| Marujo do Rosario Carl Fischer
Choral Piano, Tambourine, Voice 1, Voice 2, Voice 3 SKU: CF.CM9602 Compos...(+)
Choral Piano, Tambourine,
Voice 1, Voice 2, Voice 3
SKU: CF.CM9602
Composed by Brazilian
Folk Song. Arranged by
Eduardo Lakschevitz Elisa
Dekaney. Fold.
Performance Score. 12
pages. Duration 2
minutes, 28 seconds. Carl
Fischer Music #CM9602.
Published by Carl Fischer
Music (CF.CM9602).
ISBN 9781491154243.
UPC: 680160912742. 6.875
x 10.5 inches. Key: Gb
major. Portuguese.
Brazilian Folk
Song. According to
Ermelinda Paz ,
Marujo do
Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
houses owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [? k?
li'sensa olele e] E com
licenca do dono da casa
[? k? li'sensa du d?nu da
kaza]. According to
Ermelinda Paz ,
Marujo do
RosA!rio (literally
translated from the
Portuguese as aSailor of
the Rosarya) comes from
the hydrographic region
of the SAPSo Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
acheganASSa-de-marujoa
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics aA com
licenASSa Aa, A'lelAa,
A(c) com licenASSa do
dono da casa, A' Aa com
licenASSa Aaa means
aplease excuse me, I have
permission from the
houseas owner to come
in.a This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final ama or an.a
Just nasalize them. IPA
Transcription A com
licenASSa olelAa Aa [E kE
li'sensa oleale e] A com
licenASSa do dono da casa
[E kE li'sensa du adEnu
da akaza]. According
to Ermelinda Paz ,
Marujo do
Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
house's owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [e k^
li'sensa ole'le e] E com
licenca do dono da casa
[e k^ li'sensa du 'd^nu
da 'kaza]. According
to Ermelinda Paz, Marujo
do Rosario (literally
translated from the
Portuguese as Sailor of
the Rosary) comes from
the hydrographic region
of the Sao Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
cheganca-de-marujo
(arrival of sailor). In
this tragicomic street
drama, the community of
actors enact a story in
which they demonstrate
their experiences as if
they were in a vessel
lost at sea. In this
dance, several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics E com
licenca e, olele, e com
licenca do dono da casa,
o e com licenca e means
please excuse me, I have
permission from the
house's owner to come in.
This arrangement is
scored for three-part
mixed with optional
baritone, piano, and
pandeiro. The pandeiro is
a Brazilian frame drum
with jingles played with
the hands, similar to the
orchestral tambourine. It
is used in various music
styles but particularly
in samba and bossa nova.
In fact, feel free to
substitute the pandeiro
with the orchestral
tambourine. The text is
very short and simple. To
make your singers
Portuguese pronunciation
more accurate, do not
close final m or n. Just
nasalize them. IPA
Transcription E com
licenca olele e [e k^
li'sensa ole'le e] E com
licenca do dono da casa
[e k^ li'sensa du 'd^nu
da 'kaza]. According
to Ermelinda Paz, Marujo
do Rosário (literally
translated from the
Portuguese as
“Sailor of the
Rosaryâ€) comes from
the hydrographic region
of the São Francisco
River, a basin that
includes the states of
Minas Gerais, Bahia,
Pernambuco, Sergipe, and
Alagoas. This song most
likely belongs to a style
of dramatic dance called
“chegança-de-mar
ujo†(arrival of
sailor). In this
tragicomic street drama,
the community of actors
enact a story in which
they demonstrate their
experiences as if they
were in a vessel lost at
sea. In this dance,
several characters
dressed as sailors and
carrying small sail boats
on their shoulders,
parade through the
streets singing and
dancing to a march. When
they arrive at a
determined house, they
place their little sail
boats on the floor and
start the dramatic play.
This song seems to be
performed when the
sailors arrive at the
chosen location. The
Portuguese lyrics
“É com
licença ê,
ôlelê, é com
licença do dono da
casa, ô ê com
licença êâ€
means “please
excuse me, I have
permission from the
house’s owner to
come in.â€This
arrangement is scored for
three-part mixed with
optional baritone, piano,
and pandeiro. The
pandeiro is a Brazilian
frame drum with jingles
played with the hands,
similar to the orchestral
tambourine. It is used in
various music styles but
particularly in samba and
bossa nova. In fact, feel
free to substitute the
pandeiro with the
orchestral tambourine.
