounters VI Theodore Presser Co.
Chamber Music Percussion, Percussion 1, Percussion 2, Percussion 3, Percussion 4...(+)
Chamber Music Percussion,
Percussion 1, Percussion
2, Percussion 3,
Percussion 4 SKU:
PR.114409860
Concertino for Roto
Toms and Percussion
Quartet. Composed by
William Kraft.
Encounters. Contemporary.
Set of Score and Parts.
With Standard notation.
Composed 1976.
27+12+10+10+10+10 pages.
Duration 10 minutes.
Theodore Presser Company
#114-40986. Published by
Theodore Presser Company
(PR.114409860). UPC:
680160014644. Here
I have adapted a standard
musical form to a
contemporary medium. The
concertino is a small
concerto: a one-movement
work that draws upon the
basic principles of the
concerto form - two
bodies of sound which at
times compete, contrast,
or act together. The
piece explores the
musical possibilities of
Roto-toms. The sound of
these drums is a cross
between a tom-tom and a
timpani, and their pitch
is changed by rotating
the drum. During the
course of the work, the
various effects used
include pitch and
fingernail glissandi;
playing on the rims; and
playing on the heads with
fingers, brushes, timpani
sticks, wood mallets or
rattan. Harmonics on the
octave and the fourth
above the fundamental
pitch are produced by the
drums when weights (in
this case, small pitched
cymbales called crotales)
are placed in the center
of the drum heads. In
return the drum itself
acts a resonator for the
crotales, which also have
a fundamental pitch when
played on the face and a
partial a fifth above
when played on the center
dome. The opening section
of the concertino
introduces a motive,
played by the soloist,
while the ensemble
sustains a bowed chord on
the vibraphone. Following
this cadenza-like
introduction, the piece
gradually moves into a
bright 6/8 tempo that is
characterized by constant
sixteenth notes in all
parts. After a brief
period of interaction,
the ensemble continues
its sixteenth notes
patterns and the soloist
plays and improvised
solo. Next, an interlude
is presented by the
ensemble which leads to a
dramatic recapitulation
by the soloist of the
motivic material. A
thematically-derived coda
concludes the work.
Encounters VI,
commissioned by Remo
Belli, is dedicated to
Jennifer Kraft, the
composer's daughter. The
premiere performance took
place in 1976 at the MENC
National Convention in
Atlantic City, New
Jersey, and was performed
by the Temple University
Percussion Ensemble
conducted by Glenn
Steele. --William
Kraft. $46.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Fantasy Tales Orchestre d'harmonie - Avancé De Haske Publications
Concert Band/Harmonie - Grade 5 SKU: BT.DHP-0960784-010 Composed by Piet ...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.DHP-0960784-010
Composed by Piet Swerts.
Sovereign Series. Concert
Piece. Set (Score &
Parts). Composed 1996. De
Haske Publications #DHP
0960784-010. Published by
De Haske Publications
(BT.DHP-0960784-010).
This work,
reminiscent of a film
score, describes the
history of the Dutch town
Horn. A broad lyrical
theme, played by the
horns, depicts the
history of this town on
the river Meuse. A
cheerful Allegro
represents rural life
around the town and its
castle. Following this
the horn theme returns
and the music changes
dramatically. A drum roll
symbolises the times of
war that the town and
castle have known. The
threatening music
eventually develops once
more into the hopeful
horn theme, a sign of
reconstruction and the
future.
Piet
Swerts (*1960) hat sich
beim Schreiben dieses
Werks musikalisch durch
amerikanische Filmmusik,
u. a. von John Williams,
inspirieren lassen. Durch
ein breites, lyrisches
Horn-Thema wird die
Entstehung des
niederländischen Ortes
Horn am Fluss Maas
dargestellt. Dieses Thema
symbolisiert die drei
Hörner, die auf dem
Wappenschild des Dorfes
und des Grafen von Horn
vorkommen. Ein munteres
Allegro typisiert, wie in
der Pastorale von
Beethoven, das
ländliche Leben rund
um das Dorf und sein
Schloss. Danach kommt das
Thema der Hörner
zurück und die Musik
nimmt eine dramatische
Wendung. Trommelwirbel
symbolisieren Krieg! Die
drohende Musik löst
sich dann wieder
imhoffnungsvollen Thema
der Hörner auf.
