SKU: RM.NAUL03120-CO

SKU: RM.NAUL03120-BA

ISBN 9790231031201.

Mli I - Mli II - Mla - G - Mlo - CB - CR.

SKU: RM.RUBIN6379T

SKU: LM.JJ14751

ISBN 9790230814751.

SKU: BT.PL2399

SKU: BT.PL0813

SKU: DZ.DZ-838

ISBN 9782895007241.

SKU: BT.DHP-1064021-040

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

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

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

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

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

SKU: LM.29448

ISBN 9790230994484.

1. Galaxies des cinq soleils (Galaxy of the Five Suns) - 2. Espaces infinis (Infinite Spaces) - 3. Petite galaxie (Little Galaxy) - 4. Galaxie en expansion (The expanding Galaxy) - 5. Galaxie des deux crabes martiens (Galaxy of the Two Martian Crabs) - 6. Galaxie du magicien (Galaxy of the Magician) - 7. Galaxie des arc-en-ciel inquiets (Galaxy of the Distressed Rainbows) - 8. Galaxie bizarre des mains croisees (Bizarre Galaxy of the Crossed Hands - 9. Galaxie des pulsars (Galaxy of the Pulsars).

SKU: DY.DO-1526

ISBN 9782897963064.

Wynw ood Walls draws on 9 artworks which lend their titles to the 9 connected sections of the quintet. The music reflects and amplifies my own subjective responses to the artworks.

The movements are organised in pairs, circling out from a still centre – No Woman, No Cry. The title for this centrepiece comes from Chris Ofili’s moving portrait of Doreen Lawrence, the mother of a teenager murdered in an unprovoked racist attack. As well as this specific reference, the artist intended the painting to be read as a universal portrayal of melancholy, solace, and grief. The two segments flanking No Woman, No Cry complete the central triptych. Edward Hopper’s Nighthawks explores loneliness and isolation, while Grayson Perry’s #Lamentation is a meditation on remembrance and the transience of life. In contrast to the rest of Wynwood Walls, the music here is dark and introspective.

I want my time with you is a giant neon sign designed by Tracey Emin for St. Pancras Station, London. Selfie with Sunflowers is an essay written by Julian Barnes about our over-familiarisation with Van Gogh’s iconic sunflower paintings. The music is sentimental, bordering on schmaltz and kitsch. Sunflower Seeds and Infinity Room are a pair of moto perpetuo scherzos inspired by the minimalist installations of Ai Weiwei and Yayoi Kusama respectively. The opening section, Bathers at Asnières, suggests Seurat’s iconic painting, while the finale, Seurat’s Bathers, evokes Howard Hodgkin’s reworking of the Seurat using a blaze of vivid colours.

The title of the quintet is borrowed from the Wynwood art district of Miami – an area characterised by the hundreds of colourful street murals which decorate the walls of old warehouses in the neighbourhood. In performance, the artworks can be projected onto a screen behind the ensemble.

Wynwood Walls s'appuient sur 9 œuvres d'art dont les titres prêtent leurs noms aux 9 sections connectées du quintette. La musique reflète et amplifie mes propres réponses subjectives aux œuvres d'art.

Les mouvements sont organisés par paires, émergeant d'un centre immobile - No Woman, No Cry. Le titre de cette pièce maîtresse provient du portrait émouvant de Chris Ofili de Doreen Lawrence, la mère d'un adolescent assassiné lors d'une attaque raciste gratuite. En plus de cette référence spécifique, l'artiste a voulu que le tableau soit perçu comme une représentation universelle de la mélancolie, du réconfort et du chagrin. Les deux segments flanquant No Woman, No Cry complètent le triptyque central. Nighthawks d'Edward Hopper explore la solitude et l'isolement, tandis que #Lamentation de Grayson Perry est une méditation sur le souvenir et la fugacité de la vie. Contrairement au reste des Wynwood Walls, la musique ici est sombre et introspective.

I want my time with you est un immense panneau néon conçu par Tracey Emin pour la gare de St. Pancras, à Londres. Selfie with Sunflowers est un essai écrit par Julian Barnes sur notre sur-familiarisation avec les peintures emblématiques de tournesols de Van Gogh. La musique est sentimentale, frôlant le kitsch et le sentimentalisme. Sunflower Seeds et Infinity Room sont une paire de scherzos moto perpetuo inspirés des installations minimalistes d'Ai Weiwei et de Yayoi Kusama respectivement. La section d'ouverture, Bathers at Asnières, suggère le tableau emblématique de Seurat, tandis que le finale, Seurat’s Bathers, évoque la réinterprétation de Seurat par Howard Hodgkin en utilisant une explosion de couleurs vives.

