| The Hymn Fake Book - C Edition
Ligne De Mélodie, Paroles et Accords [Fake Book] - Facile Hal Leonard
For voice and C instrument. Format: fakebook (spiral bound). With vocal melody, ...(+)
For voice and C
instrument. Format:
fakebook (spiral bound).
With vocal melody,
lyrics, piano
accompaniment, chord
names and leadsheet
notation. Hymn. Series:
Hal Leonard Fake Books.
494 pages. 9x12 inches.
Published by Hal Leonard.
(3)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - C Edition - 3rd Edition
Fake Book [Fake Book] Hal Leonard
(C Edition) For voice and C instrument. Format: fakebook. With vocal melody, lyr...(+)
(C Edition) For voice and
C instrument. Format:
fakebook. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 856
pages. 9x12 inches.
Published by Hal Leonard.
(14)$59.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Best Fake Book Ever - 2nd Edition - Eb Edition
Instruments en Mib [Fake Book] Hal Leonard
Fakebook for Eb instrument. With vocal melody, lyrics and chord names. Series: H...(+)
Fakebook for Eb
instrument. With vocal
melody, lyrics and chord
names. Series: Hal
Leonard Fake Books. 864
pages. Published by Hal
Leonard.
(2)$49.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Giant Book of Standards Sheet Music Piano Facile - Facile Alfred Publishing
(Easy Piano). Arranged by Dan Coates. For Piano. This edition: Easy Piano. B...(+)
(Easy Piano). Arranged by
Dan
Coates. For Piano. This
edition: Easy Piano.
Book;
Piano - Easy Piano
Collection.
The Giant Book of Sheet
Music.
Jazz. Easy Piano. 252
pages.
Published by Alfred Music
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Buskers Fake Book All Time Hit Piano seul Music Sales
| | |
| Rise Up Singing
Paroles et Accords [Partition] Hal Leonard
The Group Singing Songbook. By Various. Vocal. Size 9.5x12 inches. 281 pages. Pu...(+)
The Group Singing
Songbook. By Various.
Vocal. Size 9.5x12
inches. 281 pages.
Published by Hal Leonard.
(1)$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Best Fake Book Ever - 5th Edition Instruments en Do [Fake Book] Hal Leonard
C Edition. Composed by Various. Fake Book. Broadway, Country, Jazz, Pop, Stand...(+)
C Edition. Composed by
Various. Fake Book.
Broadway,
Country, Jazz, Pop,
Standards.
Softcover. 802 pages.
Published by Hal Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Ultimate Ukulele Fake Book Ukulele [Fake Book] Hal Leonard
Over 400 Songs to Strum and Sing. Composed by Various. Ukulele. Folk, Standard...(+)
Over 400 Songs to Strum
and
Sing. Composed by
Various.
Ukulele. Folk, Standards.
Softcover. 632 pages.
Published by Hal Leonard
$45.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume VI Instruments en Do [Fake Book] Hal Leonard
C Instruments. Composed by Various. Fake Book. Softcover. Published by Hal Le...(+)
C Instruments. Composed
by
Various. Fake Book.
Softcover. Published by
Hal
Leonard
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Book - Volume VI Instruments en Sib Hal Leonard
Bb Instruments. Composed by Various. Fake Book. Jazz. Softcover. 488 page...(+)
Bb Instruments.
Composed by Various. Fake
Book. Jazz. Softcover.
488 pages. Published by
Hal Leonard (HL.223637).
$49.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
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. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
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. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
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. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Percussion, Piano, alto voice, bass Guitar, bass voice, soprano voice, te...(+)
Choral Percussion, Piano,
alto voice, bass Guitar,
bass voice, soprano
voice, tenor voice
SKU: CF.CM9743IN
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson.
Set of Score and Parts.
44+32+2 pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743IN.
Published by Carl Fischer
Music (CF.CM9743IN).
ISBN 9781491162231.
UPC: 680160920990. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $50.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Children, Go Where I Send Thee Carl Fischer
Choral SATB Choir, Bass Guitar, Percussion, Piano SKU: CF.CM9743 Composed...(+)
Choral SATB Choir, Bass
Guitar, Percussion, Piano
SKU: CF.CM9743
Composed by Traditional
African-American
Spiritual. Arranged by
Kevin Phillip Johnson. 20
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9743.
Published by Carl Fischer
Music (CF.CM9743).