Fantasy
Tales décrit
l’histoire de la
ville de Horn aux
Pays-Bas.
L’œuvre
développe un thème
mélodique épique,
lyrique, quasi filmique,
qui retrace
l’évolution de
cette ville située sur
les rives de la Meuse.
L’interprétatio
n de ce thème par les
cors a une portée
symbolique. En effet, le
blason de la ville et les
armoiries du comté de
Horn sont constitués
de trois cors de chasse
rouges sur fond jaune. Un
allegro joyeux,
écrit dans le style
d’une pastorale,
dépeint la vie rurale
autour de la ville et de
son ch teau. Le thème
initial est
réexposé, mais la
musique prend une
tournure plus dramatique
pour évoquer, travers
des roulements de
tambours, lesdiverses
périodes de guerre.
L’espoir renaît
néanmoins. Le thème
premier est repris et se
fait le signe de la
reconstruction, et de
l’expansion. La
ville de Horn est
désormais tournée
vers le futur. $236.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Long Ships Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Anvil, Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarin...(+)
Band Anvil, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion,
Marimba, Oboe, Percussion
1, Percussion 2, Snare
Drum and more. - Grade 3
SKU: CF.CPS221
A Viking Saga.
Composed by Gene Milford.
Concert Band (CPS). Set
of Score and Parts. With
Standard notation.
8+8+4+8+16+16+4+4+4+4+4+4
+8+8+8+4+4+6+6+6+8+8+2+4+
10+24+4 pages. Duration
4:44. Carl Fischer Music
#CPS221. Published by
Carl Fischer Music
(CF.CPS221). ISBN
9781491152478. UPC:
680160909971. The
Long Ships: A Viking
Saga portrays the
drama and excitement of
the adventures of Viking
heroes and great tales of
Norse mythology. Composer
Gene Milford has written
a descriptive work that
is bold, exciting, and
beautiful. It is a
rhapsodic piece with
great potential for
developing the
musicianship of your
students. The Long
Ships is a perfect
addition to your
ensemble's contest and
festival
repertoire. The
Vikings or Norsemen were
the great explorers,
warriors and traders of
the European Medieval
Age. In their iconic
“long shipsâ€
they traveled from their
Scandinavian home lands
as far west as Greenland
and New Foundland, south
into the Mediterranean
and East through Russia
to the Black Sea. The
Vikings were also the
scourge of the era, and
the cry “the Long
Ships are comingâ€
sent fear through coastal
and river communities
throughout Great Britain
and Europe. The Norse
sagas, tales of gods and
heroes, have inspired
musicians and authors
though the centuries.The
Long Ships: A Viking Saga
portrays the drama and
excitement of the
adventures of Viking
heroes and great tales of
Norse mythology.The anvil
in Percussion 2 should be
struck with a large metal
hammer. A low sounding
anvil is preferred but a
break drum can be
substituted. $95.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Long Ships Orchestre d'harmonie - Intermédiaire Carl Fischer
Band Anvil, Bass Clarinet, Bass Drum, Bassoon, Bells, Chimes, Clarinet 1, Clarin...(+)
Band Anvil, Bass
Clarinet, Bass Drum,
Bassoon, Bells, Chimes,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Mallet Percussion,
Marimba, Oboe, Percussion
1, Percussion 2, Snare
Drum and more. - Grade 3
SKU: CF.CPS221F
A Viking Saga.
Composed by Gene Milford.
