| Rise of the Olympians Orchestre à Cordes - Facile FJH
Orchestra String Orchestra - Grade 2.5 SKU: FJ.ST6455 Composed by Brian B...(+)
Orchestra String
Orchestra - Grade 2.5
SKU: FJ.ST6455
Composed by Brian
Balmages. MakeMusic
Cloud; String Orchestra.
FJH Developing Strings.
Score and Part(s).
Duration 3:30. The FJH
Music Company Inc
#98-ST6455. Published by
The FJH Music Company Inc
(FJ.ST6455). UPC:
241444389010.
English. Follow in
the footsteps of
Olympians and experience
the strength, passion and
commitment of these
incredible athletes. The
soft, yet rich opening
foreshadows the powerful
music that follows.
Aggressive rhythms
juxtapose with soaring
melodies and harmonic
moments filled with
tension and release. An
exciting work with film
score qualities and an
optional harp part.
About FJH
Developing
Strings Sl
ightly more advanced than
Beginning Strings, this
series begins to involve
more position work and a
slightly more complex
rhythmic figures.
Rehearsal piano is often
provided. Ideal for
middle school and smaller
high school programs.
Grade 2 - 2.5 $55.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Rise of the Olympians Orchestre à Cordes [Conducteur] - Facile FJH
Orchestra String Orchestra - Grade 2.5 SKU: FJ.ST6455S Score Only....(+)
Orchestra String
Orchestra - Grade 2.5
SKU: FJ.ST6455S
Score Only.
Composed by Brian
Balmages. Series; String
Orchestra. FJH Developing
Strings. Score. Duration
3:30. The FJH Music
Company Inc #98-ST6455S.
Published by The FJH
Music Company Inc
(FJ.ST6455S).
English. Follow
in the footsteps of
Olympians and experience
the strength, passion and
commitment of these
incredible athletes. The
soft, yet rich opening
foreshadows the powerful
music that follows.
Aggressive rhythms
juxtapose with soaring
melodies and harmonic
moments filled with
tension and release. An
exciting work with film
score qualities and an
optional harp part.
About FJH
Developing
Strings Sl
ightly more advanced than
Beginning Strings, this
series begins to involve
more position work and a
slightly more complex
rhythmic figures.
Rehearsal piano is often
provided. Ideal for
middle school and smaller
high school programs.
Grade 2 - 2.5 $5.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto In C For Piano And Symphonic Wind Orch. Orchestre d'harmonie [Conducteur] Beriato Music
Concert Band/Harmonie and Piano SKU: BT.BMP8095417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano SKU:
BT.BMP8095417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski.
Score Only. Composed
2008. Beriato Music
#BMP8095417. Published by
Beriato Music
(BT.BMP8095417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Over de
Amerikaanse componist
Leroy Anderson is veel
bekend. Deze zoon van
Zweedse immigranten
speelde piano, orgel,
accordeon, trombone, tuba
en contrabas. Hij sprak
vloeiend verschillende
talen en studeerde met
grote onderscheidingaf
aan Harvard en schreef
tijdens zijn legerdienst
in opdracht van het leger
een handboek grammatica
Ijslands.Al in zijn
studententijd begon hij
met het maken van
arrangementen, en vanaf
zijn 30ste arrangeerde en
componeerde hijvoor het
Boston Pops Orchestra.
Melodieën zoals
Serenata, The Typewriter,
Sleigh Ride en Bugler's
Holiday maakte hem
wereldberoemd. Zijn
bekendste werk Blue Tango
stond in 1952 op nummer
één in de VS
Charts, ener werden meer
dan een miljoen
exemplaren van verkocht.
Een jaar na zijn dood in
1975 kreeg hij een ster
op de Walk of Fame in
Hollywood.Zijn meeste
werken duren niet langer
dan drie minuten,
ongeveer de maximumduur
van een singletoen. Een
werk dat wel langer
duurt, is het
pianoconcerto in C voor
piano en orkest uit 1953.
Het werd in Chicago
gecreëerd onder zijn
leiding met Eugene List
aan de piano. Na drie
uitvoeringen echter, was
hij niet meer
tevredenover zijn werk en
trok dit terug. Hij had
zijn leven lang de
intentie het te herwerken
doch kwam er niet meer
toe. Pas in 1989 besliste
de Anderson Familie zijn
pianoconcerto toch
opnieuw uit te geven.Dit
driedelige werk
wordtenerzijds getypeerd
door een zorgeloze
elegantie, maar
anderzijds zijn invloeden
van Rachmaninoff,
Copland, Gerschwin en
zelfs Beethoven en Mozart
alsook de Weense
klassiekers te horen.Voor
de eerste beweging, past
Anderson de
sonatevormtoe. Op het
einde volgt een cadenza
die ons in het tweede
deel (in mi klein) voert.