ISBN 9781491161562.
UPC: 680160920211. Key: E
minor. English. Iyana
Davis. Negro Spiritual
with Rap crafter by Ayana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $3.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Children, Go Where I Send Thee Carl Fischer
Choral Bass Guitar, Percussion, Piano, alto voice, soprano 1, soprano 2 SKU: ...(+)
Choral Bass Guitar,
Percussion, Piano, alto
voice, soprano 1, soprano
2 SKU: CF.CM9742
Composed by Traditional
African American
Spiritual. Arranged by
Kevin Phillip Johnson. 16
pages. Duration 4
minutes, 5 seconds. Carl
Fischer Music #CM9742.
Published by Carl Fischer
Music (CF.CM9742).
ISBN 9781491161555.
UPC: 680160920204. Key: E
minor. English. Iyana
Davis. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this version.
The composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences. The text of
this spiritual has been
interpreted in many
different ways over the
years. Here's a popular
interpretation of the
text. One for the little
bitty baby born, born,
born in Bethlehem: This
refers to the infant
Jesus. Two for Paul and
Silas: This verse honors
Paul and Silas who went
on many missionary
journeys to spread the
teachings of Christ.
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for the
four that stood at the
door: Many people
interpret the four to be
the four writers of the
Gospel books - Matthew,
Mark, Luke and John,
though this does not
explain the part about
standing at the door.
Five for the gospel
preachers: The five are
Matthew, Mark, Luke, John
and Peter. Paul is
already mentioned above,
in line two. Six for the
six that never got fixed:
Could this mean the
sinners who never change
their ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be the seven
stars in Ursa Major or
the sevenfold spirit of
God or the seven early
Christian churches or the
seven stars in the right
hand of Christ mentioned
in the Revelation. Eight
for the eight that stood
at the gate: This could
refer to the eight people
who entered Noah's ark
(Noah, his wife, their
three sons and their
wives). Nine for the nine
that dressed so fine:
This could refer to the
nine orders of Angels in
heaven. Ten for the ten
commandments: This refers
to the ten commandments
given to Moses.
Performance notes: Swing
the 8th notes Djembe
drums should be played
freely with flexible
precision The rap can be
optional The ending solo
can be sung down an
octave and can be changed
to match the ability of
the soloist. Do not clap
louder than you sing If
doing choral movement on
the piece, pay attention
to detail synchronizing
movements as much as
possible. While the rap
is words in rhythm, if
adding one is not
possible for your
performance, consider a
spoken word of your own
choosing Have
fun!. This Negro
Spiritual was made
popular by the Golden
Gate Quartet in the
1930s. Willie T. Johnson,
the lead singer of the
group, is the father of
Kevin P. Johnson the
arranger of this
version. The
composer, like his
father, uses rhythm in
exciting new ways to
deliver Negro Spirituals
to contemporary
audiences.The text of
this spiritual has been
interpreted in many
different ways over the
 years. Here's a
popular interpretation of
the text. One for the
little bitty baby born,
born, born in
Bethlehem: This refers
to the infant Jesus. Two
for Paul and
Silas: This verse
honors Paul and Silas who
went on many missionary
journeys to spread the
teachings of Christ.ÂÂ
Three for the Hebrew
children: The three
Hebrew children could be
Shadrach, Meshach and
Abednego. Four for
the four that stood at
the door: Many people
interpret the four
to be the four writers
of the Gospel books
– Matthew, Mark,
Luke and John, though
this does not explain the
part about standing at
the door. Five for the
gospel preachers: The
five are Matthew, Mark,
Luke, John and Peter.
Paul is already mentioned
above, in line two. Six
for the six that never
got fixed: Could this
mean the sinners who
never change their
ways? Seven for the
seven that went up to
heaven: The seven in
heaven could be
the seven stars in
Ursa
Major or the sev
enfold
spirit of God or
 the seven early
 Christian churches
 or the sevenÂÂ
stars in the
right hand of Ch
rist mentioned inÂ
 the Revelation.
Eight for the eight that
stood at the gate: This
could refer to the eight
people who entered
Noah’s ark (Noah,
his wife, their three
sons and their wives).
Nine for the nine that
dressed so fine: This
could refer to the nine
orders of Angels in
heaven. Ten for the
ten commandments: This
refers to the ten
commandments given to
Moses.Performance notes:
Swing the 8th notes
Djembe drums should be
played freely with
flexible precision The
rap can be optional The
ending solo can be sung
down an octave and can be
changed to match the
ability of the soloist.
