| Impulse Power Orchestre d'harmonie [Conducteur et Parties séparées] C.L. Barnhouse
Pre 1 SKU: CL.023-4620-00 Composed by Wada. Young Concert Band. Sound Fou...(+)
Pre 1 SKU:
CL.023-4620-00
Composed by Wada. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR396). Score and set
of parts. Composed 2018.
Duration 1 minute, 34
seconds. C.L. Barnhouse
#023-4620-00. Published
by C.L. Barnhouse
(CL.023-4620-00).
Your beginning
band students will sound
mature beyond their years
with this marvelous work
from the pen of Japanese
composer Naoya Wada. Bold
and powerful, Impulse
Power is the perfect
overture for beginning
musicians, using just the
first six notes learned
in band instruction.
While the ranges, rhythms
and performance demands
are limited,
there’s no musical
compromise with this
masterfully scored work.
Impulse Power is sure to
captivate your students
and audiences alike. $45.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Impulse Power Orchestre d'harmonie [Conducteur] C.L. Barnhouse
Pre 1 SKU: CL.023-4620-01 Composed by Wada. Young Concert Band. Sound Fou...(+)
Pre 1 SKU:
CL.023-4620-01
Composed by Wada. Young
Concert Band. Sound
Foundations Series. Audio
recording available
separately (item
CL.WFR396). Extra full
score. Composed 2018.
Duration 1 minute, 34
seconds. C.L. Barnhouse
#023-4620-01. Published
by C.L. Barnhouse
(CL.023-4620-01).
Your beginning
band students will sound
mature beyond their years
with this marvelous work
from the pen of Japanese
composer Naoya Wada. Bold
and powerful, Impulse
Power is the perfect
overture for beginning
musicians, using just the
first six notes learned
in band instruction.
While the ranges, rhythms
and performance demands
are limited,
there’s no musical
compromise with this
masterfully scored work.
Impulse Power is sure to
captivate your students
and audiences alike. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Secret Geometry Merion Music
Chamber Music Piano, Tape SKU: PR.140400670 Composed by James Primosch. P...(+)
Chamber Music Piano, Tape
SKU: PR.140400670
Composed by James
Primosch. Performance
Score. With Standard
notation. 18 pages.
Duration 15 minutes.
Merion Music #140-40067.
Published by Merion Music
(PR.140400670). UPC:
680160023271. Secre
t Geometry can be heard
as a short piano sonata,
with the movements
forming a typical
fast--slow--fast pattern.
The electronic sounds on
tape are tightly
interworven with the
piano, often serving to
extend and transform the
piano's sound. The goal
is to create a hybrid
sound world. The phrase
secret geometry is used
to describe the play of
forms in certain
paintings, referring to
structural patterns that
are used to organize the
pictorial elements. Since
the electronic medium
permits a composer to
focus on the
micro-structure of
individual sounds, as
well as more customary
concerns with patterns of
pitch and rhythm, it
seemed appropriate to
choose a title that
emphasizes the careful
shaping of every
compositional element.
But this is not to
neglect the spiritual
impulse of the work.
After all, the obscure
motion of the Holy Spirit
herself describes a
secret geometry, what
Thomas Merton called a
hidden wholeness. Written
for the distinguished
pianist Aleck Karis,
Secret Geometry was
composed with the
assistance of a grant
from the Pennsylvania
Council on the Arts. The
tape was realized in the
Presser Electronic Music
Studio of the University
of Pennsylvania. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| SRT212 Hal Leonard
SKU: HL.1105208 12″ 1600W Professional Powered Loudspeaker. ...(+)
SKU: HL.1105208
12″ 1600W
Professional Powered
Loudspeaker. Mackie.
Live Sound. Hal Leonard
#2051848-00. Published by
Hal Leonard (HL.1105208).
UPC: 663961058666.
17.5x18.5x30.0
inches. SRT212 -
12″ 1600W
Professional Powered
Loudspeaker SRTâ„¢
Professional Powered
Loudspeakers are designed
for real-world working
musicians, DJs, events,
venues, and beyond. The
latest acoustic
processing technology,
powerful amplifiers, and
the ultra-versatile SRT
Mix Controlâ„¢ means
easy setup, incredible
sound, and unbeatable
reliability.
Built-Like-A-Tankâ„¢
construction features
rugged molded cabinets
and tough steel grilles
that are built to last.
As the larger gigs come
rolling in, your audience
gets bigger, and your
needs demand better sound
and flexibility, SRT is
YOUR Next Big Thing.
