| Where Never Lark or Eagle Flew Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
Where Never Lark or Eagle Flew by James Curnow. For Concert Band. Hal Leonard Co...(+)
Where Never Lark or Eagle
Flew by James Curnow. For
Concert Band. Hal Leonard
Composers Series. Grade
4-6. Published by Hal
Leonard
(9)$95.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Paul Murtha : Arlington (Where Giants Lie Sleeping) Orchestre d'harmonie [Conducteur et Parties séparées] - Intermédiaire Hal Leonard
By Paul Murtha. For Concert Band (Score and Parts). MusicWorks Grade 4. Grade 4....(+)
By Paul Murtha. For
Concert Band (Score and
Parts). MusicWorks Grade
4. Grade 4. Softcover.
Published by Hal Leonard
$90.00 $85.5 (- 5%) Voir plus => AcheterDélais: 24 hours - In Stock | | |
| The Book of Urizen - Symphony No. 1 (CD incl.) Orchestre d'harmonie [Conducteur et Parties séparées + CD] - Intermédiaire De Haske Publications
The Book of Urizen is Jacob de Haan his first Symphony for concert band, ...(+)
The Book of Urizen
is Jacob de Haan his
first Symphony for
concert band, solo
soprano, and a male
narrator in which sound
collages of expressions
are used. The piece is
inspired by the
compelling visionary poem
of the samename (which
the poet illustrated
himself) by the
Englishman William Blake
(1757-1827). The
Vision, first
movement and The
Creation, second
movement of The Book
of Urizen are
available by following
editionnumber: DHP
1043551. The Web,
the third movement of
The Book of Urizen
is available by the
following edition number:
DHP 1125252. Download the
audio samples here: track
1, track 2, track
3
In The Book
of Urizen - Jacob de
Haan zijn eerste symfonie
voor harmonieorkest,
zangstem (sopraan) en een
mannelijke spreekstem -
wordt gebruik gemaakt van
geluidscollages. De
compositie is ge
nspireerd op het
gelijknamigegedicht van
William Blake
(1757-1827). The
Vision, het eerste
deel en The
Creation, het tweede
deel van The Book of
Urizen zijn
beschikbaar via volgend
editienummer: DHP
1043551. The Web,
het derdedeel van The
Book of Urizen is
verkrijgbaar via
editienummer: DHP
1125252. Download
audiofragmenten hier:
track 1, track 2, track
3
The Book of
Urizen ist Jacob de
Haan seine erste
Symphonie für
Blasorchester, Gesang
(Sopran) und
(männliche)
Sprechstimme, in welcher
Botschaften durch
Geräuschcollagen
wiedergegeben werden. Als
Inspirationsquelle
dienteder gleichnamige
Gedichtzyklus des
großen englischen
Dichters und Malers
William Blake
(1757-1827). The
Vision, erster Satz
und The Creation,
zweiter Satz von The
Book of Urizen sind
unter der
folgendenEditionsnummer
erhältlich: DHP
1043551. The Web,
der dritte Satz von
The Book of Urizen , ist
unter der folgenden
Editionsnummer
erhältlich: DHP
1125252. Laden Sie hier
die Audiosamples
herunter: track 1, track
2,track 3
En 1794,
l’écrivain,
peintre, graveur,
enlumineur, visionnaire
et philosophe mystique
anglais William Blake
(1757-1827) dénonce
dans The Book of Urizen
(Le Livre
d’Urizen), la loi
de fer du monde moderne.
Dans The Book
ofUrizen - la
première symphonie de
Jacob de Haan pour
Orchestre
d’Harmonie,
Soprano et un récitant
- des collages sonores
sont utilisés. The
Vision, la
première partie et
The Creation, la
deuxième partie de
TheBook of Urizen
sont disponibles sous le
numéro
d'éditionsuivant: DHP
1043551. The Web,
la troisième partie de
The Book of Urizen
est disponible sous le
numéro d'édition
suivant: DHP 1125252.