Do not clap louder than
you sing If doing choral
movement on the piece,
pay attention to detail
synchronizing movements
as much as possible.
While the rap is words in
rhythm, if adding one is
not possible for your
performance, consider a
spoken word of your own
choosing Have fun! $2.75 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Golden Age Fanfare [Conducteur et Parties séparées] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1064079-020 Composed by Kees Schoonenb...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1064079-020
Composed by Kees
Schoonenbeek. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 2006. De Haske
Publications #DHP
1064079-020. Published by
De Haske Publications
(BT.DHP-1064079-020).
9x12 inches.
English-German-French-Dut
ch. The Golden
Age is a programmatic
composition in four
movements. I
Overture For the
Netherlands, the
seventeenth century was a
period of great
flourishing in the fields
of economy, culture and
politics; thus it is
called the Golden Age.
Overseas trade boomed,
and the Dutch East India
Company (known as the VOC
by the Dutch) was founded
and expanded to become a
powerful -and, at the
time - modern enterprise.
II ¡Adiós
españoles!(Farewel
l, Spaniards!) In 1567,
the Spanish army invaded,
led by the Duke of Alva.
There was a fierce
resistance against the
Spanish tyranny; toward
the end of the sixteenth
century, the Dutch
proclaimed theRepublic.
However, the Spanish
continued the war. Only
with the Treaty of
Münster in 1648 did
the Dutch get their much
sought-after
independence. This was
also the end of the
Eighty Years’ War.
III Rembrandt’s
Night WatchThe field
of culture, particularly
literature, painting,
sculpture, architecture,
the art of printing, and
cartography developed
fast. It was in the
Golden Age that the
celebrated painter
Rembrandt van Rijn
created his famous Night
Watch. IV The
Admiral Overseas
trade entailed the
colonization of large
areas in Asia, from where
precious products that
yielded lots of money
were brought in.
Surrounding countries
were also involved in
such practices.
Colonizers poached on
each other’s
territories in the
literal and figurative
sense - in this context
the Anglo-Dutch Sea Wars
are legendary. The fourth
movement starts with the
English patriotic song
Rule Britannia, after
which the Dutch Admiral
Michiel de Ruyter makes
the English change their
tune; one can even hear
the roaring of cannons.
When the smoke of battle
has cleared, a small
fragment of a Dutch song
about Michiel de Ruyter
appears, followed by a
fitting closing.
The Golden
Age is een
programmatische
compositie in vier delen.
Overtureverklankt
de Gouden Eeuw, voor
Nederland een periode van
grote bloei. Dan volgt
¡Adiós
españoles! over
het einde van de
Tachtigjarige
Oorlog.Rembrandtâ€â
„¢s Night Watch
beschrijft de
ontwikkeling op cultureel
gebied: in de Gouden Eeuw
schilderde Rembrandt van
Rijn zijn beroemde
Nachtwacht. Deel
vier, The Admiral,
begint met Rule
Britannia,waarna de
Nederlandse admiraal
Michiel de Ruyter de
Engelsen een toontje
lager laat zingen, er is
zelfs kanongebulder te
horen. Dan klinkt een
fragment van het
Nederlandse liedje dat
aan Michiel de Ruyter is
gewijd, waarna een
passendslot
volgt.
The
Golden Age ist eine
programmatische
Komposition in vier
Sätzen über das so
genannte “Goldene
Zeitalter“ in der
Geschichte der
Niederlande. In dieser
Periode erlebte das Land
eine Blütezeit des
(Ãœbersee-)Handels, der
Kultur und Politik, es
befreite sich von der
spanischen Herrschaft,
brachte Kunstwerke wie
Rembrandt’s
Nachtwache hervor
und entwickelte sich zu
einer Kolonialmacht. Die
Aufmerksamkeit der
Zuhörer ist bei Kees
Schoonenbeeks spannender
musikalischer
Geschichtsstunde
garantiert!
AprÃÂ
¨s une guerre qui dura 80
ans, l'Espagne reconnut
finalement
l'indépendance des
Provinces-Unies
néerlandaises, qui
devinrent alors
l’une des plus
importantes puissances
maritimes et
économiques du XVIIe
siècle. Cette
période est connue
sous le nom de Siècle
d’or (The
Golden Age) et
correspond une phase de
développement
exceptionnel des Pays-Bas
tant sur le plan colonial
et militaire que sur le
plan culturel,
intellectuel et
artistique.
