((Chinese Drum)). By Fritz Kreisler (1875-1962). Arranged by Greg Anderson. For Piano. Book; Duet or Duo; Masterworks; Piano Duet (1 Piano, 4 Hands). Anderson and Roe Duos and Duets. 20th Century; Masterwork Arrangement; Recital; Romantic. Advanced. 16 pages. Published by Alfred Music Publishing

(for percussion ensemble and rhythm section). By Jim Casella. Percussion Ensemble. For Glockenspiel, chimes, xylophone, 2 vibraphones (with motor), 4 low-F marimbas (adaptable for 2), bell tree, 2 octave crotales (adaptable for 1), 2 sizzle cymbals, woodblock, 3 suspended cymbals, vibra slap, temple blocks, Chinese opera gong, triangle, rib (16 players). This edition: Percussion ensemble. Concert Percussion Ensembles. For percussion ensemble and rhythm section. Medium-Advanced. Folio parts on CD-Rom. 24 pages. Duration 6:00

SSA Choir and Piano

SKU: HL.14000856

Composed by Sir Arthur Drummond Bliss. Music Sales America. Classical. Choral Score. 12 pages. Music Sales #NOV510669. Published by Music Sales (HL.14000856).

6.75x10.0x0.046 inches.

Marching percussion ensemble (Snare, Tenor Drums, Cymbals, Bass Drums, Bells, Xylophone, Marimba, (4) Timpani, Suspended Cymbal, Triangle, Full Band) - Grade 4

SKU: RF.9206-WTCD

Arranged by Brooks and McDonald. Marching Series. Score and digital audio. Duration 1:15. Row-Loff Publications #9206-WTCD. Published by Row-Loff Publications (RF.9206-WTCD).

SKU: HL.366183

Drum Microphone Mount. Heil Sound. Drums. Hal Leonard #HH-1. Published by Hal Leonard (HL.366183).

UPC: 810100410483. 3.0x9.0x1.714 inches.

The Heil HH-1 drum mic mount is patent pending, in part, for its utility in mounting microphones to drums securely. The HH-1 offers several options to mount, including via the rim, or to the mounting hoops of the drums. The fully adjustable HH-1 was developed with input from jazz drummer and producer Hunter Herman (hence the HH-1 designation). The HH-1 addresses the need to place drum mics in perfect proximity to the drum to get the desired sound, while ergonomically mounting and remaining fully adjustable. Whether top mounting, or for when you need a little space between the drum & mic, and/or you're mounting from underneath, you can place your mic with confidence. With the HH-1, you can get into the tightest of tight spots, and you can place microphones where they are going to operate at their optimum level of performance. In live situations, the HH-1 lets sound technicians do great work, without fear of mic stands moving around, or worrying about inferior mounts that tend to break. Accepts 1/4″-20 and 5/8″-27 standard mic threads.

Mallets; Percussion

SKU: HL.776459

Model 3343. Composed by Giovanni Sollima. CB Drums. Opera or Operetta. General Merchandise. Composed 2016. Hal Leonard #3343. Published by Hal Leonard (HL.776459).

UPC: 736021503151. 1.25x12.0x0.269 inches. Italian.

This pair of bell mallets from CB Percussion are duo-toned.

(Hands-On Basic Training for Musicians). Composed by Bobby Owsinski. Book; Books and DVDs; DVD; Method/Instruction; Pro Audio; Pro Audio Textbook; Reference Textbooks. Boot Camp. 160 pages. Published by Alfred Music

Chamber Music Piano, soprano Saxophone

SKU: PR.114419290

Composed by Chen Yi. Edited by Chen Yi. Arranged by Wong Tak Chiu. Sws. Score and parts. 44 pages. Duration 20 minutes. Theodore Presser Company #114-41929. Published by Theodore Presser Company (PR.114419290).

ISBN 9781491135235. UPC: 680160676118. 9 x 12 inches.

