(Transcription of Concerto for Four Violins No. 2 TWV 40:202). Composed b...(+)
(Transcription of
Concerto for Four
Violins No. 2 TWV
40:202). Composed by
Georg Philipp Telemann
(1681-1767). Arranged by
Katie O'Hara LaBrie.
Orchestra. Masterworks;
Part(s); Score; String
Orchestra. Belwin Concert
String Orchestra. Form:
Concerto; Transcription.
Baroque; Masterwork
Arrangement. Grade 3.5.
124 pages. Published by
Belwin Music
Music Minus One Violin. Composed by Ludwig van Beethoven (1770-1827). Music Minu...(+)
Music Minus One Violin.
Composed by Ludwig van
Beethoven (1770-1827).
Music Minus One.
Classical. Softcover
Audio Online. 32 pages.
Music Minus One #MMO3117.
Published by Music Minus
One
Music Minus One Violin. Composed by Johannes Brahms (1833-1897). Music Minus One...(+)
Music Minus One Violin.
Composed by Johannes
Brahms (1833-1897). Music
Minus One. Classical.
Softcover Audio Online.
24 pages. Music Minus One
#MMO3108. Published by
Music Minus One
Music Minus One Violin. By Geoffrey Applegate. By Peter Ilyich Tchaikovsky (1840...(+)
Music Minus One Violin.
By Geoffrey Applegate. By
Peter Ilyich Tchaikovsky
(1840-1893). Sheet music.
Music Minus One.
Classical. Softcover
Audio Online. 28 pages.
Music Minus One #MMO3102.
Published by Music Minus
One
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000217-010 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000217-010
Composed by Rob Goorhuis.
Set (Score & Parts). 184
pages. Gobelin Music
Publications #GOB
000217-010. Published by
Gobelin Music
Publications
(BT.GOB-000217-010).
On Wings of
Liberty shows us that
Rob Goorhuis, one of
Holland's greatest
contemporary composers of
music for wind
instruments, is a natural
when it comes to writing
concert marches. His
first work of this type
is suitable for just
about every event.
On Wings of
Liberty, van de
toonaangevende
blaasmuziekcomponist Rob
Goorhuis, is een statige
en lyrische concertmars
die geschikt is voor vele
gelegen heden. Op het
programma voor uw
bevrijdingsconcert
misstaat deze fraaie mars
zeker niet!
Rob
Goorhuis ist einer der
besten zeitgenössischen
Komponisten für
Blasorchester der
Niederlande und seine
Werke sind weit
über die
Landesgrenzen seiner
Heimat hinaus bekannt.
Mit On Wings of
Liberty, seinem
ersten Konzertmarsch, der
sich für jeden
Anlass eignet, beweist
er, dass er auch ein
Naturtalent in diesem
Genre ist.
On
Wings of Liberty
dimostra il talento
naturale di Rob Goorhuis,
uno dei più interessanti
compositori olandesi
degli ultimi anni, dotato
di grande ispirazione in
tutte le sue opere. Una
marcia da concerto che si
presta a essere eseguita
in ogni occasione.
On Wings of Liberty Orchestre d'harmonie [Conducteur] - Facile Gobelin Music Publications
Concert Band/Harmonie - Grade 3 SKU: BT.GOB-000217-140 Composed by Rob Go...(+)
Concert Band/Harmonie -
Grade 3
SKU:
BT.GOB-000217-140
Composed by Rob Goorhuis.
Score Only. 10 pages.
Gobelin Music
Publications #GOB
000217-140. Published by
Gobelin Music
Publications
(BT.GOB-000217-140).
On Wings of
Liberty shows us that
Rob Goorhuis, one of
Holland's greatest
contemporary composers of
music for wind
instruments, is a natural
when it comes to writing
concert marches. His
first work of this type
is suitable for just
about every event.
On Wings of
Liberty, van de
toonaangevende
blaasmuziekcomponist Rob
Goorhuis, is een statige
en lyrische concertmars
die geschikt is voor vele
gelegen heden. Op het
programma voor uw
bevrijdingsconcert
misstaat deze fraaie mars
zeker niet!