Concert Band (CPS). Full
score. With Standard
notation. 24 pages. Carl
Fischer Music #CPS221F.
Published by Carl Fischer
Music (CF.CPS221F).
ISBN 9781491153154.
UPC:
680160910656. The
Long Ships: A Viking
Saga portrays the
drama and excitement of
the adventures of Viking
heroes and great tales of
Norse mythology. Composer
Gene Milford has written
a descriptive work that
is bold, exciting, and
beautiful. It is a
rhapsodic piece with
great potential for
developing the
musicianship of your
students. The Long
Ships is a perfect
addition to your
ensemble's contest and
festival
repertoire. The
Vikings or Norsemen were
the great explorers,
warriors and traders of
the European Medieval
Age. In their iconic
“long shipsâ€
they traveled from their
Scandinavian home lands
as far west as Greenland
and New Foundland, south
into the Mediterranean
and East through Russia
to the Black Sea. The
Vikings were also the
scourge of the era, and
the cry “the Long
Ships are comingâ€
sent fear through coastal
and river communities
throughout Great Britain
and Europe. The Norse
sagas, tales of gods and
heroes, have inspired
musicians and authors
though the centuries.The
Long Ships: A Viking Saga
portrays the drama and
excitement of the
adventures of Viking
heroes and great tales of
Norse mythology.The anvil
in Percussion 2 should be
struck with a large metal
hammer. A low sounding
anvil is preferred but a
break drum can be
substituted. $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Son et lumière Merion Music
Orchestra Bass Clarinet, Bass Drum, Bassoon 1, Bassoon 2, Celesta, Chimes, Clari...(+)
Orchestra Bass Clarinet,
Bass Drum, Bassoon 1,
Bassoon 2, Celesta,
Chimes, Clarinet,
Clarinet 1, Clarinet 2,
Claves, Contrabass,
Contrabassoon, Cowbell,
Crotales, English Horn,
Glockenspiel, Harp, Horn
1, Horn 2, Horn 3, Horn
4, Maracas, Marimba, Oboe
1 and more. SKU:
PR.11641737S Composed
by Steven Stucky. Study
Score. 68 pages. Duration
9 minutes. Merion Music
#116-41737S. Published by
Merion Music
(PR.11641737S). ISBN
9781491136133. UPC:
680160688432. Son
et lumière
(“sound and
light,†a kind of
show staged for tourists
at historic sites or
famous buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. Son et
lumière (“sound
and light,†a kind
of show staged for
tourists at historic
sites or famous
buildings) is an
orchestral entertainment
whose subject is the play
of colors, bright
surfaces, and shimmery
textures. I have tried in
this music to recapture
the élan and immediacy
that regular meters and
repetitive rhythms make
possible—something
forbidden during the
modernist regime but
recently restored in the
post-modern work of
composers like John
Adams, Steve Reich, and
others. Throughout its
brief nine-minute span,
then, the piece is built
almost exclusively of
short, busy ostinato
figures—my
attempt, I suppose, to
achieve the rhythmic
vitality of minimalism,
but without giving in to
the over-simple harmonic
language that usually
comes with
it.Surprisingly, the
musical materials seemed
determined to shape
themselves into an
approximation of
nineteenth-century sonata
form. We hear an
introduction, a first
theme (based on triadic
broken chords), a second
theme (beginning with the
flute solo), and a
closing theme (led by two
piccolos). In a sort of
development section,
these materials are
recombined in new ways;
in a recapitulation, both
the first and second
themes are recalled more
or less intact (part of
the second is actually
repeated quite
literally).Then, in the
coda, a second surprise:
as if another, different
music has been lurking
all the while behind the
shiny surface, the
strings now unexpectedly
split off from the rest
of the orchestra to
assert a new, more
passionate, more
“seriousâ€
voice, transcending the
external show of sound
and light.Son et
lumière, commissioned
by the Baltimore Symphony
Orchestra, was composed
between June and December
1988 in Ithaca (N.Y.), in
Los Angeles, and at the
artists’ colony
Yaddo, in Saratoga
Springs (N.Y.). David
Zinman conducted the
first performance in
Baltimore on 18 May 1989;
André Previn gave the
West Coast premiere with
the Los Angeles
Philharmonic on 18
January, 1990. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Haja: The Bird Who Was Afraid to Fly Voix d'Enfants [Partition + CD] Hal Leonard
Storybook from Musical Tales for Modern Minds. J3 Music Studios. Hardcove...(+)
Storybook from Musical
Tales for Modern
Minds. J3 Music
Studios. Hardcover with
CD. Published by Hal
Leonard (HL.146080).