Dopo
una guerra che durò 80
anni, la Spagna riconobbe
l’indipendenza
delle Province-Unite
olandesi che divennero
potenze marittime ed
economiche del XVII
secolo. Questo periodo
è conosciuto con il
nome di Secolo
d’Oro (The Golden
Age) e corrisponde ad una
fase di sviluppo
eccezionale dei Paesi
Bassi sia sul piano
coloniale e militare, sia
sul piano culturale,
intellettuale e
artistico. $184.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Golden Age Fanfare [Conducteur] - Facile De Haske Publications
Fanfare Band - Grade 3 SKU: BT.DHP-1064079-120 Composed by Kees Schoonenb...(+)
Fanfare Band - Grade 3
SKU:
BT.DHP-1064079-120
Composed by Kees
Schoonenbeek. Inspiration
Series. Concert Piece.
Score Only. Composed
2006. 56 pages. De Haske
Publications #DHP
1064079-120. Published by
De Haske Publications
(BT.DHP-1064079-120).
9x12 inches.
English-German-French-Dut
ch. The Golden
Age is a programmatic
composition in four
movements. I
Overture For the
Netherlands, the
seventeenth century was a
period of great
flourishing in the fields
of economy, culture and
politics; thus it is
called the Golden Age.
Overseas trade boomed,
and the Dutch East India
Company (known as the VOC
by the Dutch) was founded
and expanded to become a
powerful -and, at the
time - modern enterprise.
II ¡Adiós
españoles!(Farewel
l, Spaniards!) In 1567,
the Spanish army invaded,
led by the Duke of Alva.
There was a fierce
resistance against the
Spanish tyranny; toward
the end of the sixteenth
century, the Dutch
proclaimed theRepublic.
However, the Spanish
continued the war. Only
with the Treaty of
Münster in 1648 did
the Dutch get their much
sought-after
independence. This was
also the end of the
Eighty Years’ War.
III Rembrandt’s
Night WatchThe field
of culture, particularly
literature, painting,
sculpture, architecture,
the art of printing, and
cartography developed
fast. It was in the
Golden Age that the
celebrated painter
Rembrandt van Rijn
created his famous Night
Watch. IV The
Admiral Overseas
trade entailed the
colonization of large
areas in Asia, from where
precious products that
yielded lots of money
were brought in.
Surrounding countries
were also involved in
such practices.
Colonizers poached on
each other’s
territories in the
literal and figurative
sense - in this context
the Anglo-Dutch Sea Wars
are legendary. The fourth
movement starts with the
English patriotic song
Rule Britannia, after
which the Dutch Admiral
Michiel de Ruyter makes
the English change their
tune; one can even hear
the roaring of cannons.
When the smoke of battle
has cleared, a small
fragment of a Dutch song
about Michiel de Ruyter
appears, followed by a
fitting closing.
The Golden
Age is een
programmatische
compositie in vier delen.
Overtureverklankt
de Gouden Eeuw, voor
Nederland een periode van
grote bloei. Dan volgt
¡Adiós
españoles! over
het einde van de
Tachtigjarige
Oorlog.Rembrandtâ€â
„¢s Night Watch
beschrijft de
ontwikkeling op cultureel
gebied: in de Gouden Eeuw
schilderde Rembrandt van
Rijn zijn beroemde
Nachtwacht. Deel
vier, The Admiral,
begint met Rule
Britannia,waarna de
Nederlandse admiraal
Michiel de Ruyter de
Engelsen een toontje
lager laat zingen, er is
zelfs kanongebulder te
horen. Dan klinkt een
fragment van het
Nederlandse liedje dat
aan Michiel de Ruyter is
gewijd, waarna een
passendslot
volgt.
The
Golden Age ist eine
programmatische
Komposition in vier
Sätzen über das so
genannte “Goldene
Zeitalter“ in der
Geschichte der
Niederlande. In dieser
Periode erlebte das Land
eine Blütezeit des
(Ãœbersee-)Handels, der
Kultur und Politik, es
befreite sich von der
spanischen Herrschaft,
brachte Kunstwerke wie
Rembrandt’s
Nachtwache hervor
und entwickelte sich zu
einer Kolonialmacht. Die
Aufmerksamkeit der
Zuhörer ist bei Kees
Schoonenbeeks spannender
musikalischer
Geschichtsstunde
garantiert!
