|
| Missa in honorem Sanctae Ursulae
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Set de Parties séparées]
Carus Verlag
Chiemsee-Messe. Composed by Michael Haydn (1737-1806). Edited by Armin Ki...(+)
Chiemsee-Messe.
Composed by Michael Haydn
(1737-1806). Edited by
Armin Kircher. This
edition: urtext.
Stuttgart Urtext Edition:
Johann Michael Haydn.
German title: Missa Stae
Ursulae/Chiemsee MH 546.
Latin Masses. Complete
orchestral parts.
Composed 1793. MH 546.
Duration 40 minutes.
Published by Carus Verlag
(CA.5454619).
$262.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Concerto - Piano And Orchestra - Solo Part
Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult SKU:
HL.49046544 For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544). ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches. I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti). $34.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Heaven and Earth
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000304-010 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.GOB-000304-010
Composed by Jan Bosveld.
Set (Score & Parts). 26
pages. Gobelin Music
Publications #GOB
000304-010. Published by
Gobelin Music
Publications
(BT.GOB-000304-010).
An Astrological
Composition.
Astrology is based on the
principle that each sort
of time has its own
quality. In order to
determine the quality of
a particular moment, an
astrologer looks at the
position of the planets
in the solar sustemat
that moment. Each planet
has specific types of
energies and its location
provides unique
information for a certain
moment on Earth. Thus:
its position in the sky
tells something about
what happens on
Earth.
In this
composition the typesof
energies of four planets
are musically translated.
The four planet were not
randomly chosen. There
are two pairs, whose
influence and energy are
opposite.
Venus
and Mars.
Venus
represents the feminine
principle: harmony,
beauty,art, and the
ability to make
relationships and to keep
the peace. Venus
connects, and
communicates in order to
maintain the balance.
Mars represent the
masculine principle:
winning, impulsiveness,
enthusiasm, and sexual
energy for procreation.He
creates war enabling the
strongest to triumph.
Mars is musically
depicted in a stirring
march in which enthusiasm
characterises the
masculine
character.
Saturn
and Jupiter.
Saturn
represents concentration
and withdrawal: the
strongnotion of
responsibility,
seriousness,
self-discipline and
melancholy. Saturn is the
hermit who will conquer
his fears and worries in
minimal conditions and by
self-chastisement. This
contemplative character
is depicted in the music
as if it isalmost
standing still, which
also reflects the given
character of this
planet.
Jupiter
represents growth and
expansion: the positive,
self-confidence, the good
Samaritan, the healer.
Jupiter is the
philosopher who will make
the world a betterplace,
sees future
possibilities, and
searches for eternal
values. He is the prophet
who sometimes rants and
raves his doctrine and
proclamations, resulting
musically in a whirling
and upbeat finale. not
looking back at what has
been but searchingfor new
challenges.
Heaven and Earth was
commisioned by the Music
Lending and Information
Centre (MUI), a
department of the library
for the province of
Gelderland in Arnhem, The
Netherlands.Een
astrologische compositie.
Astrologie is
gebaseerd op het principe
dat elke tijd zijn eigen
kwaliteit heeft. Tijd
voor koffie of het was je
tijd nog niet als
bijvoorbeeld een baan aan
je neus voorbij is
gegaan.
Om de
kwaliteit van een moment
te lezen kijkt
deastroloog naar de stand
van de planeten in ons
zonnestelsel op dat
tijdstip. Elke planeet
heeft specifieke
energieën en de plaats
aan de hemel geeft unieke
informatie over een
bepaald moment op aarde.
Oftewel: de stand aan de
hemel (Ouranos)
verteltiets over wat er
op aarde (Gaia)
gebeurt.
In deze
compositie worden de
energieën van vier
planeten muzikaal
vertaald. De vier
planeten zijn niet
lukraak gekozen. Het zijn
twee paren, die qua
invloed en energie
tegenovergesteldzijn.
Venus en Mars.
Venus vertegenwoordigt
het vrouwelijke principe:
harmonieus, schoonheid,
de kunst, het vermogen om
verbindingen aan te gaan
en de vrede te bewaren.