Télécharger
lesextraits audio ici:
track 1, track 2, track
3
The Book of
Urizen is a work for
concert band, solo
soprano, and a male
narrator in which sound
collages of religious
expressions are used. The
piece is inspired by the
compelling visionary poem
of the same name (which
the poet
illustratedhimself) by
the Englishman William
Blake (1757-1827), who
occupies a unique
position in western
literature and the visual
arts. He was not just a
poet and a writer, but he
was also a graphic
artist, a painter, an
illustrator, a
spiritualist, areligious
visionary, and a mystic
philosopher. For the
performance of this work,
a professional sound
system, including two
microphones and a CD
player, is needed. The
three sound collages are
three separate tracks on
the enclosed CD and can
beplayed easily at the
right moment. The Book
of Urizen bears
resemblance to Genesis
and Exodus, of which the
contents form the basis
of the Christian, Jewish,
and Islamic faith. Blake
adhered to the principle
that all religions are in
fact one,and that deities
reside in human beings.
In The Book of
Urizen this is
represented in “The
Net of Religion,â€
which is spanned over the
earth by Urizen. The
sound collages, compiled
by Jacob de Haan in the
studio, find their origin
inJerusalem, the Holy
City, where the
afore-mentioned faiths
“come
together.†In the
first movement of
this composition, The
Vision, Urizen
prepares his vision of
the world, and he
presents this to the
“Eternals.â€
His vision is
rejected,and Urizen locks
himself up in his own
abstract world. When he
does emerge again, he is
confronted with rage by
the gathered Eternals.
Urizen flees the wrath of
the Eternals, “the
flames of eternal
fury,†and enwombs
himself in his own world.
Whenthe Eternals see
Urizen in his
“stony
sleep,†they wonder
if this is death. The
blacksmith Los is torn by
grief because of the
isolation of Urizen. It
brings him to rouse his
fires, prepare his forge,
and to give
Urizen’s world
concrete form. In
thesecond
movement, The
Creation,
Urizen’s world,
but also man, woman, and
child are created. Los is
horrified with the
appearance of
Urizen’s body. He
mourns and pities Urizen,
and from his blood a
female form comes into
being, with thename
Enitharmon. The Eternals,
fearful of the female
form, decide to erect a
tent to obstruct their
view to eternity.
Enitharmon and Los beget
a son, called Orc. Los
baptizes him as a child
of the “fallen
world.†Orc is fed
at Enitharmon’s
breast,which makes a
girdle of jealousy
restrict Los’
chest. He takes the child
to the top of the
mountain and chains him
down. The cries of Orc
awaken Urizen, who
explores his world
creating instruments of
scientific measurement to
do so. Los encircles
theface of Enitharmon
from the sight of Urizen
and Orc. She then
populates the earth by
giving birth to an
enormous race.The
Web, third movement
of The Book of
Urizen is now
available: DHP 1125252
$533.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Élégie Guitare Guitare classique [Conducteur] - Intermédiaire Doberman
Guitar - Intermediate SKU: DY.DO-1522 Composed by Francis Bebey. Arranged...(+)
Guitar - Intermediate
SKU: DY.DO-1522
Composed by Francis
Bebey. Arranged by Ingrid
Riollot. Score. Les
Editions Doberman-Yppan
#DO 1522. Published by
Les Editions
Doberman-Yppan
(DY.DO-1522). ISBN
9782897963026. Fran
cis Bebey est né Ã
Douala en juillet 1929,
dans une grande famille
où son père,
pasteur, luttait pour
nourrir ses enfants. Mais
Francis a eu
l'opportunité d'aller
à l'école. Admirant
son frère aîné,
Marcel Eyidi Bebey, il
s'est éduqué, s'est
distingué, et a
finalement reçu une
bourse pour passer son
baccalauréat en
France. Nous
approchions de la fin des
années 1950 lorsqu'il
est arrivé à La
Rochelle. Plus que
jamais, dans cette France
où les Africains
étaient regardés
avec curiosité,
condescendance ou
dédain, Francis
s'appuyait sur ses
ressources
intellectuelles.