AprÃÂ
¨s une guerre qui dura 80
ans, l'Espagne reconnut
finalement
l'indépendance des
Provinces-Unies
néerlandaises, qui
devinrent alors
l’une des plus
importantes puissances
maritimes et
économiques du XVIIe
siècle. Cette
période est connue
sous le nom de Siècle
d’or (The
Golden Age) et
correspond une phase de
développement
exceptionnel des Pays-Bas
tant sur le plan colonial
et militaire que sur le
plan culturel,
intellectuel et
artistique.
Dopo
una guerra che durò 80
anni, la Spagna riconobbe
l’indipendenza
delle Province-Unite
olandesi che divennero
potenze marittime ed
economiche del XVII
secolo. Questo periodo
è conosciuto con il
nome di Secolo
d’Oro (The Golden
Age) e corrisponde ad una
fase di sviluppo
eccezionale dei Paesi
Bassi sia sul piano
coloniale e militare, sia
sul piano culturale,
intellettuale e
artistico. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Golden Age Orchestre d'harmonie [Conducteur] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1064079-140 Composed by Kees ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1064079-140
Composed by Kees
Schoonenbeek. Inspiration
Series. Concert Piece.
Score Only. Composed
2006. 56 pages. De Haske
Publications #DHP
1064079-140. Published by
De Haske Publications
(BT.DHP-1064079-140).
9x12 inches.
English-German-French-Dut
ch. The Golden
Age is a programmatic
composition in four
movements. I
Overture For the
Netherlands, the
seventeenth century was a
period of great
flourishing in the fields
of economy, culture and
politics; thus it is
called the Golden Age.
Overseas trade boomed,
and the Dutch East India
Company (known as the VOC
by the Dutch) was founded
and expanded to become a
powerful -and, at the
time - modern enterprise.
II ¡Adiós
españoles!(Farewel
l, Spaniards!) In 1567,
the Spanish army invaded,
led by the Duke of Alva.
There was a fierce
resistance against the
Spanish tyranny; toward
the end of the sixteenth
century, the Dutch
proclaimed theRepublic.
However, the Spanish
continued the war. Only
with the Treaty of
Münster in 1648 did
the Dutch get their much
sought-after
independence. This was
also the end of the
Eighty Years’ War.
III Rembrandt’s
Night WatchThe field
of culture, particularly
literature, painting,
sculpture, architecture,
the art of printing, and
cartography developed
fast. It was in the
Golden Age that the
celebrated painter
Rembrandt van Rijn
created his famous Night
Watch. IV The
Admiral Overseas
trade entailed the
colonization of large
areas in Asia, from where
precious products that
yielded lots of money
were brought in.
Surrounding countries
were also involved in
such practices.
Colonizers poached on
each other’s
territories in the
literal and figurative
sense - in this context
the Anglo-Dutch Sea Wars
are legendary. The fourth
movement starts with the
English patriotic song
Rule Britannia, after
which the Dutch Admiral
Michiel de Ruyter makes
the English change their
tune; one can even hear
the roaring of cannons.
When the smoke of battle
has cleared, a small
fragment of a Dutch song
about Michiel de Ruyter
appears, followed by a
fitting closing.
The Golden
Age is een
programmatische
compositie in vier delen.
Overtureverklankt
de Gouden Eeuw, voor
Nederland een periode van
grote bloei. Dan volgt
¡Adiós
españoles! over
het einde van de
Tachtigjarige
Oorlog.Rembrandtâ€â
„¢s Night Watch
beschrijft de
ontwikkeling op cultureel
gebied: in de Gouden Eeuw
schilderde Rembrandt van
Rijn zijn beroemde
Nachtwacht. Deel
vier, The Admiral,
begint met Rule
Britannia,waarna de
Nederlandse admiraal
Michiel de Ruyter de
Engelsen een toontje
lager laat zingen, er is
zelfs kanongebulder te
horen. Dan klinkt een
fragment van het
Nederlandse liedje dat
aan Michiel de Ruyter is
gewijd, waarna een
passendslot
volgt.