Rob
Goorhuis ist einer der
besten zeitgenössischen
Komponisten für
Blasorchester der
Niederlande und seine
Werke sind weit
über die
Landesgrenzen seiner
Heimat hinaus bekannt.
Mit On Wings of
Liberty, seinem
ersten Konzertmarsch, der
sich für jeden
Anlass eignet, beweist
er, dass er auch ein
Naturtalent in diesem
Genre ist.
On
Wings of Liberty
dimostra il talento
naturale di Rob Goorhuis,
uno dei più interessanti
compositori olandesi
degli ultimi anni, dotato
di grande ispirazione in
tutte le sue opere. Una
marcia da concerto che si
presta a essere eseguita
in ogni occasione.
Composed by Arcangelo Corelli (1653-1713), edited by Paul Paradise. Performance ...(+)
Composed by Arcangelo
Corelli (1653-1713),
edited by Paul Paradise.
Performance part for 1st
violin. With bowings and
fingerings. 36 pages.
Published by Belwin.
(Violin Part). By Dr. Shinichi Suzuki. For Violin. This edition: Revised. Method...(+)
(Violin Part). By Dr.
Shinichi Suzuki. For
Violin. This edition:
Revised.
Method/Instruction;
String - Violin (Suzuki).
The Suzuki Method Core
Materials. Book. 36 pages
For Violin. Classical (orchestral). Contains a printed score and a compact disc ...(+)
For Violin. Classical
(orchestral). Contains a
printed score and a
compact disc featuring
both concerti in
split-channel stereo with
the violinist on the
right channel; then again
in a stereo accompaniment
version minus the solo
violin part.
Tuba Concerto Orchestre d'harmonie [Conducteur] - Intermédiaire Anglo Music
Concert Band/Harmonie and Tuba Solo - Grade 5 SKU: BT.AMP-173-140 Compose...(+)
Concert Band/Harmonie and
Tuba Solo - Grade 5
SKU:
BT.AMP-173-140
Composed by Philip
Sparke. Elite Series.
Solo & Concerto. Score
Only. Composed 2007. 56
pages. Anglo Music Press
#AMP 173-140. Published
by Anglo Music Press
(BT.AMP-173-140).
9x12
inches.
English-German-French-Dut
ch.
When writing
his tuba concerto, Philip
Sparke wanted to create a
work which explored the
many aspects of the
instrument’s
technical and vocal
qualities but without
resorting to caricature.
The result is a concerto
in two joined movements,
which can both be
programmed individually,
that contains both many
lyrical lines together
with stunning virtuosic
passages. An outstanding
concerto that tuba
players and brass band
audiences alike will
enjoy and
applaud.
Philip
Sparke schuf mit seinem
Tuba Concerto ganz
bewusst ein Stück, das
der Tuba als
Soloinstrument voll und
ganz gerecht wird. Aus
diesem Grund deckt die
Solostimme fast
dreieinhalb Oktaven ab
und nutzt die technischen
und klanglichen
Qualitäten des
Instruments voll und ganz
aus. Das Konzert besteht
aus zwei
zusammenhängenden
Sätzen, die beide
einzeln aufgeführt
werden können: einem
langsamen Satz und einem
Scherzo. Noten für
eine Aufführung mit
Tuba und Klavier sind
ebenfalls
erhältlich.
Concert Band/Harmonie and Tuba Solo - Grade 5 SKU: BT.AMP-173-010 Compose...(+)
Concert Band/Harmonie and
Tuba Solo - Grade 5
SKU:
BT.AMP-173-010
Composed by Philip
Sparke. Elite Series.
Solo & Concerto. Set
(Score & Parts). Composed
2007. Anglo Music Press
#AMP 173-010. Published
by Anglo Music Press
(BT.AMP-173-010).
9x12
inches.
English-German-French-Dut
ch.
When writing
his tuba concerto, Philip
Sparke wanted to create a
work which explored the
many aspects of the
instrument’s
technical and vocal
qualities but without
resorting to caricature.
The result is a concerto
in two joined movements,
which can both be
programmed individually,
that contains both many
lyrical lines together
with stunning virtuosic
passages. An outstanding
concerto that tuba
players and brass band
audiences alike will
enjoy and
applaud.