Het derde deel is een
typische Amerikaanse,
vrolijke volksdans in
2/4, een zogenaamde Hoe
Down met als
middengedeelte een
zangerige,
lyrische
Ãœber
den amerikanischen
Komponisten Leroy
Anderson lässt sich
vieles berichten: Der
Sohn schwedischer
Immigranten spielte
Klavier, Orgel,
Akkordeon, Posaune, Tuba
und Kontrabass, sprach
neun Sprachen
fließend, absolvierte
mit
einemMagna-cum-laude-Absc
hluss die Harvard
Universität und
verfasste während
seiner Militärzeit im
Zweiten Weltkrieg für
die amerikanische Armee
eine Grammatik des
Isländischen. Schon
während seiner
Studentenzeit begann er
zu arrangieren, ab Mitte
der30er Jahre des letzten
Jahrhunderts arrangierte
und komponierte er für
das Boston Pops
Orchestra. Aus seiner
Feder stammen so bekannte
Werke der leichten Muse
wie Serenata, The
Typewriter, Sleigh Ride
oder Bugler�s
Holiday. Sein
wohlbekanntestes
Stück, Blue Tango,
wurde als erste
Instrumentalkomposition
über eine Million Mal
verkauft und belegte im
Jahr 1952 Platz 1 der
US-Charts. Für seine
Verdienste um die
Schallplattenindustrie
erhielt er ein Jahr nach
seinem Tod einenStern auf
dem Walk of Fame in
Hollywood.Charakteristisc
h für seine Werke ist
die Dauer: die meisten
sind rund drei Minuten
lang � mehr passte
nicht auf den damals
gebräuchlichen
Tonträger, eine
Singleschallplatte. Nur
wenige
seinerKompositionen
sprengen diesen
Zeitrahmen. Dazu
gehört sein Konzert
C-Dur für Klavier und
Orchester. Er komponierte
es 1953, die
Uraufführung fand
unter seiner Leitung und
mit Eugene List am
Klavier im selben Jahr in
Chicago statt. Da
Anderson mit demWerk aber
nicht zufrieden war, zog
er es im Sommer 1954,
nach nur drei
Aufführungen, wieder
ein. Er hatte zeitlebens
die Absicht, es zu
überarbeiten, allein,
es kam nicht mehr dazu.
Erst 1989 entschied sich
die Anderson-Familie
dazu, dasKlavierkonzert
wieder zu
veröffentlichen.Das
dreisätzige Werk zeigt
die Unbeschwertheit und
Eleganz, die Andersons
sämtliche
Kompositionen
auszeichnen. Dennoch
findet man darin auch
Anklänge an
Komponisten wie
Rachmaninoff, Copland,
Gershwin, undeben
Beethoven und Mozart,
sowie die Wiener
Klassiker. Der erste Satz
folgt der
Sonatenhauptsatzform. An
seinem Ende steht eine
Klavierkadenz, die direkt
in den langsamen zweiten
Satz (in e-Moll)
überleitet. Der dritte
Satz schließlich ist
einwaschechter Hoe Down,
ein fröhlicher
amerikanischer Volkstanz
im 2/4-Takt, in dessen
Zentrum aber eine
lyrisch-gesangliche
Passage steht. Eine
weitere Solo-Kadenz
führt das Werk in
einen spritzigen
Schlussabschnitt.In
seinem
Klavierkonzertvereinigt
Anderson einen
klassisch-traditionellen
Form- und
Kompositionsstil mit
Elementen der
Unterhaltungsmusik und
eingängigen Melodien,
die schon immer sein
Markenzeichen waren.