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Bela Bartok : The Miraculous Mandarin Ensemble de Percussions [Partition + CD-ROM] - Avancé Tapspace Publications
By Bela Bartok. Arranged by James Ancona. Percussion Ensemble. For glockenspiel,...(+)
By Bela Bartok. Arranged
by James Ancona.
Percussion Ensemble. For
glockenspiel, 3 marimbas
(low A), xylophone,
crotales, 3 vibraphones,
5 timpani, large tam tam,
chimes, 2 china cymbals,
18" suspended cymbal, 4
toms, wind gong, medium
gong, 2 small gongs of
different sizes, dark
sus. Cym., bright sus.
Cym., sizzle cym., snare
drum, 2 small ZilBells,
mounted ratchet. (8
players). Level:
Advanced. Score and
parts. Duration 4:00.
Published by Tapspace
Publications.
$45.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Baltic Way Ensemble de cuivres - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1206253-130 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206253-130
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Score Only. Composed
2019. 48 pages. De Haske
Publications #DHP
1206253-130. Published by
De Haske Publications
(BT.DHP-1206253-130).
English-German-French-
Dutch. In 1989, the
demonstration named the
Baltic Way also
known as the Baltic
Chain— was held in
the Baltic states of
Estonia, Latvia and
Lithuania by its citizens
in a call for
independence from the
Soviet Union. On 23rd
August 1989, some two
million participants
formed a human chain,
hand-in-hand all the way
from the Estonian capital
of Tallinn its Latvian
counterpart, Riga,
through to the Lithuanian
capital of Vilnius - six
hundred kilometres long.
It became the longest
human chain ever created
and turned out to be the
final push needed for
much sought-after
independence. This
historic event became the
source of inspiration for
this composition. The
introduction of thefirst
movement, ‘Struggle
for Independence’,
is based on a nocturne
for piano by the renowned
Lithuanian composer and
painter Mikalojus
Konstantinas iurlionis
(1875-1911), thematic
material from which has
been incorporated
throughout the whole
composition. The
melancholic beginning is
followed by a powerful
theme which reflects the
resolve of the Baltic
people. The sudden
aggressive, dissonant
chords and a dominant
and—in rhythmic
terms—contrary
bass drum announce that
the resistance is not
going smoothly. Just for
a moment, we hear the
anthem of the Soviet
Union in the lower brass,
but this is relentlessly
pushed to the background
by the rest of the band
playing the Lithuanian
national anthem,
‘Tautiška giesm
’ (Lithuania, our
homeland). The second
movement, ‘Decades
of Suffering’,
echoes life under the
Soviet Union's thumb. In
the pursuit of
independence, a peaceful
protest is planned in
which a human chain is
formed across the Baltic
states of Estonia, Latvia
and Lithuania. This
‘Chain of
Freedom’ is
depicted in the final
movement of the work.