Supported by a major commissioning award from the Serge Koussevitzky Music Foundation in the Library of Congress, my Chinese Folk Dance Suite is written for violin solo and orchestra, and premiered by The Women's Philharmonic with violin soloist Terrie Baune, conducted by Apo Hsu, on March 10, 2001, at Yerba Buena Center For the Arts Theater in San Francisco. Inspired by various Chinese traditional folk dances, I've composed three movements in the suite: 1) Lion Dance. Traditionally, people dance with richly decorated hand made lions, accompanied by percussion ensemble, to celebrate happy occasions and major festivals throughout the country. In the composition, I use Chinese drum and other percussion instruments in the background, to form a dynamic and rhythmic texture responding to the solo part, which imitates the tunes played on the suona (traditional Chinese trumpet). The pitch materials came from traditional Guangdong Music tune and Chaozhou Music tune ; 2) YangKo. Originated in northern China, it's a major folk dance form in mass performance popularized in the country. In YangKo performance, people always play rhythmic patterns on the drums hung around their waists while singing and dancing. In my second movement, I have imagined a warm scene of YangKo dancing in distance. The solo violin plays a sweet and gracious melodic line while all members in the orchestra sing the non-pitch syllables in different layers as the soft background, to imitate the percussion sound which produces the ever going pulse. 3) Muqam. It is a large scale traditional music and dance form from Uygur nationality in Xinjiang province, originated in the 15th century. In my third movement, I keep the meter of seven eight and the melodic style of Muqam music. The fiery dancing gesture cumulates the sustained climax section at the end of the work, after a colorful violin cadenza in both improvisational singing style and polyphonic writing with woven lines. Scored for 2 flutes (2nd doubling piccolo), 2 oboes, 2 clarinets in Bb, 2 bassoons, 4 French horns in F, 2 trumpets in Bb, 3 trombones, percussion 1 (3 congas, low tom-tom, temple block, paddle castanets), percussion 2 (snare drum, 6 small Beijing opera gong, 12 big Beijing opera gong, crotales, tambourine), percussion 3 (suspended cymbal, a pair of 6 Chinese cymbals, bass drum), solo violin, violins I, violins II, violas, cellos and double basses. Duration is about 16 minutes. The work is recorded on Bis [CD-1352] and released in 2003, performed by Cho-Liang Lin and the Singapore Symphony Orchestra, cond. by Lan Shui. Reduction for B-flat soprano saxophone and piano by Wong Tak Chiu (2017) and edited by Chen Yi (2018) The second movement YangKo is premiered by Dr. Wong and Korak Lerpibulchai at the Singapore Saxophone Symposium on 8/13/2017. The American premiere of the saxophone and piano reduction version of Chinese Folk Dance Suite is given by Chi Him Chik and Hao Yin at the Society for American Music National Conference in Kansas City, MO on 3/2/2018.

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505319

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1739. HWV 53. Duration 165 minutes. Carus Verlag #CV 55.053/19. Published by Carus Verlag (CA.5505319).

ISBN 9790007145804. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and parts available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505312

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Single Part, Violin 2. Composed 1739. HWV 53. 56 pages. Duration 165 minutes. Carus Verlag #CV 55.053/12. Published by Carus Verlag (CA.5505312).

ISBN 9790007226589. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and part available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, 3 trombones, timpani, 2 violins, viola, harp, bells, organ, basso continuo

SKU: CA.5505300

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Full score. Composed 1739. HWV 53. Duration 165 minutes. Carus Verlag #CV 55.053/00. Published by Carus Verlag (CA.5505300).

ISBN 9790007167639. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes.

Oratorio. Composed by George Frideric Handel (1685-1759). Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Oratorios. Vocal score. Composed 1739. HWV 53. 216 pages. Published by Carus Verlag (CA.5505303).

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505305

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Choral Score. Composed 1739. HWV 53. Duration 165 minutes. Carus Verlag #CV 55.053/05. Published by Carus Verlag (CA.5505305).

ISBN 9790007162603. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505314

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Single Part, Cello. Composed 1739. HWV 53. 60 pages. Duration 165 minutes. Carus Verlag #CV 55.053/14. Published by Carus Verlag (CA.5505314).

ISBN 9790007226602. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and part available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505349

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Single Part, Organ. Composed 1739. HWV 53. 102 pages. Duration 165 minutes. Carus Verlag #CV 55.053/49. Published by Carus Verlag (CA.5505349).

ISBN 9790007145767. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and part available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505313

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Single Part, Viola. Composed 1739. HWV 53. 44 pages. Duration 165 minutes. Carus Verlag #CV 55.053/13. Published by Carus Verlag (CA.5505313).

