| Road Trip to Rio Orchestre [Conducteur] - Facile Highland/Etling
Orchestra - Grade 3 SKU: AP.42074S Composed by Bert Ligon. Performance Mu...(+)
Orchestra - Grade 3
SKU: AP.42074S
Composed by Bert Ligon.
Performance Music
Ensemble; Single Titles;
String Orchestra.
Highland/Etling String
Alternatives. Jazz;
Multicultural. Score. 24
pages. Highland/Etling
#00-42074S. Published by
Highland/Etling
(AP.42074S). UPC:
038081472072.
English. This
upbeat party-time piece
could open or close a
concert perfectly. Every
section gets a soli and
there is an optional
section for
improvisation. Everyone
will be singing the
melody on the road trip
home from the
concert. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Road Trip to Rio Orchestre à Cordes - Intermédiaire Highland/Etling
Composed by Bert Ligon. Orchestra. Part(s); Score; String Orchestra. Highland St...(+)
Composed by Bert Ligon.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Alternatives. Jazz. Grade
3. 136 pages. Published
by Highland/Etling
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dystopia - Intermédiaire Hal Leonard
Score and Parts Woodwind Quintet (Score & Parts) - Grade 5 SKU: HL.4008710(+)
Score and Parts Woodwind
Quintet (Score & Parts) -
Grade 5 SKU:
HL.4008710 Double
Wind Quintet, Grade 5
Score and Parts.
Composed by Gauthier
Dupertuis. FC Music
Publishing. Chamber,
Concert. Softcover. Hal
Leonard #FCMP006-ENS.
Published by Hal Leonard
(HL.4008710). ISBN
9798350115758. UPC:
196288190905. A
trip to India inspired
Gauthier Dupertuis to
write Dystopia for double
wind quintet, a
composition commissioned
to him by the Swiss
conductor Felix
Hauswirth, on the
occasion of the aVENTura
Festival in Lucerne in
September 2023 dedicated
to Swiss composers. In
October 2018 Gauthier
Dupertuis had the
opportunity of
accompanying the Wind
Orchestra La Landwehr de
Fribourg, (Switzerland),
asan instrumentalist
during a concert tour
around India. Travel
between the different
cities was punctuated by
the horns of the
different vehicles on the
road, which appeared to
be in competition with
each other in terms of
their creativity. Their
bus was no exception to
this rule, and the
composer ended up letting
himself be inspired by
this five-note pattern
which, through
repetition, ended up
anchoring itself deeply
in his brain, until it
served as a musical basis
for this work. Dystopia
exploits the notion of
duality: in two parts (I.
Preludio and II.
Toccata), the work uses
the double wind quintet
sometimes as a single
entity and sometimes as
two or three groups in
constant rhythmic,
harmonic, or writing
contrast. Like in a
dystopia, where the hero
constantly struggles
against an oppressive
society, the thematic
group linked to motif A
(that of the car horns,
set out at the beginning
of the Prelude) confronts
that linked to motif B
(exposed at bar 25)
throughout the piece.
Similarly, the free form
of the Prelude contrasts
with the more defined
structure of the Toccata
where the atmospheres
linked to the two
thematic groupsalternate.
Two short episodes
highlight a third motif,
more arioso, serving as
divertissement and
rhythmic appeasement
within the Toccata. $48.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Dystopia - Intermédiaire Hal Leonard
Woodwind Quintet (Score) - Grade 5 SKU: HL.4008711 Double Wind Quintet...(+)
Woodwind Quintet (Score)
- Grade 5 SKU:
HL.4008711 Double
Wind Quintet, Grade 5
Score. Composed by
Gauthier Dupertuis. FC
Music Publishing.
Chamber, Concert.
Softcover. Hal Leonard
#FCMP006-SC. Published by
Hal Leonard (HL.4008711).
UPC:
196288190912. A
trip to India inspired
Gauthier Dupertuis to
write Dystopia for double
wind quintet, a
composition commissioned
to him by the Swiss
conductor Felix
Hauswirth, on the
occasion of the aVENTura
Festival in Lucerne in
September 2023 dedicated
to Swiss composers. In
October 2018 Gauthier
Dupertuis had the
opportunity of
accompanying the Wind
Orchestra La Landwehr de
Fribourg, (Switzerland),
asan instrumentalist
during a concert tour
around India. Travel
between the different
cities was punctuated by
the horns of the
different vehicles on the
road, which appeared to
be in competition with
each other in terms of
their creativity. Their
bus was no exception to
this rule, and the
composer ended up letting
himself be inspired by
this five-note pattern
which, through
repetition, ended up
anchoring itself deeply
in his brain, until it
served as a musical basis
for this work. Dystopia
exploits the notion of
duality: in two parts (I.
Preludio and II.
Toccata), the work uses
the double wind quintet
sometimes as a single
entity and sometimes as
two or three groups in
constant rhythmic,
harmonic, or writing
contrast. Like in a
dystopia, where the hero
constantly struggles
against an oppressive
society, the thematic
group linked to motif A
(that of the car horns,
set out at the beginning
of the Prelude) confronts
that linked to motif B
(exposed at bar 25)
throughout the piece.