Daher bildet dieses Werk
eine perfekte Synthese
von ernster undleichter
Musik. Es passt �
wie beispielsweise auch
George Gershwins Rhapsody
in Blue �
gleichermaßen in einen
vornehmen Konzertsaal,
wie auch zur
zwanglos-lockeren
Atmosphäre einer
sommerlichen
Open-Air-Veranstaltung
oder
einesPops-Konzertes. <
br>Nous savons beaucoup
de choses sur le
compositeur américain
Leroy Anderson. Ce fils
dimmigrants suédois
jouait du piano, de
lorgue, de laccordéon,
du trombone, du tuba et
de la contrebasse. Il
parlait couramment
plusieurs langues et
était diplômé
avec grande distinction
de Harvard. Pendant son
service militaire, il
écrivit un manuel de
grammaire islandaise
commandé par
larmée.Étudiant,
il avait déj
commencé faire des
arrangements et dès l
ge de 30 ans, il
arrangeait et composait
pour le Boston Pops
Orchestra. Des
mélodies telles que
Serenata, The Typewriter,
Sleigh Ride et Buglers
Holiday lui valurent une
renommée mondiale. Son
uvre phare, Blue Tango,
fut numéro un
descharts américains
en 1952 et se vendit plus
dun million dexemplaires.
Un an après sa mort en
1975, il eut droit son
étoile sur le Walk of
Fame Hollywood.La plupart
de ses uvres nexcèdent
pas trois minutes, soit
peu près la durée
maximale dun single
lépoque. Son concerto
en ut pour piano et
orchestre de 1953 est
quant lui plus long. Il
fut créé Chicago
sous sa direction avec
Eugene List au piano.
Après trois
exécutions, Anderson
nétait toutefois plus
satisfait de son travail
et le retira. Toute sa
vie, il eut lintention de
le remanier mais ne le
fit pas. Ce nest quen
1989 que la famille
Anderson décida de
tout de m?me
rééditer son
concerto pour piano.Cette
uvre en trois parties se
caractérise par son
élégance
nonchalante mais aussi
par linfluence de
Rachmaninoff, Copland,
Gershwin et m?me de
Beethoven et Mozart,
ainsi que des classiques
viennois.Pour le premier
mouvement, Anderson opte
pour une sonate. la fin,
une cadence nous conduit
la deuxième partie (en
mi mineur). La
troisième partie est
une danse populaire
joyeuse et typiquement
américaine en 2/4, une
Hoe Down avec un passage
lyrique et mélodieux
en son milieu. la fin, un
solo est suivi par une
clôture rapide.Dans
son concerto pour piano,
Anderson unit une
composition pure et
classique des thèmes
beaux et simples, sans
oublier des
éléments de la
musique légère.
Cette uvre. $38.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Concerto In C For Piano And Symphonic Wind Orch. Orchestre d'harmonie [Conducteur et Parties séparées] Beriato Music
Concert Band/Harmonie and Piano SKU: BT.BMP8091417 Composed by Leroy Ande...(+)
Concert Band/Harmonie and
Piano SKU:
BT.BMP8091417
Composed by Leroy
Anderson. Arranged by
Jörg Murschinski. Set
(Score & Parts). Composed
2008. Beriato Music
#BMP8091417. Published by
Beriato Music
(BT.BMP8091417).
A lot is known
about the American
composer Leroy Anderson.
This son of Swedish
immigrants played the
piano, organ, accordion,
trombone, tuba and double
bass. He spoke several
languages fluently and
graduated from Harvard
with first-class
honours.While on military
service, the army also
commissioned him to write
a manual on Icelandic
grammar.He already
started writing musical
arrangements as a
student, and from his
30th year arranged and
composed for the Boston
Pops Orchestra. Such
melodiesas Serenata, The
Typewriter, Sleigh Ride
and Bugler�s
Holiday made him world
famous. His best-known
work, Blue Tango, reached
number one in the US
charts in 1952, and it
sold more than a million
copies. In 1975, a year
after hisdeath, he was
given a star at the Walk
of Fame in Hollywood.Most
of his works last no
longer than three
minutes, about the
maximum length of a
single at that time. One
work that lasts longer is
his 1953 Piano Concerto
in C for piano and
orchestra.The first
performance was in
Chicago, conducted by the
composer and with Eugene
List at the piano.
However, after three
performances he was no
longer happy with the
work and withdrew it. He
always intended to revise
it, but never got round
to it. Itwas only in 1989
that the Anderson family
decided to republish the
work.This three-part
composition is on the one
hand characterised by a
careless elegance, but on
the other one can hear
the influence of
Rachmaninoff, Copland,
Gershwin, and
evenBeethoven and Mozart,
as well as the Viennese
classics.Anderson used
the sonata form for the
first movement. It ends
with a cadenza that
carries us on into the
second part (in e minor).