Venus geeft door en
verbindt om de balans te
bewaren.
Marsvertegenwoordigt het
mannelijke principe:
winnen, anderen
aftroeven, impulsief en
enthousiast, seksuele
energie voor de
voortplanting. Mars
creëert oorlog om de
sterkste te laten
zegevieren.
Venus
staat tot Mars als vrede
staat tot oorlog,
alsverbinden staat tot
verbreken, als harmonie
staat tot
competitie.
Jupiter en Saturnus.
Jupiter vertegenwoordigt
groei en expansie: het
positieve zelfvertrouwen,
de weldoener, de genezer.
Jupiter is de filosoof
die de wereld
wilverbeteren,
vooruitkijkend en zoekend
naar eeuwige waarden, de
profeet die soms al te
bombastisch zijn leer
verkondigt.
Saturnus
vertegenwoordigt
concentratie en
inkrimping: het sterke
verantwoordelijkheidsbese
f, soberheid,
zelfdiscipline
enmelancholie. Saturnus
is de kluizenaar die
onder minimale
voorwaarden en
zelfkastijding zijn
angsten wil overwinnen.
De harde, serieuze werker
die volgens vaste regels
stug doorgaat om aan zijn
hoge eisen te voldoen.
Jupiter staat tot
Saturnusals uitbreiding
staat tot inkrimping, als
zelfvertrouwen staat tot
faalangst, als vrijheid
staat tot
structuur.
Gobelin
Music Publications. $196.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Heaven and Earth
Orchestre d'harmonie [Conducteur] - Intermédiaire
Gobelin Music Publications
Concert Band/Harmonie - Grade 5 SKU: BT.GOB-000304-140 Composed by Jan Bo...(+)
Concert Band/Harmonie -
Grade 5 SKU:
BT.GOB-000304-140
Composed by Jan Bosveld.
Score Only. Gobelin Music
Publications #GOB
000304-140. Published by
Gobelin Music
Publications
(BT.GOB-000304-140).
An Astrological
Composition.
Astrology is based on the
principle that each sort
of time has its own
quality. In order to
determine the quality of
a particular moment, an
astrologer looks at the
position of the planets
in the solar sustemat
that moment. Each planet
has specific types of
energies and its location
provides unique
information for a certain
moment on Earth. Thus:
its position in the sky
tells something about
what happens on
Earth.
In this
composition the typesof
energies of four planets
are musically translated.
The four planet were not
randomly chosen. There
are two pairs, whose
influence and energy are
opposite.
Venus
and Mars.
Venus
represents the feminine
principle: harmony,
beauty,art, and the
ability to make
relationships and to keep
the peace. Venus
connects, and
communicates in order to
maintain the balance.
Mars represent the
masculine principle:
winning, impulsiveness,
enthusiasm, and sexual
energy for procreation.He
creates war enabling the
strongest to triumph.
Mars is musically
depicted in a stirring
march in which enthusiasm
characterises the
masculine
character.
Saturn
and Jupiter.
Saturn
represents concentration
and withdrawal: the
strongnotion of
responsibility,
seriousness,
self-discipline and
melancholy. Saturn is the
hermit who will conquer
his fears and worries in
minimal conditions and by
self-chastisement. This
contemplative character
is depicted in the music
as if it isalmost
standing still, which
also reflects the given
character of this
planet.
Jupiter
represents growth and
expansion: the positive,
self-confidence, the good
Samaritan, the healer.
Jupiter is the
philosopher who will make
the world a betterplace,
sees future
possibilities, and
searches for eternal
values. He is the prophet
who sometimes rants and
raves his doctrine and
proclamations, resulting
musically in a whirling
and upbeat finale. not
looking back at what has
been but searchingfor new
challenges.
Heaven and Earth was
commisioned by the Music
Lending and Information
Centre (MUI), a
department of the library
for the province of
Gelderland in Arnhem, The
Netherlands.Een
astrologische compositie.
Astrologie is
gebaseerd op het principe
dat elke tijd zijn eigen
kwaliteit heeft. Tijd
voor koffie of het was je
tijd nog niet als
bijvoorbeeld een baan aan
je neus voorbij is
gegaan.