The text is very short
and simple. To make your
singers Portuguese
pronunciation more
accurate, do not close
final “m†or
“n.†Just
nasalize them.IPA
TranscriptionÉ com
licença olelê
ê[ɛ kʌ li'sensa
ole‘le e]É com
licença do dono da
casa[ɛ kʌ li'sensa
du ‘dʌnu da
‘kaza]. $2.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| 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 | | |
| Chileno Bay Alfred Publishing
Steel Drum Ensemble SKU: AP.42673 For a Minimum of Five Steel Drums, D...(+)
Steel Drum Ensemble
SKU: AP.42673
For a Minimum of Five
Steel Drums, Drumset, and
Optional Bass Guitar.
Composed by Thom
Hasenpflug. 5 or More;
Percussion - Steel Drum
Ensemble. Alfred's Steel
Drum Ensemble Series.
Score and Part(s). 36
pages. Alfred Music
#00-42673. Published by
Alfred Music (AP.42673).
ISBN 9781470614836.
UPC: 038081481456.
English. The title
of this piece is inspired
by a prime swimming and
snorkeling location
within the Baja Mexican
corridor of Los Cabos.
(There is actually no
authentic steel band
tradition in that region,
but the location seems
ideal for pan!) It was
written for Ken Broadway
and the University of
Florida's Sunshine
Steelers pan group. $18.99 - Voir plus => AcheterDélais: 1 to 2 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 | | |
| The Portraits of Hector Berlioz Barenreiter
SKU: BA.BVK01677 Composed by Gunther Braam. Edited by John Warrack and Ri...(+)
SKU: BA.BVK01677
Composed by Gunther
Braam. Edited by John
Warrack and Richard
Maccnutt. This edition:
Complete edition. Linen.
New Berlioz Edition.
Volume 26. Complete
edition, Book.
Baerenreiter Verlag
#BVK01677_00. Published
by Baerenreiter Verlag
(BA.BVK01677). ISBN
9783761816776. 27.5 x
19.8 cm inches.
Translation: John
Warrack. The volume
contains 122 portraits of
Hector Berlioz, including
paintings, medals, busts,
woodcuts, drawings,
lithographs, photographs
and caricatures. It also
presents several doubtful
or spurious
portraits. Each
reproduction is
accompanied by
information on its date,
artist and present
location. This collection
of all known Berlioz
portraits sheds entirely
new light on the life and
surroundings of the great
French composer.
The Portraits of
Hector Berliozis the
first collection of all
the portraits made of
Berlioz during his
lifetime. It ranges from
photographs, formal
paintings and drawings by
way of woodcuts and
lithographs to the many
caricatures which his
striking appearance
attracted. Each picture
is accompanied by a full
description and thorough
documentation of its
location and history,
details of the artist's
career and relationship
with Berlioz, an
explanation of the
circumstances of the
picture's creation, and
much else in the way of
relevant comment. This
documentation also sheds
light on the development
of photography and its
position in the society
of the Second Empire , as
well as on the emphasis
on caricature in the
often satirical
journalism of the day.
Where they contribute to
the appreciation of the
picture, the articles
which the caricatures
illustrate, or extracts
from them, are also
included in an Appendix.
Some of the pictures are
published for the first
time and many for the
first time in colour.
As well as being
fascinating and often
entertaining, the
collection adds to our
understanding of
Berlioz's life, times and
the circumstances in
which his music was
composed and
performed.
$453.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mount Vernon Square Orchestre d'harmonie - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250 Concert March. Composed...(+)
Band Concert Band - Grade
2 SKU: CF.YPS250
Concert March.
Composed by Joseph
Compello. Yps. Set of
Score and Parts.
2+16+4+8+8+8+4+4+10+4+4+8
+8+8+4+4+6+6+6+4+6+1+1+4+
1+24 pages. Duration 2
minutes, 43 seconds. Carl
Fischer Music #YPS250.
Published by Carl Fischer
Music (CF.YPS250).
ISBN 9781491161333.