Similarly, the free form
of the Prelude contrasts
with the more defined
structure of the Toccata
where the atmospheres
linked to the two
thematic groupsalternate.
Two short episodes
highlight a third motif,
more arioso, serving as
divertissement and
rhythmic appeasement
within the Toccata. $20.00 - Voir plus => AcheterDélais: 2 to 3 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 | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Happy Rain on A Spring Night - Score [Conducteur] Theodore Presser Co.
Chamber Music Clarinet, Flute, Piano, Violin, Violoncello SKU: PR.11441271S(+)
Chamber Music Clarinet,
Flute, Piano, Violin,
Violoncello SKU:
PR.11441271S For
Flute, Clarinet, violin,
Cello, and Piano.
Composed by Chen Yi. Poem
by Du Fu (712-770 in Tang
Dynasty). Premiered at
Merkin Hall in New York.
Contemporary. Full score.
With Standard notation.
Composed 2004. 45 pages.
Duration 12 minutes.
Theodore Presser Company
#114-41271S. Published by
Theodore Presser Company
(PR.11441271S). UPC:
680160587094. 8.5 x 11
inches. Poem by Du Fu
(712-770 in Tang
Dynasty). 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. This 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
60-70 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 Rehersal A and B
(measures 1 - 41)
represents the first four
lines of the poem. The
woodwind instruments
response to the rustling
of fast moving notes on
muted string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures. The
music in Rehersal C and D
(measures 42-87)
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 key slaps on the
flute creates 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
Rehersal E, F, G (m 88 -
161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehersal H, m. 162 - the
end), which stands on the
energetic peak at the end
of the
piece. Commissioned by
the Music From Copland
House ensemble, supported
by a grant from the
NYSCA’s
Composer’s
Commissions program in
2002, my mixed ensemble
piece Happy Rain on a
Spring Night is written
for all five instruments
in the ensemble: flute,
clarinet, violin, cello
and piano, and premiered
on Oct. 18, 2004, at
Merkin Hall in New York.
 The musical
imagination came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in the
Tang Dynasty. Happy
Rain on a Spring Nightby
Du Fu (712-770 in the
Tang Dynasty)Â 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) 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. Â The music
reflects the scenes and
the expression according
to the meaning of the
poem when it’s
being unfolded line by
line. Â Although the
tempo is set 60-70
quarter notes per minute
throughout (played
vividly, never slowing
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 1-41)
represents the first four
lines of the poem.
 The woodwind
instruments respond to
the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high piano gestures.
 The music in
Rehearsal C and D
(measures 42-87)
represents the next two
lines of the poem.
 It’s so dark,
a little light in the
boat is shimmering on the
lake... Â The breathy
key slaps on the flute
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 E, F and G (m
88-161) is a toccata,
starting with the piano,
which builds up a big
shape, to reach the
climax in m. 116, and
keeps the vivid scene
towards the coda
(Rehearsal H, m.
162-192), which stands on
the energetic peak at the
end of the
piece. According to
the principle of the
Golden Section, I have
constructed the piece
with two large parts (m.
1-115 and m. 116-192).
 The GS falls onto the
beginning of the climax
section of the piece,
which is exciting and
loud. Â All
subdivisions of the
structures coincide with
the numbers of
proportions based on the
GS principle. Â The
music has textures
changed according to the
proportional arrangement
throughout the
piece. First Part (m.
1-115, total 115
measures), including two
sectionsSection I (m.
1-69, total 69 measures),
including two
divisionsFirst Division
(m. 1-41, total 41
measures), including two
subdivisions:Subdivision
I (m. 1-25, total 25
measures)Rehearsal A,
violin triplets + cello
metalic sound in small
intervals, followed by
woodwinds.Subdivision II
(m. 26-41, total 16
measures)Rehearsal B,
cello triplets + violin
metallic sound in small
intervals, overlapped by
woodwinds.Second Division
(m. 42-69, total 28
measures)Rehearsal C,
breathy key slaps on
flute, in dark.Section II
(m. 70-115, total 46
measures), including two
divisionsFirst Division
(m. 70-87, total 18
measures)Rehearsal D,
soft cello reciting,
followed by string
harmonics & woodwind
“echoâ€
passages.Second Division
(m. 88-115, total 28
measures)Rehearsal E,
starts to buildup the
excitement, with piano
toccata in the beginning.
When it reachesthe
patterns on the top of
the keyboard, the lowest
passages on piano and
cello punch in, andreview
the pitch material with
small intervals.Second
Part (m.116-192, total 77
measures), including two
sectionsSection I (m.
116-161, total 46
measures), including two
divisionsFirst Division
(m. 116-133, total 18
measures)Rehearsal F, the
excitement reaches the
climax, GS located. All
instruments join
in.Second Division (m.
134-161, total 28
measures)Rehearsal G,
combination of E and F,
continue to
buildup.Section II (m.