Om de
kwaliteit van een moment
te lezen kijkt
deastroloog naar de stand
van de planeten in ons
zonnestelsel op dat
tijdstip. Elke planeet
heeft specifieke
energieën en de plaats
aan de hemel geeft unieke
informatie over een
bepaald moment op aarde.
Oftewel: de stand aan de
hemel (Ouranos)
verteltiets over wat er
op aarde (Gaia)
gebeurt.
In deze
compositie worden de
energieën van vier
planeten muzikaal
vertaald. De vier
planeten zijn niet
lukraak gekozen. Het zijn
twee paren, die qua
invloed en energie
tegenovergesteldzijn.
Venus en Mars.
Venus vertegenwoordigt
het vrouwelijke principe:
harmonieus, schoonheid,
de kunst, het vermogen om
verbindingen aan te gaan
en de vrede te bewaren.
Venus geeft door en
verbindt om de balans te
bewaren.
Marsvertegenwoordigt het
mannelijke principe:
winnen, anderen
aftroeven, impulsief en
enthousiast, seksuele
energie voor de
voortplanting. Mars
creëert oorlog om de
sterkste te laten
zegevieren.
Venus
staat tot Mars als vrede
staat tot oorlog,
alsverbinden staat tot
verbreken, als harmonie
staat tot
competitie.
Jupiter en Saturnus.
Jupiter vertegenwoordigt
groei en expansie: het
positieve zelfvertrouwen,
de weldoener, de genezer.
Jupiter is de filosoof
die de wereld
wilverbeteren,
vooruitkijkend en zoekend
naar eeuwige waarden, de
profeet die soms al te
bombastisch zijn leer
verkondigt.
Saturnus
vertegenwoordigt
concentratie en
inkrimping: het sterke
verantwoordelijkheidsbese
f, soberheid,
zelfdiscipline
enmelancholie. Saturnus
is de kluizenaar die
onder minimale
voorwaarden en
zelfkastijding zijn
angsten wil overwinnen.
De harde, serieuze werker
die volgens vaste regels
stug doorgaat om aan zijn
hoge eisen te voldoen.
Jupiter staat tot
Saturnusals uitbreiding
staat tot inkrimping, als
zelfvertrouwen staat tot
faalangst, als vrijheid
staat tot
structuur.
Gobelin
Music Publications. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| Wind Sketches Sc/pts
Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire
Anglo Music
Concert Band/Harmonie - Grade 5 SKU: HL.44012346 Composed by Philip Spark...(+)
Concert Band/Harmonie -
Grade 5 SKU:
HL.44012346 Composed
by Philip Sparke. Anglo
Music Concert Band. Set
(Score & Parts). Composed
2014. Anglo Music Press
#AMP401010. Published by
Anglo Music Press
(HL.44012346). UPC:
888680058708.
English-German-French-Dut
ch. Wind
Sketches is a top
quality concert work for
wind band in three
movements, inspired by
the relationship between
man and wind. Trade
Winds, in the form of
a march, is reminiscent
of a shanty, conjuring up
seafaring and the
tradewinds.
Becalmed,
harmonically and
melodically almost
static, depicts the
doldrums. All the more
contrasting is Riding
the Storm, which
concerns the love-hate
relationship of people to
the winds that he needs
and at the same times
fears.
Wind
Sketches is een
eersteklas concertwerk
voor blaasorkest. Het
bestaat uit drie delen,
die gebaseerd zijn op de
relatie tussen de mens en
de wind: Trade
Winds, in marsvorm,
doet denken aan een
shanty en roept
associaties op met dezee
en passaatwinden.
Becalmed, dat in
melodieus en harmonieus
opzicht bijna statisch
is, schetst een
windstilte. Riding the
Storm is stormachtig:
het beschrijft de
haat-liefdeverhouding
tussen de mens en de
wind.