The third part is a
typically cheerful
American folk dance in2/4
time, a so-called Hoe
Down, with a lilting,
lyrical passage as its
middle section. At the
end comes a solo passage
followed by a rapid
close.In this piano
concerto, Anderson
combines a rigidly
classical form of
composition with simple
andappealing themes and
elements from light
music. So this work is a
perfect synthesis of
light music and what is
called serious music, in
the same way as
Gershwin�s
Rhapsody in Blue. A work
that can be played
equally well in a
concerthall, at an
open-air concert or even
a pop
concert.
Over de
Amerikaanse componist
Leroy Anderson is veel
bekend. Deze zoon van
Zweedse immigranten
speelde piano, orgel,
accordeon, trombone, tuba
en contrabas. Hij sprak
vloeiend verschillende
talen en studeerde met
grote onderscheidingaf
aan Harvard en schreef
tijdens zijn legerdienst
in opdracht van het leger
een handboek grammatica
Ijslands.Al in zijn
studententijd begon hij
met het maken van
arrangementen, en vanaf
zijn 30ste arrangeerde en
componeerde hijvoor het
Boston Pops Orchestra.
Melodieën zoals
Serenata, The Typewriter,
Sleigh Ride en Bugler's
Holiday maakte hem
wereldberoemd. Zijn
bekendste werk Blue Tango
stond in 1952 op nummer
één in de VS
Charts, ener werden meer
dan een miljoen
exemplaren van verkocht.
Een jaar na zijn dood in
1975 kreeg hij een ster
op de Walk of Fame in
Hollywood.Zijn meeste
werken duren niet langer
dan drie minuten,
ongeveer de maximumduur
van een singletoen. Een
werk dat wel langer
duurt, is het
pianoconcerto in C voor
piano en orkest uit 1953.
Het werd in Chicago
gecreëerd onder zijn
leiding met Eugene List
aan de piano. Na drie
uitvoeringen echter, was
hij niet meer
tevredenover zijn werk en
trok dit terug. Hij had
zijn leven lang de
intentie het te herwerken
doch kwam er niet meer
toe. Pas in 1989 besliste
de Anderson Familie zijn
pianoconcerto toch
opnieuw uit te geven.Dit
driedelige werk
wordtenerzijds getypeerd
door een zorgeloze
elegantie, maar
anderzijds zijn invloeden
van Rachmaninoff,
Copland, Gerschwin en
zelfs Beethoven en Mozart
alsook de Weense
klassiekers te horen.Voor
de eerste beweging, past
Anderson de
sonatevormtoe. Op het
einde volgt een cadenza
die ons in het tweede
deel (in mi klein) voert.
Het derde deel is een
typische Amerikaanse,
vrolijke volksdans in
2/4, een zogenaamde Hoe
Down met als
middengedeelte een
zangerige,
lyrische
Ãœber
den amerikanischen
Komponisten Leroy
Anderson lässt sich
vieles berichten: Der
Sohn schwedischer
Immigranten spielte
Klavier, Orgel,
Akkordeon, Posaune, Tuba
und Kontrabass, sprach
neun Sprachen
fließend, absolvierte
mit
einemMagna-cum-laude-Absc
hluss die Harvard
Universität und
verfasste während
seiner Militärzeit im
Zweiten Weltkrieg für
die amerikanische Armee
eine Grammatik des
Isländischen. Schon
während seiner
Studentenzeit begann er
zu arrangieren, ab Mitte
der30er Jahre des letzten
Jahrhunderts arrangierte
und komponierte er für
das Boston Pops
Orchestra. Aus seiner
Feder stammen so bekannte
Werke der leichten Muse
wie Serenata, The
Typewriter, Sleigh Ride
oder Bugler�s
Holiday. Sein
wohlbekanntestes
Stück, Blue Tango,
wurde als erste
Instrumentalkomposition
über eine Million Mal
verkauft und belegte im
Jahr 1952 Platz 1 der
US-Charts. Für seine
Verdienste um die
Schallplattenindustrie
erhielt er ein Jahr nach
seinem Tod einenStern auf
dem Walk of Fame in
Hollywood.Charakteristisc
h für seine Werke ist
die Dauer: die meisten
sind rund drei Minuten
lang � mehr passte
nicht auf den damals
gebräuchlichen
Tonträger, eine
Singleschallplatte. Nur
wenige
seinerKompositionen
sprengen diesen
Zeitrahmen. Dazu
gehört sein Konzert
C-Dur für Klavier und
Orchester. Er komponierte
es 1953, die
Uraufführung fand
unter seiner Leitung und
mit Eugene List am
Klavier im selben Jahr in
Chicago statt. Da
Anderson mit demWerk aber
nicht zufrieden war, zog
er es im Sommer 1954,
nach nur drei
Aufführungen, wieder
ein. Er hatte zeitlebens
die Absicht, es zu
überarbeiten, allein,
es kam nicht mehr dazu.