Philip
Sparke schuf mit seinem
Tuba Concerto ganz
bewusst ein Stück, das
der Tuba als
Soloinstrument voll und
ganz gerecht wird. Aus
diesem Grund deckt die
Solostimme fast
dreieinhalb Oktaven ab
und nutzt die technischen
und klanglichen
Qualitäten des
Instruments voll und ganz
aus. Das Konzert besteht
aus zwei
zusammenhängenden
Sätzen, die beide
einzeln aufgeführt
werden können: einem
langsamen Satz und einem
Scherzo. Noten für
eine Aufführung mit
Tuba und Klavier sind
ebenfalls
erhältlich.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.
2 Violons (duo) [Partition + CD] De Haske Publications
A Journey Through the History of Classical Music. Arranged by Nico Dezaire, Robe...(+)
A Journey Through the
History of Classical
Music. Arranged by Nico
Dezaire, Robert van
Beringen. De Haske
Play-Along Book. Book and
CD Package. Size 9x12
inches. 28 pages.
Published by DeHaske
Publications.
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; Folder.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Set
of parts. 90 pages.
Duration 43'. Breitkopf
and Haertel #OB 3210-30.
Published by Breitkopf
and Haertel
(BR.OB-3210-30).
ISBN
9790004300749. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
Brass Band and Euphonium Solo - Grade 3 SKU: BT.GOB-001198-130 Euphoni...(+)
Brass Band and Euphonium
Solo - Grade 3
SKU:
BT.GOB-001198-130
Euphonium and Brass
Band. Composed by Rob
Goorhuis. Solo &
Concerto. Score Only.
Composed 2013. 44 pages.
Gobelin Music
Publications #GOB
001198-130. Published by
Gobelin Music
Publications
(BT.GOB-001198-130).
9x12 inches.
English-German.
Rob
Goorhuis wrote this
challenging work for solo
euphonium with its
marvellous title The
Seven Divine
Properties at the
request of Danny
Oosterman and after an
idea of Anteun Hoesen. In
fact, this piece came
about because the Andels
Fanfare Corps was going
to record a CD in early
2012 exclusively with
pieces by Rob Goorhuis.
Anteun Hoesen plays the
solo part in this piece
on the CD.The concept of
divine properties
features heavily in
various ancient
religions: these are
properties to which man
can aspire—through
striving towards divine
properties one can evolve
spiritually and become a
better person. Different
divine properties feature
in various religions.
Inthe Christian church,
the terms Faith, Hope and
Love play an important
role.This composition is
primarily written from an
Old Testament point of
view. The chosen
qualities are as follows:
Simplicity, Strength,
Truth, Perseverance and
Passion. After a short
introduction of the
thematic material, the
various properties are
depicted in musical
miniatures.
Het
concept van goddelijke
eigenschappen voert in
verschillende oude
religies de boventoon.
Het zijn eigenschappen
die ook de mens nastreeft
om een beter mens te
worden. Deze compositie
is vooral geschreven
vanuit een
oudtestamentisch
perspectief waarin
kwaliteiten centraal
staan als eenvoud,
kracht, waarheid,
doorzettingsvermogen en
passie.
Auf
Wunsch von Danny
Oosterman und nach einer
Idee von Anteun Hoesen
schrieb Rob Goorhuis ein
herausforderndes Werk
für Solo-Euphonium und
Blasorchester, das den
erhabenen Titel The
Seven Divine
Properties erhielt.
Anlass für die
Entstehung dieser
Komposition war die
Tatsache, dass das Andels
Fanfare Corps Anfang des
Jahres 2012 eine CD
ausschließlich mit
Werken von Rob Goorhuis
aufnehmen sollte. Auf
dieser CD spielt Anteun
Hoesen die Solostimme in
diesem Stück.Die Idee
der göttlichen
Eigenschaften“ (divine
properties) spielt in
diversen Religionen des
Altertums eine Rolle.