Wind
Sketches ist ein
hochkaratiges Konzertwerk
fur Blasorchester in drei
Satzen, die alle von der
Beziehung Mensch und Wind
inspiriert sind: Der
erste Trade Winds
in Marschform
erinnert an ein Shanty
und an Passatwinde auf
hoher See.Der zweite
Satz, Becalmed,
harmonisch und melodisch
fast statisch, beschreibt
eine Flaute. Umso
kontrastreicher ist der
dritte Satz, Riding
the Storm, der von
der Hassliebe des
Menschen des Menschen zu
Winden gepragt
ist.
Les trois
mouvements de cette piece
s'inspirent des rapports
entre les humains et
divers types de vents. Le
premier, Alizes
(Trade Winds), prend la
forme d'une marche aux
accents de chansons de
marins, le deuxieme
mouvement,
Encalmine(Becalmed
), est de nature quasi
statique, sans grand
developpement melodique
ou harmonique. Le finale,
Porte par la
tempete (Riding the
Storm), depeint les
relations humaines, par
le biais de vents
tumultueux, dangereux,
benefiques
etvivifiants.
I
tre movimenti di questo
brano si ispirano al
rapporto dell'uomo con il
vento. Il primo, Trade
Winds, prende la
forma di una marcia dagli
accenti di mare, il
secondo movimento,
Becalmed, e di
natura quasi statica,
senza grandi
sviluppimelodici o
armonici. Il finale,
Riding the Storm,
descrive i tanti venti
tumultuosi, pericolosi,
benefici e vigorosi. $208.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Missa in honorem Sanctae Ursulae (Messe en l'honneur de Sainte Ursule)
Soli, choeur mixte et accompagnement
satb (soli), SATB (chœur), Orchestre [Vocal Score]
Carus Verlag
(Chiemsee-Messe). By Michael Haydn (1737-1806). Edited by Armin Kircher. For Sol...(+)
(Chiemsee-Messe). By
Michael Haydn
(1737-1806). Edited by
Armin Kircher. For Soli
SATB, SATB Choir, 2
Clarinos/Trumpets,
Timpani, 2 Violins, Basso
continuo. This edition:
paperbound. MH 546. Score
available separately -
see item CA.5454600.
Latin Masses. Piano/Vocal
score. Language: Latin.
Composed 1793. 80 pages.
Duration 40 min.
Published by Carus Verlag
$33.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| The Soldier's Wife
Orchestre d'harmonie [Conducteur] - Facile
De Haske Publications
Concert Band/Harmonie - Grade 2 SKU: BT.DHP-1115250-140 Composed by Jan V...(+)
Concert Band/Harmonie -
Grade 2 SKU:
BT.DHP-1115250-140
Composed by Jan Van der
Roost. Concert and
Contest Collection CBHA.
Concert Piece. Score
Only. Composed 2012. 28
pages. De Haske
Publications #DHP
1115250-140. Published by
De Haske Publications
(BT.DHP-1115250-140).
9x12 inches.
English-German-French-Dut
ch. The
Soldier’s Wife
is a short and simple
piece commissioned by the
Singapore Ministry of
Education. It was
originally intended as a
compulsory piece for the
2012 Singapore Youth
Festival. Because many
school bands in Singapore
are incomplete, the
composer was specifically
asked to create a work
that could equally be
played by a limited
ensemble—which
explains various doubled
and optional parts. The
warm tones of a melodic
passage open this short
work: the wife of the
wooden soldier sings a
kind of lullaby. This
lyrical section is
followed by a more
powerful part which is,
however, based on the
same melodic material.
The rhythm, syncopated at
times, infuses
thissection with a
particular energy. The
harmony, too, has some
surprising
turns—and we must
never lose sight of the
restrictions imposed by
the limited level of
difficulty of the piece.
Although the work begins
softly and sweetly, much
more ‘feminine
energy’ is
projected by the close.
The
Soldier’s Wife
is een kort en eenvoudig
werkje dat is geschreven
in opdracht van het
Singaporese ministerie
van Onderwijs. Het was
aanvankelijk bedoeld als
verplicht werk voor het
Singapore Youth Festival
2012. Omdat
veelschoolorkesten in
Singapore een onvolledige
bezetting hebben, kreeg
de componist het
nadrukkelijke verzoek om
het werk zo vorm te geven
dat het ook met een
beperkt ensemble
uitgevoerd kan worden:
dat verklaart een aantal
verdubbelingenen
instrumenten ad
libitum.Een warme,
melodische passage opent
dit korte werkje: de
vrouw van het - houten -
soldaatje zingt als het
ware een wiegeliedje.