Erst 1989 entschied sich
die Anderson-Familie
dazu, dasKlavierkonzert
wieder zu
veröffentlichen.Das
dreisätzige Werk zeigt
die Unbeschwertheit und
Eleganz, die Andersons
sämtliche
Kompositionen
auszeichnen. Dennoch
findet man darin auch
Anklänge an
Komponisten wie
Rachmaninoff, Copland,
Gershwin, undeben
Beethoven und Mozart,
sowie die Wiener
Klassiker. Der erste Satz
folgt der
Sonatenhauptsatzform. An
seinem Ende steht eine
Klavierkadenz, die direkt
in den langsamen zweiten
Satz (in e-Moll)
überleitet. Der dritte
Satz schließlich ist
einwaschechter Hoe Down,
ein fröhlicher
amerikanischer Volkstanz
im 2/4-Takt, in dessen
Zentrum aber eine
lyrisch-gesangliche
Passage steht. Eine
weitere Solo-Kadenz
führt das Werk in
einen spritzigen
Schlussabschnitt.In
seinem
Klavierkonzertvereinigt
Anderson einen
klassisch-traditionellen
Form- und
Kompositionsstil mit
Elementen der
Unterhaltungsmusik und
eingängigen Melodien,
die schon immer sein
Markenzeichen waren.
Daher bildet dieses Werk
eine perfekte Synthese
von ernster undleichter
Musik. Es passt �
wie beispielsweise auch
George Gershwins Rhapsody
in Blue �
gleichermaßen in einen
vornehmen Konzertsaal,
wie auch zur
zwanglos-lockeren
Atmosphäre einer
sommerlichen
Open-Air-Veranstaltung
oder
einesPops-Konzertes. <
br>Nous savons beaucoup
de choses sur le
compositeur américain
Leroy Anderson. Ce fils
dimmigrants suédois
jouait du piano, de
lorgue, de laccordéon,
du trombone, du tuba et
de la contrebasse. Il
parlait couramment
plusieurs langues et
était diplômé
avec grande distinction
de Harvard. Pendant son
service militaire, il
écrivit un manuel de
grammaire islandaise
commandé par
larmée.Étudiant,
il avait déj
commencé faire des
arrangements et dès l
ge de 30 ans, il
arrangeait et composait
pour le Boston Pops
Orchestra. Des
mélodies telles que
Serenata, The Typewriter,
Sleigh Ride et Buglers
Holiday lui valurent une
renommée mondiale. Son
uvre phare, Blue Tango,
fut numéro un
descharts américains
en 1952 et se vendit plus
dun million dexemplaires.
Un an après sa mort en
1975, il eut droit son
étoile sur le Walk of
Fame Hollywood.La plupart
de ses uvres nexcèdent
pas trois minutes, soit
peu près la durée
maximale dun single
lépoque. Son concerto
en ut pour piano et
orchestre de 1953 est
quant lui plus long. Il
fut créé Chicago
sous sa direction avec
Eugene List au piano.
Après trois
exécutions, Anderson
nétait toutefois plus
satisfait de son travail
et le retira. Toute sa
vie, il eut lintention de
le remanier mais ne le
fit pas. Ce nest quen
1989 que la famille
Anderson décida de
tout de m?me
rééditer son
concerto pour piano.Cette
uvre en trois parties se
caractérise par son
élégance
nonchalante mais aussi
par linfluence de
Rachmaninoff, Copland,
Gershwin et m?me de
Beethoven et Mozart,
ainsi que des classiques
viennois.Pour le premier
mouvement, Anderson opte
pour une sonate. la fin,
une cadence nous conduit
la deuxième partie (en
mi mineur). La
troisième partie est
une danse populaire
joyeuse et typiquement
américaine en 2/4, une
Hoe Down avec un passage
lyrique et mélodieux
en son milieu. la fin, un
solo est suivi par une
clôture rapide.Dans
son concerto pour piano,
Anderson unit une
composition pure et
classique des thèmes
beaux et simples, sans
oublier des
éléments de la
musique légère.