The
Golden Age ist eine
programmatische
Komposition in vier
Sätzen über das so
genannte “Goldene
Zeitalter“ in der
Geschichte der
Niederlande. In dieser
Periode erlebte das Land
eine Blütezeit des
(Ãœbersee-)Handels, der
Kultur und Politik, es
befreite sich von der
spanischen Herrschaft,
brachte Kunstwerke wie
Rembrandt’s
Nachtwache hervor
und entwickelte sich zu
einer Kolonialmacht. Die
Aufmerksamkeit der
Zuhörer ist bei Kees
Schoonenbeeks spannender
musikalischer
Geschichtsstunde
garantiert!
AprÃÂ
¨s une guerre qui dura 80
ans, l'Espagne reconnut
finalement
l'indépendance des
Provinces-Unies
néerlandaises, qui
devinrent alors
l’une des plus
importantes puissances
maritimes et
économiques du XVIIe
siècle. Cette
période est connue
sous le nom de Siècle
d’or (The
Golden Age) et
correspond une phase de
développement
exceptionnel des Pays-Bas
tant sur le plan colonial
et militaire que sur le
plan culturel,
intellectuel et
artistique.
Dopo
una guerra che durò 80
anni, la Spagna riconobbe
l’indipendenza
delle Province-Unite
olandesi che divennero
potenze marittime ed
economiche del XVII
secolo. Questo periodo
è conosciuto con il
nome di Secolo
d’Oro (The Golden
Age) e corrisponde ad una
fase di sviluppo
eccezionale dei Paesi
Bassi sia sul piano
coloniale e militare, sia
sul piano culturale,
intellettuale e
artistico. $36.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Golden Age Orchestre d'harmonie [Conducteur et Parties séparées] - Facile De Haske Publications
Concert Band/Harmonie - Grade 3 SKU: BT.DHP-1064079-010 Composed by Kees ...(+)
Concert Band/Harmonie -
Grade 3 SKU:
BT.DHP-1064079-010
Composed by Kees
Schoonenbeek. Inspiration
Series. Concert Piece.
Set (Score & Parts).
Composed 2006. De Haske
Publications #DHP
1064079-010. Published by
De Haske Publications
(BT.DHP-1064079-010).
9x12 inches.
English-German-French-Dut
ch. The Golden
Age is a programmatic
composition in four
movements. I
Overture For the
Netherlands, the
seventeenth century was a
period of great
flourishing in the fields
of economy, culture and
politics; thus it is
called the Golden Age.
Overseas trade boomed,
and the Dutch East India
Company (known as the VOC
by the Dutch) was founded
and expanded to become a
powerful -and, at the
time - modern enterprise.
II ¡Adiós
españoles!(Farewel
l, Spaniards!) In 1567,
the Spanish army invaded,
led by the Duke of Alva.
There was a fierce
resistance against the
Spanish tyranny; toward
the end of the sixteenth
century, the Dutch
proclaimed theRepublic.
However, the Spanish
continued the war. Only
with the Treaty of
Münster in 1648 did
the Dutch get their much
sought-after
independence. This was
also the end of the
Eighty Years’ War.
III Rembrandt’s
Night WatchThe field
of culture, particularly
literature, painting,
sculpture, architecture,
the art of printing, and
cartography developed
fast. It was in the
Golden Age that the
celebrated painter
Rembrandt van Rijn
created his famous Night
Watch. IV The
Admiral Overseas
trade entailed the
colonization of large
areas in Asia, from where
precious products that
yielded lots of money
were brought in.
Surrounding countries
were also involved in
such practices.
Colonizers poached on
each other’s
territories in the
literal and figurative
sense - in this context
the Anglo-Dutch Sea Wars
are legendary. The fourth
movement starts with the
English patriotic song
Rule Britannia, after
which the Dutch Admiral
Michiel de Ruyter makes
the English change their
tune; one can even hear
the roaring of cannons.
When the smoke of battle
has cleared, a small
fragment of a Dutch song
about Michiel de Ruyter
appears, followed by a
fitting closing.
The Golden
Age is een
programmatische
compositie in vier delen.
Overtureverklankt
de Gouden Eeuw, voor
Nederland een periode van
grote bloei. Dan volgt
¡Adiós
españoles! over
het einde van de
Tachtigjarige
Oorlog.Rembrandtâ€â
„¢s Night Watch
beschrijft de
ontwikkeling op cultureel
gebied: in de Gouden Eeuw
schilderde Rembrandt van
Rijn zijn beroemde
Nachtwacht. Deel
vier, The Admiral,
begint met Rule
Britannia,waarna de
Nederlandse admiraal
Michiel de Ruyter de
Engelsen een toontje
lager laat zingen, er is
zelfs kanongebulder te
horen. Dan klinkt een
fragment van het
Nederlandse liedje dat
aan Michiel de Ruyter is
gewijd, waarna een
passendslot
volgt.
