Concerto per il Flauto
traverso in D.
Composed by Wilhelm
Friedemann Bach. Edited
by Peter Wollny, Sergej
Kudriachov. Stuttgart
Urtext edition. German
title: Flotenkonzert In D
C15. Set of Orchestra
Parts. BR-WFB C 15.
Duration 18 minutes.
Carus Verlag #CV
32.315/19. Published by
Carus Verlag
(CA.3231519).
ISBN
9790007139001. Key: D
major. Language: all
languages.
With the
first appearance of this
three-movement concerto
for flute, 2 violins,
viola and basso continuo,
Wilhelm Friedemann Bach's
only surviving flute
concerto is made
accessible to a wider
musical audience. The
transparent delicacy of
the composition is
visible in the orchestral
movement. Almost
continuously written in 3
parts the concerto
clearly bears the
individual artistic
traits of the eldest of
Bach's sons. The critical
edition is based on the
only known source, from
the library of the
'Berliner Singakademie',
will be contained in
volume IV/2 of the
complete edition of
Wilhelm Friedemann Bach's
works. Score and parts
available separately -
see item CA.3231500.
(20 Pieces Arranged for 5-String Banjo). By Johann Sebastian Bach (1685-1750). A...(+)
(20 Pieces Arranged for
5-String Banjo). By
Johann Sebastian Bach
(1685-1750). Arranged by
Mark Phillips. For Banjo.
Banjo. Softcover.
Published by Hal Leonard
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840403
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger. This
edition: Paperbound.
Stuttgart Urtext Edition:
Bach vocal. With one
part. Piano reduction.
Composed 1768. Warb C 79.
Duration 20 minutes.
Carus Verlag #CV
38.404/03. Published by
Carus Verlag
(CA.3840403).
ISBN
9790007096472. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score
available separately -
see item CA.3840400.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840412
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Violin 2.
Single Part, Violin 2.
Composed 1768. Warb C 79.
12 pages. Duration 20
minutes. Carus Verlag #CV
38.404/12. Published by
Carus Verlag
(CA.3840412).
ISBN
9790007215200. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
part available separately
- see item
CA.3840400.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840409
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger. 1x
38.404/21 flute, 1x
38.404/31 horn 1, 1x
38.404/32 horn 2.
Stuttgart Urtext Edition:
Bach vocal. Harmony
parts. Set of Orchestra
Parts. Composed 1768.
Warb C 79. 24 pages.
Duration 20 minutes.
Carus Verlag #CV
38.404/09. Published by
Carus Verlag
(CA.3840409).
ISBN
9790007215187. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
parts available
separately - see item
CA.3840400.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840413
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Viola. Single
Part, Viola. Composed
1768. Warb C 79. 8 pages.
Duration 20 minutes.
Carus Verlag #CV
38.404/13. Published by
Carus Verlag
(CA.3840413).
ISBN
9790007215217. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
part available separately
- see item
CA.3840400.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840414
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal.
Violoncello/double bass.
Single Part, Cello/Double
Bass. Composed 1768. Warb
C 79. 12 pages. Duration
20 minutes. Carus Verlag
#CV 38.404/14. Published
by Carus Verlag
(CA.3840414).
ISBN
9790007215224. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
part available separately
- see item
CA.3840400.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840419
Composed
by Johann Christian Bach.
Edited by Ulrich
Leisinger. Stuttgart
Urtext Edition: Bach
vocal. Complete
orchestral parts. Set of
Orchestra Parts. Composed
1768. Warb C 79. Duration
20 minutes. Carus Verlag
#CV 38.404/19. Published
by Carus Verlag
(CA.3840419).
ISBN
9790007144340. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
parts available
separately - see item
CA.3840400.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840400
Composed
by Johann Christian Bach.
Edited by Ulrich
Leisinger. This edition:
Paperbound. Stuttgart
Urtext Edition: Bach
vocal. German title:
Flotenkonzert in D. Full
score. Composed 1768.
Warb C 79. Duration 20
minutes. Carus Verlag #CV
38.404/00. Published by
Carus Verlag
(CA.3840400).
ISBN
9790007095697. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude.
Solo flute, 2 horn, 2
violin, viola,
cello/bass, basso
continuo
SKU:
CA.3840411
Flotenkonzert in
D. Composed by Johann
Christian Bach. Edited by
Ulrich Leisinger.
Stuttgart Urtext Edition:
Bach vocal. Violin 1.
Single Part, Violin 1.
Composed 1768. Warb C 79.
12 pages. Duration 20
minutes. Carus Verlag #CV
38.404/11. Published by
Carus Verlag
(CA.3840411).
ISBN
9790007215194. Key: D
major. Language: all
languages.
Johann
Christian Bach was - as
his father before him -
only very seldom
satisfied with the
compositions that he put
down on paper. Thus did
this concerto too undergo
many
corrections/revisions by
the composer and today
consists of three
movements of similar
length. Although they
were initially handed
down separately at
different locations, the
motivic relationship as
well as the melodic and
figurative references
among themselves clearly
reveals the common
identity of the three
movements. Not only the
final rondo is
characterized by highly
virtuoso passages, but
both the slow, second
movement as well as the
introductory movement
testify to youngest Bach
son's compositional
greatness, whose works
later generations
unjustly let almost fall
into desuetude. Score and
part available separately
- see item
CA.3840400.