162-192, total 31
measures)Rehearsal H,
coda, keep the excitement
on the peak. $34.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Journey to the Centre of the Earth Orchestre d'harmonie [Conducteur] - Intermédiaire/avancé Gobelin Music Publications
Concert Band/Harmonie - Grade 6 SKU: BT.GOB-000963-140 Voyage au Centr...(+)
Concert Band/Harmonie -
Grade 6 SKU:
BT.GOB-000963-140
Voyage au Centre de la
Terre. Composed by
Harrie Janssen. Score
Only. 120 pages. Gobelin
Music Publications #GOB
000963-140. Published by
Gobelin Music
Publications
(BT.GOB-000963-140).
This
composition was based on
the world-famous novel by
the French author Jules
Verne. This novel
describes the attempt to
reach the centre of the
earth. The descent of the
crater of the volcano
called Snaeffels,
situated in Iceland,
marks thebeginning of
this voyage to the
sublunary world. The
German geologist,
professor Lidenbrock, is
accompanied on this trip
by his nephew Axel and an
Icelandic guide named
Hans. The last mentioned
will be helpful in many
occasions.
Dark
colors & mist
The
composer tried in this
single work to give a
musical expression to
various significant
moments from this novel.
In the introduction he
sketches an image of the
dismal ambience on the
island by using dark
colors. Risingfragments
of mist reveal the flanks
of the monumental
mountain Scataris. The
composer tries to catch
this image in a majestic
and broad
chorale.
Away
from Iceland
Subsequently the ostinato
rhythmicity and
virtuosity representthe
hectic descent of the
crater of the volcano.
The party descends ever
more and more and travels
south, away from Iceland.
On the way, they see all
kinds of rock formations,
fossils and minerals. At
a depth of thirty hours
walking distance, atabout
150 kilometers below the
surface, they reach a sub
terrestrial sea which is
called the Lidenbrock
sea.
Genuine
eruption of
sounds
Strange
electric manifestations
and unpredictable weather
conditions accompany
thissingular phenomenon.
An orchestral
tutti-episode expresses
this impression
musically. On a
make-shift raft, the
party continues its
voyage, heading to the
south coast of this huge
sea. Once ashore, an
enormous rock obstructs
the passage. The
blowingup of this
obstacle unleashes a
genuine eruption of
sounds in the
orchestration.
Spat out by the
volcano
But the
explosion has an
unforeseen side effect.
The sea - travelers and
raft included - is sucked
upwards into a dark
hole.Again, our heroes
are accompanied on their
involuntary voyage, while
left to fend for
themselves, by an ever
increasing ostinato
rhythmicity.
Before an irruption can
destroy the raft, the
threesome manages to
escape and climb up
through acave towards the
daylight. They seem to be
spat out by the Stromboli
volcano on the island of
Sicily, far from home.
The composition ends
with triumphant sounds
that represent the
scientific triumph of
these
adventurers.
De
compositie 'Voyage au
centre de la terre ....'
is gebaseerd op de
wereldberoemde roman van
de Franse schrijver Jules
Verne. Het boek
beschrijft de poging het
middelpunt van de aarde
te bereiken. Een afdaling
van de op
IJslandgesitueerde
vulkaankrater 'de
Sneffels', markeert het
begin van deze reis in
het ondermaanse. De
Duitse geoloog professor
Lidenbrock wordt hierbij
vergezeld door zijn
neefje Axel en een
IJslandse gids genaamd
Hans. Laatstgenoemdezal
in menig netelige
situatie nog van pas
komen.
De
componist heeft getracht
in dit eendelige werk een
aantal significante
momenten uit deze roman
te verklanken. In de
inleiding wordt door
middel van donkere
kleureneen beeld
geschetst van de desolate
sfeer op het eiland.
Optrekkende flarden nevel
onthullen de flanken van
de monumentale berg 'de
Scartaris'. De componist
tracht dit beeld te
vangen in een majestueus,
breed opgezet
koraal. Vervolgens
staan ostinate ritmiek en
virtuositeit voor de
hectische afdaling in de
vulkaankrater. De
groep daalt dieper en
dieper af, en reist
daarbij zuidwaards, weg
van IJsland. Onderweg
komen ze allerlei
rotsformaties,fossielen
en mineralen tegen. Op
een diepte van 'dertig
uur gaans', op ca. 150
km. diepte, bereikt het
gezelschap een
onderaardse zee die 'de
Lidenbrockzee' genoemd
wordt. Vreemd
aandoende electrische
verschijnselen
enonvoorspelbare
weersomstandigheden
vergezellen dit
zonderlinge fenomeen. In
een orkestrale
tutti-episode wordt deze
indruk verklankt. Op
een provisorisch gebouwd
vlot vervolgt het groepje
hun reis, daarbij
koersend naar dezuidkust
van deze enorme zee.
Eenmaal aan wal gekomen
verspert een enorm
rotsblok verdere
doorgang. Het
opblazen van dit obstakel
ontketent een ware
klankeruptie in het
orkest. Echter, de
ontploffing heeft een
onvoorzien
neveneffect. $58.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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