UPC:
680160919925. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. $65.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dive! [Conducteur] - Intermédiaire Carl Fischer
Band Bass Clarinet, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Clarinet 3, Cr...(+)
Band Bass Clarinet,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Clarinet 3, Crash
Cymbals, Euphonium,
Euphonium T.C., Flute 1,
Flute 2, Horn 1, Horn 2,
Horn 3, Horn 4, Mallet
Percussion 1, Mallet
Percussion 2, Oboe 1,
Oboe 2, Percussion 1 and
more. - Grade 5 SKU:
CF.SPS89F Composed by
Nicholas Costanza. Sws.
Sps. Full score. 32
pages. Duration 3
minutes, 52 seconds. Carl
Fischer Music #SPS89F.
Published by Carl Fischer
Music (CF.SPS89F).
ISBN 9781491156490.
UPC: 680160915033. 9 x 12
inches. Program
Notes This composition
for wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface. Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the water.
Performance Notes
Ideally, the Trombone 3
part should be played on
a Bass Trombone. However,
if one is not available
there are cues for notes
that are beneath a tenor
trombone's range. Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments. The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a problem.
 . Program
NotesThis composition for
wind ensemble is
partially inspired by my
home town of Sebastian,
specifically its location
on the east coast of the
state of Florida. My
childhood included many
quick trips to both the
nearby Indian River and
the beaches on the coast,
so swimming and the water
were integral parts of my
experience growing up.
This work is my musical
expression of diving
underwater and getting
swept up by a fast
current and discovering
wonders beneath the
surface.Dive! has two
central components: a
constant, driving
eighth-note pulse and a
main theme which is
fragmented and passed
around at first, but then
is presented completely
by the low reeds around a
minute and a half into
the piece. The steady
eighth-note pulse
reflects the swift
current that a diver
might follow, while the
main theme represents all
the wonders that might be
hidden under the
water.Performance
NotesIdeally, the
Trombone 3 part should be
played on a Bass
Trombone. However, if one
is not available there
are cues for notes that
are beneath a tenor
trombone's range.Make
sure the vibraphone is
heard clearly throughout
the piece, as this
particular sound is very
important to the overall
color of this piece. The
Percussion 5 part
requires two performers
as some of the hits
happen too quickly for
one player to switch
between instruments.The
most important component
of this work is the
steady eighth-note pulse,
and this pulse never
changes even though the
meter changes frequently
to odd or uncommon time
signatures; if the eighth
notes remain constant and
driving, the meter
changes will not pose
much of a
problem.   Â
  . $14.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Mount Vernon Square Orchestre d'harmonie [Conducteur] - Facile Carl Fischer
Band Concert Band - Grade 2 SKU: CF.YPS250F Concert March. Compose...(+)
Band Concert Band - Grade
2 SKU: CF.YPS250F
Concert March.
Composed by Joseph
Compello. Yps. Full
score. 24 pages. Duration
2 minutes, 43 seconds.
Carl Fischer Music
#YPS250F. Published by
Carl Fischer Music
(CF.YPS250F). ISBN
9781491161890. UPC:
680160920570. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march. Performance Notes
The form of the march is
a standard A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. Mount
Vernon Square derives its
title from the location
of the Peabody
Conservatory of Music in
Baltimore, Maryland. It
was here that the
composer Joseph Compello
took his first classes in
Music Theory from
Professor Haven Hensler,
to whom this march is
dedicated. After hearing
this march performed on
piano as part of final
exam requirements in a
Music Theory course,
Professor Hensler
encouraged further
exploration of music
composition, leading
Compello into a prolific
career writing pieces
like this theme, now
years later arranged for
full band as a concert
march.Performance
NotesThe form of the
march is a standard
A-BB-Trio-C-A.
Melodically, much of the
march is based on the
figure contained in mm. 8
and 9. Tempo,
articulation, and
dynamics in a standard
march style are essential
to a successful
interpretation. Pay
particular attention to
dynamics in the second
strain at m. 41. Strive
for a legato diminuendo
at the transition in mm.
63-65. The melody in the
Trio (m. 70) will also
require smooth
articulation from low
brass and woodwinds. The
Euphonium counter-melody
will be played only
during the repeat of the
Trio. The Breakup Strain
(m. 87) is, of course,
powerfully marcato as is
the reprise of the first
theme at m. 109. $11.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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