From
Novelettes, Op. 15.
Composed by Alexander
Glazunov. Arranged by
Deborah Baker Monday. SWS
FS. Concert String
Orchestra. Set of Score
and Parts. With Standard
notation.
24+24+6+15+15+10+16
pages. Carl Fischer Music
#CAS63. Published by Carl
Fischer Music (CF.CAS63).
ISBN 9780825889387.
UPC: 798408089382. 8.5 x
11 inches. Key: D
major.
Originally
written for string
quartet, this fantastic
characteristic piece from
Glazunov is a welcome
addition to the string
orchestra repertoire, as
arranged by Deborah Baker
Monday. Well-suited for
the more advanced
ensemble, it contains
excellent musical
opportunities and the
chance to play the music
of a prominent Russian
composer. Deborah's
setting stays very true
to the original, but
enhances it for use by
the full ensemble. Alert
your contest/festival
music committee to this
worthy new piece for high
school string
orchestras. Alexander
Glazunov
(1865–1936) lived
during a very
transitional period of
Russian music history,
active as a composer,
conductor, and teacher.
He was a part of the
Romantic school of
Russian music following
in the tradition of
Tchaikovsky, like his
fellow composers Borodin
and
Rimsky-Korsakov.During
his years at the
conservatory he
instructed many students
who chose to pursue the
modern trends set forth
by Debussy. Stravinsky,
Shostakovich, and even
Prokofiev took
instruction from
Glazunov. Although they
considered him
old-fashioned, he was
remembered as a
stabilizing influence
during transitional
times.Glazunov’s
music stayed within the
category of Russian
Romanticsm: nationalistic
with classical formality.
His list of works
includes numerous
symphonies, concertos,
piano and vocal works,
and chamber works
including seven string
quartets.Op. 15 was first
given the title
“Suite†(a
collection of dances),
and after a
friend’s
recommendation he changed
the name to
“Novelettesâ€.
The five movements are of
contrasting style, but
beautifully reminiscent
of their particular
themes:I. Alla
SpagnuolaII.
OrientaleIII. Interludium
in modo anticoIV. ValseV.
All’ UnghereseThis
movement is very well
adaptable for string
orchestra. The original
string quartet moodis
light, using harmonics
and pizzicato, but there
are forceful sections
which allow for strong
sectional playing
(especially with the
cello and bass orchestral
sound). There is very
much interesting melodic
material offered for all
instruments which lends
itself to a fantastic
string orchestra
arrangement. Conductors
will find material in all
sections which provide
greatopportunities for
rehearsal.The form is a
large ABA with a D.C. al
fine, but the sections
are not square by any
means.There is lots of
energy and momentum in
the material of both
sections, as well as a
modalcharacter which
gives the music an exotic
sound. Bowing patterns
abound in all sections
formore great teaching
opportunities.
About Carl
Fischer Concert String
Orchestra
Series
Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by:
Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
More
comprehensive bowing
techniques
Viola
T.C.
included
Careful
selection of keys and
degree of difficulty for
advancing
musicians
Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S).
UPC:
680160684472.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L).
UPC:
680160684489.
The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes.
By Wilhelm Friedemann Bach (1710-1784). Edited by Peter Wollny / Sergej Kudriach...(+)
By Wilhelm Friedemann
Bach (1710-1784). Edited
by Peter Wollny / Sergej
Kudriachov. For Flute, 2
Violins, Viola,
Cello/Contrabass,
Harpsichord. This
edition: paperbound. Fk
15c (BR WFB C 15). Full
score available
separately - see item
CA.3231500. Piano/Vocal
score with part.
Language: all languages.
40 pages. Duration 18
min. Published by Carus
Verlag
Piano Quintet (solos:
ob.clar.hn.bsn - 0.2.0.0.
- 2.0.0.0. - str)
SKU:
BR.MR-1046
Composed
by Wolfgang Amadeus
Mozart. Chamber music;
Softbound. Musica Rara.
Symphony; Solo concerto;
Classical. Piano
reduction. 84 pages.
Duration 25'. Breitkopf
and Haertel #MR 1046.
Published by Breitkopf
and Haertel (BR.MR-1046).
Offertorium de Beata
Maria Virgine.
Composed by Leopold
Mozart. Edited by Armin
Kircher. Arranged by Paul
Horn. Sacred music from
Salzburg. Complete
orchestral parts. Sacred
vocal music, Feasts of
the Blessed Virgin Mary,
Hymns in praise of the
Virgin Mary. Set of
Orchestra Parts. Composed
circa 1760. KV. Duration
7 minutes. Carus Verlag
#CV 27.289/19. Published
by Carus Verlag
(CA.2728919).
ISBN
9790007201074. Key: C
major. Language:
Latin.
In the 17th
and 18th centuries,
Salzburg, where Leopold
Mozart was Assistant
Court Music Director, was
a center for polyphonic
Offertory settings and
multimovement offertory
concerti, which developed
into a main genre of
Catholic liturgical music
in the south German
region.The Salzburg
Cathedral seems an
obvious choice, which the
solemn orchestration with
trumpets and timpani
would support. Score and
parts available
separately - see item
CA.2728900.