• A True Workhorse
for Gigging Professionals
• Powerful 1600W
Class-D amplifiers
designed for
ultra-reliable,
consistent performance
• Custom
high-efficiency
transducers ensure
maximum clarity and
accuracy •
Built-Like-A-Tankâ„¢
to conquer every gig
while lightweight for
easy loading •
Universal Power Supply
(100-240VAC) with Power
Factor Correction for
stable operation even
with unstable AC power
• Advanced
Impulseâ„¢ DSP -
Proprietary Acoustic
Tuning • Crystal
clear sound across the
entire dispersion zone
means the whole room is
the sweet spot •
Custom Sym-Xâ„¢ Horn
• Allows for total
efficiency from the HF
transducer minimizing
distortion and increasing
output • Creates a
perfectly symmetrical,
flat response at the
crossover point for
exceptionally smooth
midrange • The
horn-loading frequency is
set below the HF drivers'
LF capability allowing
for maximum efficiency
and optimal performance
at the crossover point
• Transparent
System Limiting and
Protection •
Dedicated processing
module monitors and
protects the amplifier in
real time • Sound
quality and tonal balance
is maintained even under
heavy limiting •
Utilizing powerful
multi-band compression,
the amplifier can target
specific frequency ranges
to prevent the system
from being overloaded
rather than turn
everything down at the
expense of overall output
• Input limiting
keeps your source signal
in check so if you're
sending audio that's a
bit too hot, the speaker
will cool it down •
SRT Mix Controlâ„¢
Built-in 4-Channel
Digital Mixer with
Bluetooth® •
Dual independent channels
that support mic, line,
and instrument signals
• Dedicated
1/8″ stereo aux
channel • Stream
music from any
Bluetooth® enabled
device • Complete
Wireless Control via the
SRT Connectâ„¢ App
• Wirelessly link
SRT speakers together for
music streaming
applications plus
complete control over
both speakers •
Versatile configuration
options • Step up
your low-end with the
SR18S Powered
Subwoofer. $679.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Double bass (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-27(+)
Double bass (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-27
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-27. Published by
Breitkopf and Haertel
(BR.OB-3210-27). ISBN
9790004300732. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violin 1 (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-15 ...(+)
Violin 1 (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-15
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library).
Solo: pno - 2.2.2.2 -
4.2.0.0 - timp - str.
Solo concerto; Romantic.
Part. 8 pages. Duration
43'. Breitkopf and
Haertel #OB 3210-15.
Published by Breitkopf
and Haertel
(BR.OB-3210-15). ISBN
9790004300695. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Violoncello (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-23(+)
Violoncello (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-23
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
8 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-23. Published by
Breitkopf and Haertel
(BR.OB-3210-23). ISBN
9790004300725. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto No. 1 in D minor Op. 15 Breitkopf & Härtel
Viola (solo: pno - 2.2.2.2 - 4.2.0.0 - timp - str) SKU: BR.OB-3210-19 ...(+)
Viola (solo: pno -
2.2.2.2 - 4.2.0.0 - timp
- str) SKU:
BR.OB-3210-19
Urtext based on the
Brahms Complete Edition
of the Gesellschaft der
Musikfreunde in
Vienna. Composed by
Johannes Brahms.
Orchestra; stapled.
Orchester-Bibliothek
(Orchestral Library). EB
6043 is printed in score
form; two copies are
needed for performance.
Have a look into study
score PB 3654. Solo
concerto; Romantic. Part.
12 pages. Duration 43'.
Breitkopf and Haertel #OB
3210-19. Published by
Breitkopf and Haertel
(BR.OB-3210-19). ISBN
9790004300718. 10 x 12.5
inches. Johannes
Brahms' first Piano
Concerto was the fruit of
a complex, protracted,
and extremely trying
creative process. Its
origin goes back to a
sonata in D minor for two
pianos conceived in
spring 1854. The impulse
for the creation of the
main subject was however
a shocking event:
According to Joseqph
Joachim, the theme
originated after hearing
about Schumanns suicide
attempt. A few months
earlier, Schumann had
revealed Brahms to the
musical world in his
essay New Paths. In this
article, Brahms is
extolled as the musician
who is called to give
expression to the feeling
of his times in an ideal
fashion. The unusually
rapid genesis of the
D-minor sonata and its
prevailingly dark,
monumental mood can be
interpreted as an
impassioned compositional
response to Schumann's
suicide attempt. However,
the year-long struggle to
arrive at the final form
of the work should
perhaps also be seen in
the context of the
resounding praise of
Schumann's prophetic
article. Brahms undoubtly
felt a growing inner
pressure to live up to
the expectations aroused
therein.Together with
Clara Schumann, Brahms
played the three so far
existing movements of the
sonata, but he was very
self-critical. He felt
that he had not been able
to realize the
monumentality he had
envisioned, and which
Clara Schumann felt, by
merely doubling the piano
sound. He soon decided to
transform the sonata into
a symphony (his first
orchestral project).
However, this idea did
not seem to fit his
vision either. Only in
spring 1855 did he strike
upon the definitive
solution: a piano
concerto. With Brahms as
soloist, this concerto
premiered in 1859, though
he initially had little
success. He wrote to
Joachim about one of the
first performances that
the concerto was a
brilliant and
unmistakable - failure.
This hardly surprised
Brahms, for he was
undoubtedly aware of the
newness of the work,
which surpassed the
expectations of the
audience. The work's
complex structure and
symphonic dimensions, the
solo part's rejection of
showy, elegant
brilliance, and the
uniquely Brahmsian
orchestral density it
maintains throughout; all
of these qualities
inevitably exasperated
audiences at first -
until they raised this
work to the ranks of the
most celebrated concertos
of all time. $7.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
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