Cette uvre. $361.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Barcarolles for a Sinking City [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139S Composed
by Lowell Liebermann.
Full score. Duration 15
minutes. Theodore Presser
Company #116-41139S.
Published by Theodore
Presser Company
(PR.11641139S). UPC:
680160682119. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $48.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Barcarolles for a Sinking City Theodore Presser Co.
Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabas...(+)
Orchestra Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass,
Contrabassoon, English
Horn, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Horn 3, Horn 4, Oboe 1,
Oboe 2, Percussion 1,
Percussion 2, Percussion
3, Percussion 4, Piccolo
and more. SKU:
PR.11641139L Composed
by Lowell Liebermann.
Large Score. Duration 15
minutes. Theodore Presser
Company #116-41139L.
Published by Theodore
Presser Company
(PR.11641139L). UPC:
680160682126. Barca
rolles for a Sinking City
was inspired by the city
of Venice, a place that
has long held the
fascination of artists,
writers and composers,
and which I have been
lucky enough to visit on
several occasions. Sadly
it seems that future
generations may not be so
lucky: in addition to the
city's slow sinking and
recently discovered
tilting, studies predict
that if global warming
and the resultant rise of
ocean levels is unabated,
the entire city (as well
as many other coastal
cities around the globe)
will be under water by
2100. I. Funeral
Gondola The late, cryptic
piano works of Franz
Liszt made a profound
impression on me as a
young composer, among
them two works he
entitled La Lugubre
Gondola (usually
translated as The Funeral
Gondola ) which were said
to be a premonition of
Wagner's death in Venice,
his coffin transported
through the canals in a
black gondola. These late
pieces of Liszt acquired
even greater significance
to me after I spent two
summers in Bayreuth under
the patronage of
Friedelind Wagner, the
granddaughter of Wagner
and great-granddaughter
of Liszt. This movement
is a meditation on
Wagner, Liszt, Venice and
its own evanescence. II.
Barcarolle/Quodlibet The
Quodlibet (Latin for what
pleases) is a musical
form dating back to the
15th century where many
disparate melodies are
juxtaposed. Popular in
the Renaissance, sacred
and secular melodies were
combined, often to
comical effect due to the
resultant incongruity of
the words. The form was
considered the ultimate
test of a composer's
mastery of counterpoint.
The most famous Quodlibet
is without doubt the
final Variation of Bach's
Goldberg Variations. As a
form the Quodlibet is
less common in more
recent music, although
examples can be found in
the works of Kurt Weill
and David Del Tredici.
My own
Barcarolle/Quodlibet was
inspired by the (perhaps
apocryphal) story of the
funeral where musicians
were asked to play a Bach
Choral, but due to
miscommunication played
instead the Bacarolle
from The Tales of
Hoffmann. Here, the Bach
Choral Allen Menschen
mussen sterben (All Men
Must Die) is heard in the
strings pizzicato, with a
tempo indication In slow
motion. The alto line of
the Bach suggests a
phrase from Beethoven's
Ninth Symphony (Alle
Menchen werden Bruder)
heard in the muted
trombone. Before long,
the famous tune from
Offenbach's opera is
heard, followed by
quotations from iconic
Barcarolles by Chopin,
Mendelssohn and Faure, as
well as two Venetian
popular songs and more
Beethoven. III.
Barcarola/Ostinato/Carill
on An ostinato is a
repeated musical figure,
and carillon is Italian
for music box. This
movement references the
obsolete genre of salon
pieces that imitated
music boxes: such works
by composers like Liadov
and Gretchaninov used to
be a mainstay of
pianists' encore
repertoire. This movement
is however much darker in
conception than those
pleasant trifles.
Utilizing the full
battery of percussion,
the carefully notated
temporal slowing of the
ostinato becomes
overwhelmed by a poignant
chorale melody before
this box is snapped shut.
IV. Barcarolle
Oubliee (Forgotten
Barcarolle) Marked
limpido (still) the final
movement begins with the
sound of rain produced by
a percussion instrument
called (appropriately) a
rain stick. Halting
phrases in the harp
coalesce into the
accompaniment for a
plangent melody heard in
the clarinet. The central
Adagio of this movement
leads to a shattering
climax, before the
opening phrases return
and dissipate into
nothingness. $90.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Serenade [Conducteur] Carl Fischer
Full orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Crash C...(+)
Full orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
Crash Cymbals, Flute 1,
Flute 2, Glockenspiel,
Harp, Horn 1, Horn 2,
Horn 3, Oboe 2,
Percussion 1, Percussion
2, Piccolo, Suspended
Cymbal, Timpani, Trombone
1, Trombone 2, Trumpet 1
and more. SKU:
CF.SC88 Composed by
William Grant Still. Full
score. 32 pages. Duration
9 minutes, 20 seconds.