ISBN 9790007226596. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and part available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flute, 2 oboe, 2 bassoon, 2 trumpet, 3 trombone, timpani, 2 violin, viola, harp, carillons, organ, basso continuo

SKU: CA.5505309

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. 2x 55.053/21 flutes 1 and 2, 1x 55.053/22 oboe 1, 1x 55.053/23 oboe 2, 2x 55.053/24 flutes 1 and 2, 2x 55.053/31 trumpet, 3x 55.053/32 trombone, 1x 55.053/41 timpani, 1x 55.053/42 harp, 2x 55.053/43 carillion. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Set of Orchestra Parts. Composed 1739. HWV 53. Duration 165 minutes. Carus Verlag #CV 55.053/09. Published by Carus Verlag (CA.5505309).

ISBN 9790007226565. Text language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score and parts available separately - see item CA.5505300.

Orchestra SATB vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 bassoons, 2 trumpets, 3 trombones, timpani, 2 violins, viola, harp, Carillons, organ, basso continuo

SKU: CA.5505301

Oratorio. Composed by George Frideric Handel. Edited by Felix Loy. This edition: urtext. Stuttgart Urtext Edition: Handel. Saul Hwv 53 Kartoniert. Sacred vocal music, Oratorios. Full score. Composed 1739. HWV 53. 304 pages. Duration 165 minutes. Carus Verlag #CV 55.053/01. Published by Carus Verlag (CA.5505301).

ISBN 9790007143367. Language: English/German.

Sau l, published for the first time in the version conducted by Handel himself. Saul is one of the most dramatic of Handel's oratorios. To a greater extent than almost any other oratorio it reveals with its gripping dramatic power its proximity to opera of its time. The score demands what was at the time Handel's most varied orchestra. The normal opera orchestra of the day was augmented by trombones, harp, solo organ, carillon (Glockenspiel) and large kettledrums. The choir functions for the first time as a central participant in dramatic action, while also undertaking commentating functions as in a Greek tragedy. This new edition makes use for the first time of musical material revealed by the latest Handel research, based as its most important source on the conducting score from which Handel himself directed his performances. Only this research has shown which arias, choruses, recitatives and instrumental pieces, after he had made numerous corrections in his autograph, Handel chose for his performances, and in what order they were given. The result has produced, apart from many changes of details (e.g. autograph instructions concerning the use of the organ), uncommon ordering of individual pieces, and passages with altered notes. Score available separately - see item CA.5505300.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963S

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.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963SP

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.

Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Horn 3, Horn 4, Marimba, Oboe 1, Oboe 2, Percussion 1, Percussion 2, Percussion 3, Snare Drum, Suspended Cymbal, Tam-tam, Trombone 1 and more.

SKU: PR.11641963L

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.

Concert Band/Harmonie

SKU: BT.DHP-1043529-140

The Great Classics. Transcription. Score Only. Composed 2004. 16 pages. De Haske Publications #DHP 1043529-140. Published by De Haske Publications (BT.DHP-1043529-140).

English-German-French- Dutch.

The French composer Daniel François Esprit Auber (1782-1871) witnessed many important developments in the history of music ? from Luigi Cherubini to Richard Wagner. His extensive output consisted mainly of operas, but unfortunately today only two of these are still well known, including the comic opera Fra Diavolo. The story concerns Fra Diavolo, a famous Italian bandit and soldier from the late 18th and early 19th centuries, and is one of crime, lust and treachery. The overture has a classical structure and is filled with striking themes and motifs and has a particularly unusual introduction (for the time) with the snare drum taking the leading role!

De Franse componist Daniel François Esprit Auber (1782-1871) heeft belangrijke ontwikkelingen in de muziekgeschiedenis meegemaakt: van Luigi Cherubini tot Richard Wagner. Zijn uitgebreide oeuvre bestaat voornamelijk uit opera’s, waarvaner nu nog maar twee bekend zijn, waaronder het komische werk Fra Diavolo. Het verhaal over Fra Diavolo, een beroemde Italiaanse roverhoofdman en soldaat, is er een van misdaad, begeerte en verraad. De ouverture heeft een klassiekeopbouw met opvallende thema’s en motieven en heeft een (voor die tijd) wel heel ongebruikelijke inleiding: de kleine trom speelt een solistische rol!

Die Ouvertüre zu Aubers komischer Oper Fra Diavolo hat eine klassische Form mit leicht wieder erkennbaren Themen, klaren Bildern und deutlichen Motiven - sehr passend zu einer ebenfalls einprägsamen, turbulenten Handlung voll von Gerichtsvollziehern und Dieben! Unsentimentale, reizvolle Musik, die auch in der Transkription von Wil van der Beek das Publikum in ihren Bann ziehen wird!