Nadat dit lyrische deel
is afgerond, volgt een
energieker gedeeltedat
qua melodisch materiaal
op dezelfde bouwstenen is
gebaseerd. De hier en
daar gesyncopeerde
ritmiek verleent dit deel
een bijzondere energie,
en ook harmonisch zijn er
een paar verrassende
wendingen - waarbij
rekening is gehoudenmet
de beperkingen die
verbonden zijn aan werken
voor dit muzikale niveau.
Begon het werkje zacht en
liefelijk, aan het slot
is er heel wat meer
‘girl power’
voelbaar!
The
Soldier’s Wife
ist ein kurzes, einfaches
Werk, das im Auftrag des
Bildungsministeriums von
Singapur geschrieben
wurde. Es war zunächst
als Pflichtstück
für das Singapurer
Jugendfestival 2012
gedacht. Da viele
Schulblasorchester in
Singapur unvollständig
besetzt sind, bat man den
Komponisten
ausdrücklich, das Werk
so zu gestalten, dass es
auch mit einem begrenzten
Ensemble gespielt werden
könne: Dies erklärt
einige Verdopplungen und
optionale Instrumente.
Eine warm klingende,
melodische Passage
eröffnet dieses kurze
Werk: Die Frau des -
hölzernen- Soldaten
singt eine Art
Wiegenlied. Nach diesem
lyrischen Abschnitt folgt
ein kraftvollerer Teil,
der aber aufdemselben
melodischen Material
aufbaut. Der hier und da
synkopierte Rhythmus
verleiht diesem Teil eine
besondere Energie und
auch harmonisch gibt es
einige überraschende
Wendungen - wobei immer
an die auferlegten
Beschränkungen durch
den Schwierigkeitsgrad
gedacht werden muss. Ist
das Werk zu Beginn noch
leise und lieblich, ist
zum Schluss doch schon
wesentlich mehr weibliche
Energie“
spürbar...!
The
Soldier’s Wife
(L’épouse du
soldat) est une pièce
courte et simple
commandée par le
Ministère singapourien
de l'Education. Cette
œuvre a été
initialement écrite
comme pièce imposée
pour le Festival de la
Jeunesse se déroulant
Singapour en 2012. Comme
de nombreuses formations
scolaires présentent
quelques lacunes au
niveau de certains
pupitres, Jan van der
Roost a été
sollicité afin de
composer une œuvre
qui pourrait également
être jouée par une
formation incomplète -
ce qui explique le
doublement de certaines
parties et les voix
optionnelles.Cette
œuvre concise
débute par une
chaleureuse et expressive
mélodie : la femme du
soldat chante une sorte
deberceuse. Ce passage
lyrique est suivi
d’une partie plus
puissante qui est,
cependant, basée sur
le même matériel
thématique. Le rythme,
parfois syncopé,
insuffle cette partie de
l’œuvre une
énergie toute
particulière. La trame
harmonique, elle aussi,
subit quelques
surprenantes contorsions
sans jamais dépasser
les limites imposées
par le degré de
difficulté de la
pièce. Cette
composition commence
doucement et gentiment,
et se termine par un
motif empreint
d’un dynamisme
singulièrement
féminin.
“Guarda,
è la moglie del
soldato di legnoâ€!
All’inizio, canta
una dolce ninnananna, che
precede una sezione
più potente dai ritmi
sincopati e con
sorprendenti cambiamenti
di armonie. The
Soldier’s Wife
inizia in modo calmo e
dolce per poi trovare
un’energia
tipicamente femminile
verso il finale. The
Soldier’s Wife
è un brano breve e
semplice, perfetto anche
per formazioni a organico
ridotto grazie alle parti
raddoppiate e
opzionali. $26.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
|
ORCHESTRE
Chauve, Thierry : Blues et House