De Baltische Weg
(The Baltic Way)
was een demonstratie van
de bevolking van de
Baltische staten die in
1989 plaatsvond als een
roep om onafhankelijkheid
van de Sovjet-Unie. Deze
historische gebeurtenis
vormde de inspiratiebron
voor deze compositie. Van
Vilnius via Riga naar
Tallinn werd een
zeshonderd kilometer
lange keten van naar
schatting twee miljoen
mensen gevormd. Op 23
augustus 1989 gaven al
die mensen elkaar de hand
en werd De Baltische Weg
de langste menselijke
keten ooit. Het bleek de
uiteindelijke opmaat tot
de zo gewenste
onafhankelijkheid. De
inleiding van het eerste
deel, ‘Struggle for
Independence’, is
gebaseerd op een nocturne
voor piano van
devooraanstaande Litouwse
componist en
kunstschilder Mikalojus
Konstantinas iurlionis
(1875-1911). Het
thematische materiaal van
deze nocturne is door de
hele compositie heen
verwerkt. Na het
melancholische begin
volgt een krachtig thema,
waarmee de strijdbaarheid
van de Baltische
bevolking wordt
uitgebeeld. De
plotselinge agressieve
dissonante akkoorden en
een dominante en ritmisch
gezien tegendraadse grote
trom laten horen dat het
verzet niet eenvoudig
verloopt. Even klinkt het
begin van het volkslied
van de Sovjet-Unie in het
lage koper, maar dat
wordt door de rest van de
band onverbiddelijk naar
de achtergrond verwezen
door het Litouwse
nationale volkslied
‘Tautiška giesm
’ (Litouwen, ons
vaderland). In deel twee,
‘Decades of
Suffering’, wordt
het leven onder het juk
van de Sovjet-Unie
verklankt. In het streven
naar onafhankelijkheid
worden plannen gemaakt om
als vreedzaam protest
tegen de onderdrukking
een menselijke keten te
vormen over de wegen van
de Baltische staten
Litouwen, Letland en
Estland. Deze
‘Chain of
Freedom’ wordt in
het laatste deel van het
werk muzikaal
weergegeven.
Der
sogenannte Baltischer Weg
(The Baltic Way)
auch unter dem Namen
Baltische Kette bekannt
war 1989 eine
Demonstration von
Bürgern in den
baltischen Staaten
Estland, Lettland und
Litauen mit dem Aufruf
zur Unabhängigkeit von
der Sowjetunion. Am 23.
August 1989 bildeten rund
zwei Millionen Teilnehmer
eine sechshundert
Kilometer lange
Menschenkette, die von
der estnischen Hauptstadt
Tallinn über das
lettische Riga bis zur
litauischen Hauptstadt
Vilnius reichte. Die
längste Menschenkette,
die jemals geschaffen
wurde, erwies sich als
der letzte Schritt, der
zur lang ersehnten
Unabhängigkeit
führte. Dieses
historische Ereignis
diente der Komposition
alsInspirationsquelle.
Die Einleitung des ersten
Satzes, Struggle for
Independence“,
basiert auf einem
Nocturne für Klavier
des bekannten litauischen
Komponisten und Malers
Mikalojus Konstantinas
iurlionis (1875 1911),
dessen thematisches
Material in der gesamten
Komposition verwendet
wird. Dem melancholischen
Anfang folgt ein
mitreißendes Thema,
das die Entschlossenheit
der baltischen
Bevölkerung
widerspiegelt. Die
plötzlichen
aggressiven, dissonanten
Akkorde und eine
dominante und rhythmisch
gegenläufige Bewegung
in der Basstrommel
kündigen an, dass der
Widerstand nicht
reibungslos verläuft.
Für einen kurzen
Moment erklingt die Hymne
der Sowjetunion in den
tiefen Blechbläsern,
aber diese wird
unerbittlich vom
restlichen Orchester in
den Hintergrund
gedrängt, welches die
litauische Nationalhymne
Tautiška giesm “
(Litauen, unser
Heimatland“)
spielt. Der zweite Satz,
Decades of
Suffering“,
spiegelt das Leben unter
dem Joch der Sowjetunion
wider. Für das Streben
nach Unabhängigkeit
war ein friedlicher
Protest geplant, bei dem
eine Menschenkette durch
die baltischen Staaten
Estland, Lettland und
Litauen gebildet wurde.