Carl Fischer Music #SC88.
Published by Carl Fischer
Music (CF.SC88). ISBN
9781491158845. UPC:
680160917563. Willi
am Grant Stillas catalog
of works comprises over
200 pieces, including
five symphonies, nine
operas, four ballets and
numerous works for
chamber ensembles. He
initially found
employment as an oboist
in pit orchestras in New
York City, later as an
arranger of popular music
for various ensembles,
including those by
William C. Handy, James
P. Johnson and Paul
Whiteman. His career as a
composer was launched
with a performance in
1931 of his Symphony No.
1 aAfro-Americana by the
Rochester Philharmonic,
conducted by Howard
Hanson, who would remain
a life-long champion of
Stillas orchestral works.
By the 1950s the symphony
had been performed in New
York, Chicago, Los
Angeles and various
European capitals. This
notoriety earned Still a
Guggenheim Fellowship in
1934, after which he
moved to Los Angeles. He
is credited as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the aDean of
Afro-American Composers.a
Still composed his
Serenade for Orchestra in
1957 on a commission by
the Great Falls High
School in Great Falls,
Montana. He later
transcribed the work for
a chamber ensemble of
flute, clarinet, harp and
strings. The piece
reflects Stillas interest
in American folk idioms,
with conventional
melodies and harmonies
that nonetheless express
a fresh and individual
compositional
voice. William Grant
Still's catalog of works
comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
Afro-American by the
Rochester Philharmonic,
conducted by Howard
Hanson, who would remain
a life-long champion of
Still's orchestral works.
By the 1950s the symphony
had been performed in New
York, Chicago, Los
Angeles and various
European capitals. This
notoriety earned Still a
Guggenheim Fellowship in
1934, after which he
moved to Los Angeles. He
is credited as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the Dean of Afro-American
Composers. Still composed
his Serenade for
Orchestra in 1957 on a
commission by the Great
Falls High School in
Great Falls, Montana. He
later transcribed the
work for a chamber
ensemble of flute,
clarinet, harp and
strings. The piece
reflects Still's interest
in American folk idioms,
with conventional
melodies and harmonies
that nonetheless express
a fresh and individual
compositional
voice. William Grant
Still’s catalog of
works comprises over 200
pieces, including five
symphonies, nine operas,
four ballets and numerous
works for chamber
ensembles. He initially
found employment as an
oboist in pit orchestras
in New York City, later
as an arranger of popular
music for various
ensembles, including
those by William C.
Handy, James P. Johnson
and Paul Whiteman. His
career as a composer was
launched with a
performance in 1931 of
his Symphony No. 1
“Afro-Americanâ€
by the Rochester
Philharmonic, conducted
by Howard Hanson, who
would remain a life-long
champion of
Still’s orchestral
works. By the 1950s the
symphony had been
performed in New York,
Chicago, Los Angeles and
various European
capitals.This notoriety
earned Still a Guggenheim
Fellowship in 1934, after
which he moved to Los
Angeles. He is credited
as the first
African-American to
conduct a major orchestra
(the Los Angeles
Philharmonic Orchestra),
the first to have an
opera performed by a
major company (Troubled
Island by the New York
City Opera in 1949), and
one of the first
composers to write for
radio, films and
television. So numerous
were his awards and
accolades, including
three Guggenheim
Fellowships and a variety
of honorary doctorates,
that he was designated as
the “Dean of
Afro-American
Composers.â€Still
composed his Serenade for
Orchestra in 1957 on a
commission by the Great
Falls High School in
Great Falls, Montana. He
later transcribed the
work for a chamber
ensemble of flute,
clarinet, harp and
strings. The piece
reflects Still’s
interest in American folk
idioms, with conventional
melodies and harmonies
that nonetheless express
a fresh and individual
compositional voice. $25.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| An English Christmas Brass Band Set Score And Parts Orchestre d'harmonie - Facile Anglo Music
Brass Band (Score & Parts) - Grade 3 SKU: HL.44012730 Composed by Philip ...(+)
Brass Band (Score &
Parts) - Grade 3 SKU:
HL.44012730 Composed
by Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Softcover.