Diese Eigenschaften
beziehen sich
tatsächlich auf den
Menschen selbst. Dieser
sollte nach demErlangen
der göttlichen
Eigenschaften streben, um
so ein besserer Mensch zu
werden. In verschiedenen
Gottesdiensten wird den
unterschiedlichen
Eigenschaften
nachgestrebt. Im
christlichen Glauben
spielen dabei die
Begriffe Glaube, Hoffnung
und Liebe eine wichtige
Rolle.Diese Komposition
wurde eher von einem
alttestamentarischen
Standpunkt aus
geschrieben. Die
gewählten Eigenschaften
sind folgende:
Einfachheit, Kraft,
Wahrheit, Ãœberwindung
und Passion. Nach einer
kurzen Einführung des
thematischen Materials
werden die verschiedenen
Eigenschaften in
musikalischen Miniaturen
vertont.
Brass Band and Euphonium Solo - Grade 3 SKU: BT.GOB-001198-030 Euphoni...(+)
Brass Band and Euphonium
Solo - Grade 3
SKU:
BT.GOB-001198-030
Euphoniun and Brass
Band. Composed by Rob
Goorhuis. Solo &
Concerto. Set (Score &
Parts). Composed 2013. 44
pages. Gobelin Music
Publications #GOB
001198-030. Published by
Gobelin Music
Publications
(BT.GOB-001198-030).
9x12 inches.
English-German.
Rob
Goorhuis wrote this
challenging work for solo
euphonium with its
marvellous title The
Seven Divine
Properties at the
request of Danny
Oosterman and after an
idea of Anteun Hoesen. In
fact, this piece came
about because the Andels
Fanfare Corps was going
to record a CD in early
2012 exclusively with
pieces by Rob Goorhuis.
Anteun Hoesen plays the
solo part in this piece
on the CD.The concept of
divine properties
features heavily in
various ancient
religions: these are
properties to which man
can aspire—through
striving towards divine
properties one can evolve
spiritually and become a
better person. Different
divine properties feature
in various religions.
Inthe Christian church,
the terms Faith, Hope and
Love play an important
role.This composition is
primarily written from an
Old Testament point of
view. The chosen
qualities are as follows:
Simplicity, Strength,
Truth, Perseverance and
Passion. After a short
introduction of the
thematic material, the
various properties are
depicted in musical
miniatures.
Het
concept van goddelijke
eigenschappen voert in
verschillende oude
religies de boventoon.
Het zijn eigenschappen
die ook de mens nastreeft
om een beter mens te
worden. Deze compositie
is vooral geschreven
vanuit een
oudtestamentisch
perspectief waarin
kwaliteiten centraal
staan als eenvoud,
kracht, waarheid,
doorzettingsvermogen en
passie.
Auf
Wunsch von Danny
Oosterman und nach einer
Idee von Anteun Hoesen
schrieb Rob Goorhuis ein
herausforderndes Werk
für Solo-Euphonium und
Blasorchester, das den
erhabenen Titel The
Seven Divine
Properties erhielt.
Anlass für die
Entstehung dieser
Komposition war die
Tatsache, dass das Andels
Fanfare Corps Anfang des
Jahres 2012 eine CD
ausschließlich mit
Werken von Rob Goorhuis
aufnehmen sollte. Auf
dieser CD spielt Anteun
Hoesen die Solostimme in
diesem Stück.Die Idee
der göttlichen
Eigenschaften“ (divine
properties) spielt in
diversen Religionen des
Altertums eine Rolle.
Diese Eigenschaften
beziehen sich
tatsächlich auf den
Menschen selbst. Dieser
sollte nach demErlangen
der göttlichen
Eigenschaften streben, um
so ein besserer Mensch zu
werden. In verschiedenen
Gottesdiensten wird den
unterschiedlichen
Eigenschaften
nachgestrebt. Im
christlichen Glauben
spielen dabei die
Begriffe Glaube, Hoffnung
und Liebe eine wichtige
Rolle.Diese Komposition
wurde eher von einem
alttestamentarischen
Standpunkt aus
geschrieben. Die
gewählten Eigenschaften
sind folgende:
Einfachheit, Kraft,
Wahrheit, Ãœberwindung
und Passion. Nach einer
kurzen Einführung des
thematischen Materials
werden die verschiedenen
Eigenschaften in
musikalischen Miniaturen
vertont.