Diese Chain of
Freedom“ wird im
letzten Satz des Werkes
beschrieben.
En
1989, la manifestation
nommée « La Voie
balte » (The Baltic
Way) s’est
tenue en Estonie, en
Lettonie et en Lituanie,
les pays baltes dont les
citoyens demandaient
être indépendants
de l’Union
soviétique. Le 23 ao t
1989, quelque deux
millions de personnes se
tenant par la main ont
formé une chaîne
humaine de 600 km de long
reliant les trois
capitales Tallinn
(Estonie), Riga
(Lettonie) et Vilnius
(Lituanie). Cette
chaîne humaine, la
plus longue ce jour,
donna une impulsion
décisive au
rétablissement
d’une
indépendance vivement
souhaitée. Cet
événement
historique est devenu
source
d’inspiration pour
cette composition.
L’introduction du
premier mouvement,«
Struggle for Independence
», est fondée sur
un nocturne pour piano du
célèbre compositeur
et peintre letton
Mikalojus Konstantinas
iurlionis (1875-1911). Du
matériel thématique
emprunté ce nocturne
est parsemé travers la
présente composition.
Un début
mélancolique est suivi
d’un thème
puissant qui reflète
la détermination des
peuples baltes. La
présence soudaine
d’accords
agressifs et dissonants,
associés une grosse
caisse dont le
décalage rythmique
domine, indiquent que la
résistance rencontre
des obstacles. Nous
entendons
momentanément
l’hymne
soviétique dans les
cuivres graves, mais cet
air est inexorablement
repoussé
l’arrière-plan
par le reste de
l’orchestre
interprétant
l’hymne national
de Lettonie, «
Tautiška giesm »
(Lettonie, notre patrie).
Le deuxième mouvement,
« Decades of Suffering
», dépeint la vie
sous le joug de
l’Union
soviétique. la
recherche de
l’indépendance,
une manifestation
pacifique est
organisée sous la
forme d’une
chaîne humaine
traversant les trois pays
baltes l ’Estonie,
la Lettonie et la
Lituanie. Le dernier
mouvement de la pièce,
« Chain of Freedom
», exprime cet appel
la liberté. $30.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Baltic Way Ensemble de cuivres - Intermédiaire/avancé De Haske Publications
Brass Band - Grade 4 SKU: BT.DHP-1206253-030 Composed by Jan de Haan. Con...(+)
Brass Band - Grade 4
SKU:
BT.DHP-1206253-030
Composed by Jan de Haan.
Concert and Contest
Collection Brass Band en
Fanfare. Concert Piece.
Set (Score & Parts).
Composed 2019. De Haske
Publications #DHP
1206253-030. Published by
De Haske Publications
(BT.DHP-1206253-030).
English-German-French-
Dutch. In 1989, the
demonstration named the
Baltic Way also
known as the Baltic
Chain— was held in
the Baltic states of
Estonia, Latvia and
Lithuania by its citizens
in a call for
independence from the
Soviet Union. On 23rd
August 1989, some two
million participants
formed a human chain,
hand-in-hand all the way
from the Estonian capital
of Tallinn its Latvian
counterpart, Riga,
through to the Lithuanian
capital of Vilnius - six
hundred kilometres long.