Daniel François Esprit Auber (Caen, 1782 ; Paris, 1871) a été témoin de tout un cycle de l’histoire de la musique, de Luigi Cherubini Richard Wagner. Son répertoire comporte essentiellement des opéras. Des quarante opéras qu’il a composés, seuls deux ont su résister aux vicissitudes du temps : La Muette de Portici (parfois nommée Masaniello) et Fra Diavolo. La Muette de Portici est un opéra révolutionnaire de nombreux égards ; la légende veut même que la représentation du 29 juin 1830, au Thé tre de la Monnaie de Bruxelles ait déclenché l’insurrection qui fut l’origine du mouvement révolutionnaire entraînant la séparation de la Belgique et de laHollande. L’opéra-comique Fra Diavolo se révèle par son intérêt musical, qui lui vaut d’être interprété de nos jours encore. Les nombreuses aventures du capitaine Fra Diavolo sont restées captivantes gr ce un langage musical attrayant, dénué de sentimentalité.Lâ€⠄¢ouverture Fra Diavolo est de structure classique. Les thèmes simples et débonnaires évoquent des images claires, et de nombreux appels et échos militaires nous rappellent que l’intrigue se développe au rythme des péripéties des brigands et des carabiniers ! L’introduction de l’ouverture est orchestrée de façon inhabituelle pour l’époque. La caisse claire tient le rôle principal.

Concert Band/Harmonie - Grade 4

SKU: BT.DHP-1043529-010

The Great Classics. Transcription. Set (Score & Parts). Composed 2004. 16 pages. De Haske Publications #DHP 1043529-010. Published by De Haske Publications (BT.DHP-1043529-010).

English-German-French- Dutch.

The French composer Daniel François Esprit Auber (1782-1871) witnessed many important developments in the history of music ? from Luigi Cherubini to Richard Wagner. His extensive output consisted mainly of operas, but unfortunately today only two of these are still well known, including the comic opera Fra Diavolo. The story concerns Fra Diavolo, a famous Italian bandit and soldier from the late 18th and early 19th centuries, and is one of crime, lust and treachery. The overture has a classical structure and is filled with striking themes and motifs and has a particularly unusual introduction (for the time) with the snare drum taking the leading role!

De Franse componist Daniel François Esprit Auber (1782-1871) heeft belangrijke ontwikkelingen in de muziekgeschiedenis meegemaakt: van Luigi Cherubini tot Richard Wagner. Zijn uitgebreide oeuvre bestaat voornamelijk uit opera’s, waarvaner nu nog maar twee bekend zijn, waaronder het komische werk Fra Diavolo. Het verhaal over Fra Diavolo, een beroemde Italiaanse roverhoofdman en soldaat, is er een van misdaad, begeerte en verraad. De ouverture heeft een klassiekeopbouw met opvallende thema’s en motieven en heeft een (voor die tijd) wel heel ongebruikelijke inleiding: de kleine trom speelt een solistische rol!

Die Ouvertüre zu Aubers komischer Oper Fra Diavolo hat eine klassische Form mit leicht wieder erkennbaren Themen, klaren Bildern und deutlichen Motiven - sehr passend zu einer ebenfalls einprägsamen, turbulenten Handlung voll von Gerichtsvollziehern und Dieben! Unsentimentale, reizvolle Musik, die auch in der Transkription von Wil van der Beek das Publikum in ihren Bann ziehen wird!

Daniel François Esprit Auber (Caen, 1782 ; Paris, 1871) a été témoin de tout un cycle de l’histoire de la musique, de Luigi Cherubini Richard Wagner. Son répertoire comporte essentiellement des opéras. Des quarante opéras qu’il a composés, seuls deux ont su résister aux vicissitudes du temps : La Muette de Portici (parfois nommée Masaniello) et Fra Diavolo. La Muette de Portici est un opéra révolutionnaire de nombreux égards ; la légende veut même que la représentation du 29 juin 1830, au Thé tre de la Monnaie de Bruxelles ait déclenché l’insurrection qui fut l’origine du mouvement révolutionnaire entraînant la séparation de la Belgique et de laHollande. L’opéra-comique Fra Diavolo se révèle par son intérêt musical, qui lui vaut d’être interprété de nos jours encore. Les nombreuses aventures du capitaine Fra Diavolo sont restées captivantes gr ce un langage musical attrayant, dénué de sentimentalité.Lâ€⠄¢ouverture Fra Diavolo est de structure classique. Les thèmes simples et débonnaires évoquent des images claires, et de nombreux appels et échos militaires nous rappellent que l’intrigue se développe au rythme des péripéties des brigands et des carabiniers ! L’introduction de l’ouverture est orchestrée de façon inhabituelle pour l’époque. La caisse claire tient le rôle principal.