The
Golden Age ist eine
programmatische
Komposition in vier
Sätzen über das so
genannte “Goldene
Zeitalter“ in der
Geschichte der
Niederlande. In dieser
Periode erlebte das Land
eine Blütezeit des
(Ãœbersee-)Handels, der
Kultur und Politik, es
befreite sich von der
spanischen Herrschaft,
brachte Kunstwerke wie
Rembrandt’s
Nachtwache hervor
und entwickelte sich zu
einer Kolonialmacht. Die
Aufmerksamkeit der
Zuhörer ist bei Kees
Schoonenbeeks spannender
musikalischer
Geschichtsstunde
garantiert!
AprÃÂ
¨s une guerre qui dura 80
ans, l'Espagne reconnut
finalement
l'indépendance des
Provinces-Unies
néerlandaises, qui
devinrent alors
l’une des plus
importantes puissances
maritimes et
économiques du XVIIe
siècle. Cette
période est connue
sous le nom de Siècle
d’or (The
Golden Age) et
correspond une phase de
développement
exceptionnel des Pays-Bas
tant sur le plan colonial
et militaire que sur le
plan culturel,
intellectuel et
artistique.
Dopo
una guerra che durò 80
anni, la Spagna riconobbe
l’indipendenza
delle Province-Unite
olandesi che divennero
potenze marittime ed
economiche del XVII
secolo. Questo periodo
è conosciuto con il
nome di Secolo
d’Oro (The Golden
Age) e corrisponde ad una
fase di sviluppo
eccezionale dei Paesi
Bassi sia sul piano
coloniale e militare, sia
sul piano culturale,
intellettuale e
artistico. $184.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Orgelsinfonie No. 16 'Martin Luther' Orgue - Avancé Schott
Organ - advanced SKU: HL.49045437 For Organ. Composed by Enjott Sc...(+)
Organ - advanced SKU:
HL.49045437 For
Organ. Composed by
Enjott Schneider. This
edition: Saddle
stitching. Sheet music.
Organ Large Works.
Classical. Softcover.
Composed 2016. 48 pages.
Duration 24'. Schott
Music #ED 22668.
Published by Schott Music
(HL.49045437). ISBN
9790001162715. UPC:
841886029088.
9.0x12.0x0.168
inches. On the
occasion of the
quincentenary of
Reformation Day in 2017,
the composer Enjott
Schneider thoroughly
studied Martin Luther the
individual and all his
contradictions. The
result is a brilliant,
demanding organ symphony
which is perfect for
concerts on the subject
of Reformation and Martin
Luther.The composer
describes the five
movements of the symphony
as follows:'1st
movement:Wir glauben all
an einen Gott with its
quintuplet-like beginning
is very Gregorian in
style, outlining the
range of Lutheran
emotionalism between the
Middle Ages and the
modern era. The
irrationality of faith
ultimately has priority
over any thought and
evidence. At the
beginning of the
movement, sounds of
knocking on wood remind
of the nailing of the
Ninety-Five Theses to the
doors of churches in
Wittenberg. The chorale
melody sometimes hides
with an almost rough
medieval saltarello,
referring to Luther's
robustness and vitality
with which he knew to
carry away even common
people.2nd movement:In
1530, the electoral
prince of Saxony
presented to Luther at
Coburg Castle the golden
signet ring with the
Luther rose which became
the symbol of his
theology of grace. A
white heart with black
cross is fixed on a
five-petalled rose. To
him, white is the colour
of angels and ghosts,
black stands for the pain
of crucification: The
just shall live by faith,
but by faith in the
Crucified. But the fact
that the rose and the
heart are the dominating
symbols shows how
Catholic Marian piety
remained an ingredient of
Luther's spirituality
throughout his life. In
line with the dominant
five-petal structure of
the rose, this movement
was composed, to a large
extent, in accordance
with the floating,
lyrical rhythm in 5/8
time.3rd movement:The
omnipresence of death and
dying - from the plague
and war to the
never-ending dangers of
daily life - was an
essential part of the
world view of that time.