Travailleur assidu, il a
obtenu son
baccalauréat, puis
s'est installé Ã
Paris où il a
commencé des études
d'anglais à la
Sorbonne. Un jour, il a
su ce qui l'attirait
vraiment : il voulait
faire de la radio.
Francis a appris son
métier en France et
aux
�tats-Unis. Après
avoir travaillé
quelques années comme
reporter, il a été
embauché en 1961 en
tant que fonctionnaire
international au
Département de
l'information de
l'UNESCO. Parallèle
ment, Francis a toujours
été attiré par
la création musicale.
Son activité diurne
très sérieuse ne
l'empêchait pas de
fréquenter les clubs
de jazz le soir. Ã?
Paris, le jazz, la
musique à la mode Ã
cette époque, mais
aussi la rumba et la
salsa l'attiraient. Il
collectionnait les
disques et assistait Ã
de nombreux concerts.
Avec son complice Manu
Dibango, Francis montait
sur scène et jouait de
la musique. Francis
aimait la musique
classique depuis son
enfance. Il avait grandi
en écoutant les
cantates et les oratorios
de Bach ou Handel que son
père chantait au
temple. Il s'est
passionné pour la
guitare, impressionné
par les maîtres
espagnols et
sud-américains, et a
décidé d'apprendre
à jouer de
l'instrument
lui-même. Il a
commencé à composer
des pièces pour
guitare, mêlant les
diverses influences qui
le traversaient avec la
musique traditionnelle
africaine qu'il portait
en lui depuis son
enfance. Son approche a
captivé le directeur
du Centre culturel
américain (alors
situé dans le quartier
de Saint-Germain Ã
Paris), qui lui a offert
l'opportunité de se
produire devant un
public. Francis y a
donné son premier
récital de guitare
(1963) devant un public
hypnotisé. Son premier
album solo est sorti peu
de temps
après. Progressivem
ent, Francis est devenu
reconnu comme musicien et
compositeur. Plusieurs
albums de l'ambassadeur
africain de la guitare,
comme le décrivait la
presse, sont sortis. Il a
également écrit des
livres, au point que sa
carrière artistique
est devenue difficile
à concilier avec sa
carrière de
fonctionnaire. En 1974,
même s'il était
devenu le directeur
général chargé
de la musique Ã
l'UNESCO, il a fait le
saut audacieux et a
démissionné de
cette prestigieuse
institution pour se
consacrer aux trois
activités qui
l'intéressaient : la
musique, la
littérature et le
journalisme. Il a
exploré le patrimoine
musical traditionnel du
continent africain,
notamment à travers le
piano à pouce sanza et
la musique polyphonique
des pygmées d'Afrique
centrale, ou en chantant
dans sa langue maternelle
et en composant des
chansons humoristiques en
français ! Le
succès a suivi.
Francis Bebey a parcouru
le monde : de la France
au Brésil, du Cameroun
à la Suède, de
l'Allemagne aux
Caraïbes, ou du Maroc
au Japon... la liste des
pays où il a été
invité à se
produire, Ã donner des
conférences ou Ã
rencontrer des lecteurs
est très longue. En
plus de la reconnaissance
publique, il
bénéficiait de la
reconnaissance de ses
collègues musiciens,
tels que le guitariste
John Williams ou le
Vénézuélien
Antonio Lauro, qui l'ont
invité à faire
partie du jury d'un
concours de guitare
classique Ã
Caracas. Sa vie
était le voyage d'un
pionnier africain, un
homme enraciné dans
son patrimoine culturel
et portant un message de
partage et d'espoir pour
le monde. Son
originalité continue
de résonner dans le
monde entier depuis son
décès à la fin
du mois de mai
2001.