Le titre du quintette est emprunté au quartier artistique de Wynwood à Miami - une zone caractérisée par les centaines de fresques murales colorées qui ornent les murs des vieux entrepôts du quartier. En performance, les œuvres d'art peuvent être projetées sur un écran derrière l'ensemble.

SKU: OT.21124

ISBN 9789655050981. 8.27 x 11.69 inches.

Perpetuum Mobile, meaning perpetual motioni, is a Latin term that describes an impossible situation in which a substance has infinite energy. This situation is impossible because it violates the first and second laws of Newton.
But it is possible in music. Imagine a musical piece that is a continuous stream of notes. These are exactly the etudes in this album. They do not stop, they are always in motion and they can be played continuously.
Etudes are solo pieces, purposed to help the musician practice his technique. In this album, each etude is designed to practice another technique.
In addition, the etudes in this album are arranged according to the circle of fifths - each etude ends in a key which is dominant to the beginning of the next etude, even the last etude to the first one, and so on and so forth. This further emphasizes the infinite mobility of the music in this piece.
Once you enter the loop, you can't get out of it. All the etudes start in a minor key, as a symbol of the sadness of the matter, and end in a major key, to represent the hope, a false hope, that perhaps the next etude will take you out of the loop.
This album is a three-year-long project, in which I gathered ideas from the environment in which I live, from the people in it and from their thoughts, from life that continues all the time, and the music that will never stop.
Maayan Tal, 17, is a young Israeli musician, pianist and composer.

SKU: HL.49015609

ISBN 9790001126533. 9.0x12.0x0.274 inches.

Der Titel des Klavierzyklus' Nacht-Urnen ist ein makabres Wortspiel mit dem franzosischen Begriff Noct-urne. Die Assoziation Urne - Grabgefass ist beabsichtigt, denn die Gattung des romantischen Nachtstucks fur Klavier wird in diesen Stucken - zumindest im ubertragenen Sinne - zu Grabe getragen. Das erste Stuck Nocturne greift auf den dreiteiligen Typ des Chopin'schen Nocturnes zuruck. Einer von zart getropften Tonen umspielten Melodie folgt ein bewegt - aufgewuhlter Mittelteil, dem sich die Reprise des ersten Teils anschliesst, diesmal allerdings wird die Melodie von leise rauschenden Skalen umspielt, ehe eine beinahe nuchterne Coda die musikalische Quintessenz brennglasartig zusammenfasst und bundelt. Dieses Stuck entstand 1998 und war Pflichtstuck beim Internationalen Schubert-Wettbewerb 2000 in Dortmund.Die drei folgenden Stucke bilden gewissermassen eine Einheit. Nummer zwei Ciacona notturna ist ein hochst virtuoses Werk fur die linke Hand allein, in dem sich grosse Klavierkomponisten, die Werke fur die linke Hand allein geschrieben haben - Alkan, Brahms, Godowsky, Ravel, Prokofieff - gleichsam ein nachtliches Stelldichein geben. Das dritte Stuck Unendliche Melodie - Melodie der Unendlichkeit (fur die rechte Hand allein - meines Wissens ausser einer Etude von Alkan das einzige existierende Werk fur die rechte Hand allein) spielt mit der Idee eines Zeitkontinuums, das schon vor Beginn des Stuckes unhorbar im Raum war und sich auch nach dem Ende des Stuckes in alle Ewigkeit weiter fortsetzen konnte. Ein einzelner Ton f in der Mitte der Klaviatur wird 55 Takte lang angeschlagen und uber ihm entfaltet sich eine weit gespannte Melodie, die die rechte Hand alleine ausspinnt. Exakt beim Hohepunkt der Melodie (es ist der Goldene Schnitt), wechselt das f zum e, das weitere 33 Takte lang angeschlagen wird, wahrend die Melodie daruber wieder zuruck zur Mitte findet. Diese 88 Takte symbolisieren die Unendlichkeit: 8 als barockes Zahlensymbol fur die Vollkommenheit der Ewigkeit und die liegende 8 als mathematisches Symbol fur die Unendlichkeit. Schliesslich ist in dem Titel des Stuckes noch eine Anspielung auf Richard Wagners Begriff der Unendlichen Melodie enthalten.Nach einem Stuck fur die linke und einem fur die rechte Hand allein, kann sich als viertes nur ein Unisonostuck anschliessen, in dem beide Hande stets die gleichen Tone, aber in unterschiedlichen Oktavabstanden und verschiedenen rhythmischen Akzenten spielen. La scala dell'inferno (Die Hollenleiter) sturzt von hochster Hohe in rasenden Skalen in die tiefsten Regionen des Klaviers hinab, unterbrochen von zwei kurzen Zitaten des Dies Irae in der Mitte.Der Schlusssatz schliesslich Marche funebre knupft in seiner dusteren Unentrinnbarkeit an die grossen Trauermarschvorbilder Beethovens (op. 26) und Chopins (op.35) an. Die sich in schwerem Funfertakt entlang rollenden dusteren Tonkaskaden werden in der Mitte von einem glasern-durchsichtigen Mittelteil unterbrochen, der in seiner gleissenden, fast schneidenden Helligkeit Assoziationen an Nahtoderlebnisse nahe legen mag. Die Nacht-Urnen op. 32 wurden 2001 im Museum Baden in Solingen von dem Pianisten Rainer Klaas uraufgefuhrt, dem der Zyklus auch gewidmet ist. - Stefan Heucke.