Fears ensued that might
heighten into the
grotesque, e.g. in the
pictures of Hieronymus
Bosch. The Danse macabre
was a popular motif in
those years. Luther's
chorale Mitten wir im
Leben sind / mit dem Tod
umfangen from 1524
(Enchiridion from Erfurt)
is based on the Gregorian
chant Media vita in morte
sumus created in France
around 750 and, with its
idea of transience,
inspired a simplistic
air.4th movement:The
famous confession
delivered at the Diet of
Worms in 1521, I stand
here and can say no more.
God help me. Amen, are
not Luther's words but
the version later used as
text for a pamphlet.
However, it represents
quite plainly the
straightforwardness and
inevitability of his
mission. Musically, it
was made into a perpetuum
mobile, i.e. a dogged,
ostinato and never-ending
musical air.5th
movement:The Mighty
Fortress, on the other
hand, is one of the great
symbols of Martin Luther
which, with its shining C
major key, embodies the
Protestant ideology and
willful nature of the
Reformation unlike any
other song. Heinrich
Heine called it the
Marseille anthem of the
Reformation, Friedrich
Engels the Marseillaise
of the Peasants' Wars.
This disputability is not
thought through to the
end but rather
interrupted: With a
jubilant birdcall version
of the melody, the finale
shows a rather
chamber-music-like side
of the ideals of freedom
of Christians.'. $28.99 - Voir plus => Acheter | | |
| The Best 20 Vocalo and Anison Piano Collection in C Major Piano seul Yamaha
Piano SKU: YM.GTP01101268 Entry Piano Book. In C Major. Anime Song...(+)
Piano SKU:
YM.GTP01101268
Entry Piano Book.
In C Major. Anime Songs,
Vocalo Music. Book.
Yamaha Music Media
#GTP01101268. Published
by Yamaha Music Media
(YM.GTP01101268). ISBN
9784636108996. 9.5 x 12
inches. The In C
Major series, designed
for beginners who have
recently started playing
the piano, allows you to
choose and expand your
repertoire with the songs
you want to play, making
it easy for new piano
players to enjoy. This
collection features 20
popular songs from the
golden era of Vocaloid
music and beloved anime
theme songs. It includes
nostalgic and renowned
Vocaloid tracks, as well
as iconic anime songs
that have been covered by
music games and various
artists. All the songs
are arranged in keys
without key signatures
(either in C major or A
minor), making it an
enjoyable book to dive
into. Give your favorite
song a try and enjoy
playing! $15.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Peter Fardell: The Lemonade Kid (Teacher's Book/CD) Piano, Voix et Guitare - Facile Golden Apple Productions
Piano, Vocal and Guitar - Grade 2 SKU: HL.14018881 By Alison Hedger. By P...(+)
Piano, Vocal and Guitar -
Grade 2 SKU:
HL.14018881 By Alison
Hedger. By Peter Fardell.
Music Sales America.
Musical Education. Book
and CD. Composed 2017. 48
pages. Golden Apple
Productions #GA11330.
Published by Golden Apple
Productions
(HL.14018881). ISBN
9780711991552.
English. The
Lemonade Kid is a
rootin'-tootin' Wild West
musical, telling of a
town being tamed against
all odds by a plucky
bar-girl and the only man
brave enough not to carry
a gun. Eight great new
songs including a
hoe-down dance. An
excellent, fun way of
getting across a very
serious message. Suitable
for Key Stage 2 (7-11
years). Duration 45
minutes. The accompanying
CD includes demonstration
and backing tracks of all
the songs. The script is
available in the separate
(Pupil's Book). Edited by
Alison Hedger If you need
to license a school/youth
theatre performance of
this product, please use
the online application
form. $19.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Rise Up Singing Paroles et Accords [Partition] Hal Leonard
Arranged by Peter Blood, Annie Patterson. Vocal. Size 7.5x10.5 inches. 283 pages...(+)
Arranged by Peter Blood,
Annie Patterson. Vocal.
Size 7.5x10.5 inches. 283
pages. Published by Hal
Leonard.
(1)$34.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Real Vocal Book - Volume III Voix haute [Fake Book] Hal Leonard
(High Voice). By Various. For Vocal. Fake Book. 438 pages. Published by Hal Leon...(+)
(High Voice). By Various.
For Vocal. Fake Book. 438
pages. Published by Hal
Leonard
$39.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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