Francis
Bebey was born in Douala
in July 1929, into a
large family where his
father, a pastor,
struggled to feed his
children. But Francis had
the opportunity to go to
school. Admiring his
elder brother, Marcel
Eyidi Bebey, he educated
himself, distinguished
himself, and eventually
received a scholarship to
go and take his
baccalaureate in
France. We approached
the end of the 1950s when
he arrived in La
Rochelle. More than ever,
in this France where
Africans were looked at
with curiosity,
condescension, or
disdain, Francis relied
on his intellectual
resources. A diligent
worker, he obtained his
Baccalaureate, then moved
to Paris where he started
English studies at the
Sorbonne. One day, he
knew what truly attracted
him: he wanted to do
radio. Francis learned
his craft in France and
in the USA. After
working for a few years
as a reporter, he was
hired in 1961 as an
international civil
servant in the UNESCO
Information
Department. In
parallel, Francis had
always been drawn to
musical creation. His
very serious daytime
activity didnâ??t
prevent him from
frequenting jazz clubs in
the evenings. In Paris,
the Jazz, the trendy
music of that time, but
also rumba and salsa
attracted him. He
collected records and
attended numerous
concerts. With his
accomplice Manu Dibango,
Francis took the stage
and played
music. Francis liked
classical music since his
childhood. He grew up
listening to the cantatas
and oratorios of Bach or
Handel that his father
had sung in the temple.
He became passionate
about the guitar,
impressed by the Spanish
and South American
masters, and decided to
learn to strum the
instrument himself. He
started composing guitar
pieces, blending the
various influences that
flow through him with the
traditional African music
he had carried within
since childhood. His
approach captivated the
director of the American
Cultural Center (then
located in the
Saint-Germain
neighborhood of Paris),
who offered him the
opportunity to perform in
front of an audience.
Francis gave his first
guitar recital there
(1963) in front of a
mesmerized audience. His
first solo album was
released shortly
thereafter. Gradually,
Francis became recognized
as a musician and
composer. Several albums
of the African guitar
ambassador, as described
by the press, were
released. He also wrote
books, to the point that
his artistic career
became challenging to
reconcile with his career
as a civil servant. In
1974, even though he had
become the General
Manager in charge of
music at UNESCO, he took
the bold leap and
resigned from this
prestigious institution
to dedicated himself to
the three activities that
interested him: music,
literature, and
journalism. He
explored the traditional
musical heritage of the
African continent,
notably through the thumb
piano sanza, and the
polyphonic music of the
Central African pygmies,
or singing in his native
language and composing
humoristic songs in
French! Success
followed. Francis Bebey
traveled the world: from
France to Brazil,
Cameroon to Sweden,
Germany to the Carribean,
or Morocco to Japan...
the list of countries
where he was invited to
perform, gives lectures,
or meets readers is very
long. In addition to
public recognition, he
enjoyed the recognition
of his fellow musicians,
such as guitarist John
Williams or Venezuelan
Antonio Lauro, who
invited him to be a part
of the jury for a
classical guitar
competition in
Caracas. His life was
the journey of an African
pioneer, a man rooted in
his cultural heritage and
carrying a message of
sharing and hope for the
world. His originality
continues to vibrate
around the world since
his passing at the end of
May 2001. $4.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Suite No. 1 Ensemble de Percussions [Partition + CD-ROM] - Intermédiaire Tapspace Publications
(for percussion ensemble). By Fred Emory Smith. Percussion Quintet. For snare dr...(+)
(for percussion
ensemble). By Fred Emory
Smith. Percussion
Quintet. For snare drum,
4 concert toms, 4
timpani, concert bass
drum, marimba (low A),
glockenspiel, xylophone,
chimes, tam tam,
tambourine, temple
blocks, triangle, ride
cymbal, suspended cymbal
$38.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Great American Songbook - The Composers
Piano, Voix et Guitare [Partition] - Intermédiaire Hal Leonard
Music and Lyrics for Over 100 Standards from the Golden Age of American Song. By...(+)
Music and Lyrics for Over
100 Standards from the
Golden Age of American
Song. By Various.
Piano/Vocal/Chords
Songbook (Arrangements
for piano and voice with
guitar chords).
Softcover. Size 9x12
inches. 320 pages.
Published by Hal Leonard.
(2)$37.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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