It became the longest
human chain ever created
and turned out to be the
final push needed for
much sought-after
independence. This
historic event became the
source of inspiration for
this composition. The
introduction of thefirst
movement, ‘Struggle
for Independence’,
is based on a nocturne
for piano by the renowned
Lithuanian composer and
painter Mikalojus
Konstantinas iurlionis
(1875-1911), thematic
material from which has
been incorporated
throughout the whole
composition. The
melancholic beginning is
followed by a powerful
theme which reflects the
resolve of the Baltic
people. The sudden
aggressive, dissonant
chords and a dominant
and—in rhythmic
terms—contrary
bass drum announce that
the resistance is not
going smoothly. Just for
a moment, we hear the
anthem of the Soviet
Union in the lower brass,
but this is relentlessly
pushed to the background
by the rest of the band
playing the Lithuanian
national anthem,
‘Tautiška giesm
’ (Lithuania, our
homeland). The second
movement, ‘Decades
of Suffering’,
echoes life under the
Soviet Union's thumb. In
the pursuit of
independence, a peaceful
protest is planned in
which a human chain is
formed across the Baltic
states of Estonia, Latvia
and Lithuania. This
‘Chain of
Freedom’ is
depicted in the final
movement of the work.
De Baltische Weg
(The Baltic Way)
was een demonstratie van
de bevolking van de
Baltische staten die in
1989 plaatsvond als een
roep om onafhankelijkheid
van de Sovjet-Unie. Deze
historische gebeurtenis
vormde de inspiratiebron
voor deze compositie. Van
Vilnius via Riga naar
Tallinn werd een
zeshonderd kilometer
lange keten van naar
schatting twee miljoen
mensen gevormd. Op 23
augustus 1989 gaven al
die mensen elkaar de hand
en werd De Baltische Weg
de langste menselijke
keten ooit. Het bleek de
uiteindelijke opmaat tot
de zo gewenste
onafhankelijkheid. De
inleiding van het eerste
deel, ‘Struggle for
Independence’, is
gebaseerd op een nocturne
voor piano van
devooraanstaande Litouwse
componist en
kunstschilder Mikalojus
Konstantinas iurlionis
(1875-1911). Het
thematische materiaal van
deze nocturne is door de
hele compositie heen
verwerkt. Na het
melancholische begin
volgt een krachtig thema,
waarmee de strijdbaarheid
van de Baltische
bevolking wordt
uitgebeeld. De
plotselinge agressieve
dissonante akkoorden en
een dominante en ritmisch
gezien tegendraadse grote
trom laten horen dat het
verzet niet eenvoudig
verloopt. Even klinkt het
begin van het volkslied
van de Sovjet-Unie in het
lage koper, maar dat
wordt door de rest van de
band onverbiddelijk naar
de achtergrond verwezen
door het Litouwse
nationale volkslied
‘Tautiška giesm
’ (Litouwen, ons
vaderland). In deel twee,
‘Decades of
Suffering’, wordt
het leven onder het juk
van de Sovjet-Unie
verklankt. In het streven
naar onafhankelijkheid
worden plannen gemaakt om
als vreedzaam protest
tegen de onderdrukking
een menselijke keten te
vormen over de wegen van
de Baltische staten
Litouwen, Letland en
Estland. Deze
‘Chain of
Freedom’ wordt in
het laatste deel van het
werk muzikaal
weergegeven.
Der
sogenannte Baltischer Weg
(The Baltic Way)
auch unter dem Namen
Baltische Kette bekannt
war 1989 eine
Demonstration von
Bürgern in den
baltischen Staaten
Estland, Lettland und
Litauen mit dem Aufruf
zur Unabhängigkeit von
der Sowjetunion. Am 23.
August 1989 bildeten rund
zwei Millionen Teilnehmer
eine sechshundert
Kilometer lange
Menschenkette, die von
der estnischen Hauptstadt
Tallinn über das
lettische Riga bis zur
litauischen Hauptstadt
Vilnius reichte. Die
längste Menschenkette,
die jemals geschaffen
wurde, erwies sich als
der letzte Schritt, der
zur lang ersehnten
Unabhängigkeit
führte. Dieses
historische Ereignis
diente der Komposition
alsInspirationsquelle.