SKU: SU.29120150

Aurora Borealis for solo cello evokes the mystery and drama of the northern lights, also known as the Aurora Borealis. The Aurora Borealis was out. It hung and moved with majesty in folds like an infinite traveler upstage in an infinite theater. In colors of rose and lavender and purple it moved and pulsed against the night, and the frost-sharpened stars shone through it. What a thing to see!... ― John Steinbeck Level of difficulty - music school student to professional Solo Violoncello Duration: 6' Composed: 2020 Published by: Todd Mason Aurora Borealis for Solo cello (Youtube):.

SKU: AP.12-057154178X

ISBN 9780571541782. English.

A Treatise on Possibility: Perspectives on Humanity Hereafter by Rou Reynolds is a companion guide to the critically acclaimed sixth Enter Shikari album Nothing Is True & Everything Is Possible.

Human possibility. If we get our act together, our long-term potential is virtually infinite. And infinitely beautiful. But currently humanity is being guided not by wisdom, cooperation and self-reflection but by archaic systems and false assumptions. There are warning signs everywhere: ecological destruction, mental health crises, and obscene levels of inequality.

At a time when quite literally Nothing Is True & Everything Is Possible, Rou Reynolds has gone in deep, head first, exploring the predicaments of modernity. Using his lyrics to navigate the complicated web of problems, he arrives on the other side with his Treatise on Possibility. Hard-hitting and thought provoking, this is a unique perspective on humanity as we approach a point of great change.

SKU: SU.29120160

Aurora Borealis for solo Bb Clarinet evokes the mystery and drama of the northern lights, also known as the Aurora Borealis. The Aurora Borealis was out. It hung and moved with majesty in folds like an infinite traveler upstage in an infinite theater. In colors of rose and lavender and purple it moved and pulsed against the night, and the frost-sharpened stars shone through it. What a thing to see!... ― John Steinbeck Level of difficulty - music school student to professional Clarinet in Bb Duration: 6' Composed: 2020 Published by: Todd Mason Aurora Borealis for Solo Clarinet (Youtube):.

SKU: FL.FX072942

Instruments:Bas soon Trio: 3 Bassoons; Difficuly Level: Grade 3.

SKU: GI.G-7876

SKU: SU.80111202

Violin & Clarinet Duration: ' Composed: 1972 Published by: Soundspells Productions Includes set of 2 scores The Garden of My Father's House (1973) is a dramatic rhapsody for violin and clarinet duo. The composer wrote the following: I composed THE GARDEN OF MY FATHER'S HOUSE in 1972 in memory of my father, who was my first music teacher. Although he played many instruments and loved to sing, he could not read a note of music. When I was very young he would sing Gypsy songs, Yiddish folk-songs and Rumanian tunes to me and I would play them back on my clarinet, often with ornaments and variations. Sometimes he would accompany me on the piano; he had a few favorite chords which always seemed to pop up no matter what the tune. The piece is a musical ritual, based on a C-sharp drone, or pedal note, that is heard without interruption, across several ranges, throughout the piece. The violin's drone tremolos, often combined with perfect fifths and quarter-tone tunings, imply the key of Csharp minor. The violin part is always rubato — lyrical, expressive and frequently very passionate. But, most importantly, the violin is always tonal. The clarinet, on the other hand, is atonal, its pitches drawn from the twelve-tone row that I used to write my Cycles of Infinities. The style of the clarinet is contemporary, using wide-range intervals, biting accents and unusual instrumental effects, including fluttertonguing and quarter-tone trills. In combining the 'contrasting' roles of the two instruments, I sought to create a musical ritual-game that would draw energy and bits of information from the polarized instruments. The language of the piece calls the listener's attention to the cogent features of both instrumental personalities in a manner that is somewhat similar to the way in which Yiddish combines German and Hebrew. The drone becomes more and more magnetic and begins to join the parts together until they become one in the final C-sharp unison.