(60 Classical Masterpieces in Easy Piano Arrangements). By Various. Edited by Ha...(+)
(60 Classical
Masterpieces in Easy
Piano Arrangements). By
Various. Edited by
Hans-Günter Heumann.
Piano Collection.
Softcover. 184 pages.
Schott Music #ED20764.
Published by Schott Music
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-16. Published by
Breitkopf and Haertel
(BR.OB-3210-16).
ISBN
9790004300701. 10 x 12.5
inches.
Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time.
The Wooden Soldier Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115249-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2
SKU:
BT.DHP-1115249-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 32
pages. De Haske
Publications #DHP
1115249-140. Published by
De Haske Publications
(BT.DHP-1115249-140).
9x12 inches.
English-German-French-Dut
ch.
The Wooden
Soldier is a short
and simple piece
commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
andoptional parts.The
wooden toy soldier that
inspires the work
initially marches in a
fictitious parade before
gliding into a swift
waltz. Both sections are
based on the same melodic
material: the brisk
triple-time passage is in
fact a variation on the
parade theme. Switching
between majorand minor
keys—together with
a number of surprising
twists—makes an
enthralling work despite
the restrictions imposed.
The Wooden
Soldier is een kort
en eenvoudig werkje dat
is geschreven in opdracht
van het Singaporese
ministerie van Onderwijs.
Het was aanvankelijk
bedoeld als verplicht
werk voor het Singapore
Youth Festival 2012.
Omdat veelschoolorkesten
in Singapore een
onvolledige bezetting
hebben, kreeg de
componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Het houten
speelgoedsoldaatje dat
als inspiratiebron
diende, stapt eerst in
een fictieve parade en
strekt daarna de benen
tijdens een vlotte wals.
Beide passages zijn
gebaseerd op hetzelfde
melodischemateriaal: de
snelle driekwartsmaat is
dus als het ware een
variant op het
paradethema. De
afwisseling tussen grote-
en kleinetertstoonaarden
en hier en daar een
verrassende wending
zorgen ervoor dat dit
werkje met zijn enethema
blijft boeien, ondanks de
vele opgelegde
beperkingen.
Th
e Wooden Soldier ist
ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das
Werk so zu gestalten,
dass es auch mit einem
begrenzten Ensemble
gespielt werden könne:
Dies erklärt einige
Verdopplungen und
optionale Instrumente.Der
hölzerne
Spielzeugsoldat, der als
Quelle der Inspiration
diente, marschiert
zunächst in einer
fiktiven Parade, um
danach das Tanzbein zu
einem flotten Walzer zu
schwingen.
BeideAbschnitte basieren
auf demselben melodischen
Material: Der schnelle
Dreivierteltakt ist also
im Grunde eine Variation
auf das Parade-Thema. Der
Wechsel zwischen Dur- und
Moll-Tonarten sowie
eingestreute
überraschende
Wendungen sorgen
dafür, dass dieses
Stück mit seinem
einen Thema trotz der
zahlreichen auferlegten
Beschränkungen stets
spannend bleibt.
Commissionato
come brano
d’obbligo dal
Ministero
dell’Educazione
per il Singapore Youth
Festival 2012, The
Wooden Soldier è
stato arrangiato per
poter essere eseguito da
una formazione ad
organico ridotto. Il
pezzo include varie parti
raddoppiate e opzionali.
Il brano inizia in uno
stile simile a una marcia
da parata per poi
scivolare verso un rapido
valzer, basandosi,
seppure in stili diversi,
sul medesimo materiale
melodico. I passaggi tra
tonalit maggiori e
minori, come anche
sorprendenti colpi di
scena, fanno di questo
brano una valida aggiunta
al programma da
concerto.
For Violin. Contains a printed score and a compact disc featuring both concerti ...(+)
For Violin. Contains a
printed score and a
compact disc featuring
both concerti in
split-channel stereo with
the violinist on the
right channel; then again
in a stereo accompaniment
version minus the solo
violin part. Published by
Music Minus One.