Composed 2007. Anglo
Music Press #AMP225030.
Published by Anglo Music
Press (HL.44012730).
9x12 inches.
English-German-French-Dut
ch. Christmas as
celebrated in England is
a relatively newtradition
dating from the time of
Queen Victoria.
Herhusband Prince Albert
was from Germany and he
broughtmany German
Christmas traditions with
him, including
theChristmas tree and
Christmascards, and even
carols such asHark, the
Herald Angels Sing.
Philip Sparke has however
useda varied selection of
English melodies to
arrange into his?Festival
of Carols?.The choir
parts are seperately
available (order no. AMP
227-050). Christmas as
celebrated in England is
a relatively new
tradition dating from the
time of Queen Victoria.
Her husband Prince Albert
was from Germany and he
brought many German
Christmas traditions with
him, including the
Christmas tree and
Christmas cards, and even
carols such as Hark, the
Herald Angels Sing.
Philip
Sparke has
however used a varied
selection of English
melodies to arrange into
his Festival of
Carols. The choir
parts are seperately
available (order no. AMP
227-050).
Hoewel
de Engelsen een lange
traditie kennen in het
zingen van carols zijn
veel van de melodieen die
er worden gezongen
afkomstig van het
Europese vasteland - of
uit Amerika. Desondanks
heeft Philip Sparke een
gevarieerde selectievan
Engelse melodieen kunnen
samenstellen voor dit
prachtige 'Festival of
Carols' - dat zowel met
als zonder koor kan
worden
uitgevoerd.
Weihna
chten, wie es heute in
England gefeiert wird,
ist eine relativ junge
Tradition aus dem 19,
Jahrhundert, die der
deutsche Ehemann von
Konigin Victoria mit in
seine neue Heimat
brachte. Viele
gebrauchliche
Weihnachtslieder stammen
ebenfalls nichtaus
England. Philip Sparke
gelang es jedoch, eine
abwechslungsreiche
Sammlung von Liedern aus
seiner Heimat zu diesem
schonen englischen
Weihnachtslieder-Festival
zu formen.Die optional
einsetzbaren Chorstimmen
sind unter der
Artikelnummer
AMP227-050 separat
erhaltlich.
<< La
plupart des traditions de
Noel en Angleterre sont
relativement recentes.
Montee sur le trone en
1837, la reine Victoria
(nee de Hanovre) regnera
jusqu'a sa mort en 1901.
En 1840, elle epousa son
cousin, le prince Albert
de Saxe-Cobourg-Gotha.
Leprince consort,
originaire d'Allemagne,
importa bon nombre de
traditions de Noel
allemandes au
Royaume-Uni. Ainsi, il
fit decouvrir aux Anglais
la coutume du sapin et
les cartes de Noel, entre
autres, contribuant
largement au Noel
typiquement anglaistel
que nous le connaissons
aujourd'hui.Bien que les
chants de Noel font
l'objet d'une longue
tradition en Angleterre,
de nombreuses melodies
que nous chantons
proviennent ducontinent
europeen ou des
Etats-Unis. Je savais
bien que le
celebrissimeSilent
Night (Douce nuit)
etait d'origine
autrichienne et que
Hark, the Herald
Angels Sing (Ecoutez le
chant des Anges)
etait d'origine
allemande. Pourtant,
quelle ne fut pas ma
surprise d'apprendre
qu'Away in a Manger
(Sur la
paillefraiche) ou
encore We Three
Kings nous venaient
des Etats-Unis et que
Ding, Dong Merrily on
High etait un noel
d'origine francaise.
Quoiqu'il en soit, j'ai
reussi a constituer un
canevas de melodies
anglaises pour realiser
cefestival de chants de
Noel. >>Philip
SparkeRemarques sur
l'interpretation : Cet
arrangement est adapte
pour une interpretation
avec ou sans Chœur.
S'il est joue par un
Brass Band, les parties
vocales seront doublees
par des
partiesinstrumentales.Les
tempi indiques
correspondent a une
interpretation par un
Brass Band seul. Si
l'œuvre est donnee
avec un Chœur, il
est sans doute necessaire
de baisser le tempo en
fonction du nombre de
choristes et de
l'acoustique du lieude
concert.Les parties de
Chœur (en anglais)
sont disponibles
separement (Ref. : AMP
227-050).
The
choir parts are
seperately available
(order no. AMP
227-050). $94.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
Plus de résultats boutique >> |