Concert Band

SKU: BT.DHP-1043529-040

The Great Classics. Transcription. Set (Score & Parts). Composed 2004. 16 pages. De Haske Publications #DHP 1043529-040. Published by De Haske Publications (BT.DHP-1043529-040).

English-German-French- Dutch.

French composer Daniel François Esprit Aubers extensive outputconsisted mainly of operas, but unfortunately today only two of theseare still well known, including the comic opera Fra Diavolo. The storyconcerns Fra Diavolo, a famous Italian bandit and soldier from the late 18th and early 19th centuries, and is one of crime, lust and treachery. The overture has a classical structure filled with striking themes and motifs with a particularly unusual introduction (for the time) with the snare drum taking the leading role!

De ouverture van Fra Diavolo, een komische opera van de Franse componist Daniel François Esprit Auber (1782-1871), heeft een klassieke opbouw. De gebruikte thema’s zijn zeer herkenbaar en roepen duidelijke beelden op. Signaalmotievenzijn rijkelijk aanwezig - en deze mogen natuurlijk ook niet ontbreken als het in de handeling gaat over rovers en gendarmes. De inleiding is voor Aubers tijd bijzonder ge nstrumenteerd: de kleine trom speelt een solistischerol!

Di e Ouvertüre zu Aubers komischer Oper Fra Diavolo hat eine klassische Form mit leicht wieder erkennbaren Themen, klaren Bildern und deutlichen Motiven - sehr passend zu einer ebenfalls einprägsamen, turbulenten Handlung voll von Gerichtsvollziehern und Dieben! Unsentimentale, reizvolle Musik, die auch in der Transkription von Wil van der Beek das Publikum in ihren Bann ziehen wird!

Daniel François Esprit Auber (Caen, 1782 ; Paris, 1871) a été témoin de tout un cycle de l’histoire de la musique, de Luigi Cherubini Richard Wagner. Son répertoire comporte essentiellement des opéras. Des quarante opéras qu’il a composés, seuls deux ont su résister aux vicissitudes du temps : La Muette de Portici (parfois nommée Masaniello) et Fra Diavolo. La Muette de Portici est un opéra révolutionnaire de nombreux égards ; la légende veut même que la représentation du 29 juin 1830, au Thé tre de la Monnaie de Bruxelles ait déclenché l’insurrection qui fut l’origine du mouvement révolutionnaire entraînant la séparation de la Belgique et de laHollande. L’opéra-comique Fra Diavolo se révèle par son intérêt musical, qui lui vaut d’être interprété de nos jours encore. Les nombreuses aventures du capitaine Fra Diavolo sont restées captivantes gr ce un langage musical attrayant, dénué de sentimentalité.Lâ€⠄¢ouverture Fra Diavolo est de structure classique. Les thèmes simples et débonnaires évoquent des images claires, et de nombreux appels et échos militaires nous rappellent que l’intrigue se développe au rythme des péripéties des brigands et des carabiniers ! L’introduction de l’ouverture est orchestrée de façon inhabituelle pour l’époque. La caisse claire tient le rôle principal.

By Jim Casella. Percussion Ensemble. For glockenspiel, xylophone, vibraphone, marimba (4 octave), marimba (4.3 octave), 4 timpani, chimes, 4 cowbells, log drum, 2 china cymbals, 5 suspended cymbals, 2 brake drums, 3 woodblocks, 2 triangles, splash cymbal, hi hat, 4 toms, chinese opera gong, kick drum, tambourine, low conga, bongos. (9 players). Level: Advanced. Full score and CD-Rom (containing printable parts). Duration 5:00. Published by Tapspace Publications.

Edited by Patrick Sky. For fiddle. All styles. Level: Multiple Levels. Book. Songbook. Size 8.75x11.75. 176 pages. Published by Mel Bay Pub., Inc.