Die Einleitung des ersten
Satzes, Struggle for
Independence“,
basiert auf einem
Nocturne für Klavier
des bekannten litauischen
Komponisten und Malers
Mikalojus Konstantinas
iurlionis (1875 1911),
dessen thematisches
Material in der gesamten
Komposition verwendet
wird. Dem melancholischen
Anfang folgt ein
mitreißendes Thema,
das die Entschlossenheit
der baltischen
Bevölkerung
widerspiegelt. Die
plötzlichen
aggressiven, dissonanten
Akkorde und eine
dominante und rhythmisch
gegenläufige Bewegung
in der Basstrommel
kündigen an, dass der
Widerstand nicht
reibungslos verläuft.
Für einen kurzen
Moment erklingt die Hymne
der Sowjetunion in den
tiefen Blechbläsern,
aber diese wird
unerbittlich vom
restlichen Orchester in
den Hintergrund
gedrängt, welches die
litauische Nationalhymne
Tautiška giesm “
(Litauen, unser
Heimatland“)
spielt. Der zweite Satz,
Decades of
Suffering“,
spiegelt das Leben unter
dem Joch der Sowjetunion
wider. Für das Streben
nach Unabhängigkeit
war ein friedlicher
Protest geplant, bei dem
eine Menschenkette durch
die baltischen Staaten
Estland, Lettland und
Litauen gebildet wurde.
Diese Chain of
Freedom“ wird im
letzten Satz des Werkes
beschrieben.
En
1989, la manifestation
nommée « La Voie
balte » (The Baltic
Way) s’est
tenue en Estonie, en
Lettonie et en Lituanie,
les pays baltes dont les
citoyens demandaient
être indépendants
de l’Union
soviétique. Le 23 ao t
1989, quelque deux
millions de personnes se
tenant par la main ont
formé une chaîne
humaine de 600 km de long
reliant les trois
capitales Tallinn
(Estonie), Riga
(Lettonie) et Vilnius
(Lituanie). Cette
chaîne humaine, la
plus longue ce jour,
donna une impulsion
décisive au
rétablissement
d’une
indépendance vivement
souhaitée. Cet
événement
historique est devenu
source
d’inspiration pour
cette composition.
L’introduction du
premier mouvement,«
Struggle for Independence
», est fondée sur
un nocturne pour piano du
célèbre compositeur
et peintre letton
Mikalojus Konstantinas
iurlionis (1875-1911). Du
matériel thématique
emprunté ce nocturne
est parsemé travers la
présente composition.
Un début
mélancolique est suivi
d’un thème
puissant qui reflète
la détermination des
peuples baltes. La
présence soudaine
d’accords
agressifs et dissonants,
associés une grosse
caisse dont le
décalage rythmique
domine, indiquent que la
résistance rencontre
des obstacles. Nous
entendons
momentanément
l’hymne
soviétique dans les
cuivres graves, mais cet
air est inexorablement
repoussé
l’arrière-plan
par le reste de
l’orchestre
interprétant
l’hymne national
de Lettonie, «
Tautiška giesm »
(Lettonie, notre patrie).
Le deuxième mouvement,
« Decades of Suffering
», dépeint la vie
sous le joug de
l’Union
soviétique. la
recherche de
l’indépendance,
une manifestation
pacifique est
organisée sous la
forme d’une
chaîne humaine
traversant les trois pays
baltes l ’Estonie,
la Lettonie et la
Lituanie. Le dernier
mouvement de la pièce,
« Chain of Freedom
», exprime cet appel
la liberté. $137.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Tales of the Drum 4 Guitares (Quatuor) - Intermédiaire Productions OZ
4 guitars - Intermediate SKU: DZ.DZ-588 Composed by John Graham. Score an...(+)
4 guitars - Intermediate
SKU: DZ.DZ-588
Composed by John Graham.
Score and parts. Les
Productions d'OZ #DZ 588.
Published by Les
Productions d'OZ
(DZ.DZ-588). ISBN
9782895004745. $10.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Page suivante 1 31 61 61 91 |