PARTITIONS GRATUITES : 4 CLARINETTES (QUATUOR)
- my future

SKU: BT.DHP-1216355-010

English-German-French- Dutch.

Ava Max, Billie Eilish and Dua Lipa: altogether, they possess a great deal of girl power. That was all Peter Kleine Schaars needed to arrange this exciting, great-sounding and playable pop medley. With hits like â??Kings and Queensâ??,â??My Futureâ?? and â??Break My Heartâ??, these female artists from todayâ??s pop scene certainly gave the year 2020 an entertaining boost!

Ava Max, Billie Eilish en Dua Lipa: samen zijn ze goed voor een flinke dosis girlpower. Meer was er voor Peter Kleine Schaars niet nodig om een spetterende, maar vooral goed klinkende en speelbare popmedley te arrangeren. Met hitsals â??Kings and Queensâ??, â??My Futureâ?? en â??Break My Heartâ?? wisten deze vrouwelijke artiesten uit de hedendaagse popmuziek het jaar 2020 toch nog behoorlijk wat schwung te geven!

Ava Max, Billie Eilish und Dua Lipa sie alle stehen für extrem viel Girlpower. Mehr brauchte Peter Kleine Schaars nicht, um dieses spannende, groÃ?artig klingende und gut spielbare Pop-Medley zu arrangieren. Mit Hits wie Kings andQueensâ??, My Futureâ?? und Break My Heartâ?? haben die Künstlerinnen aus der heutigen Popszene dem Jahr 2020 einen unterhaltsamen Schub verliehen!

Ava Max, Billie Eilish et Dua Lipa : ensemble, elles font preuve dâ??une puissance féminine extraordinaire. Il nâ??en fallait pas plus pour inciter Peter Kleine Schaars arranger ce dynamique medley pop aux sonorités fabuleuses. Avecdes tubes comme « Kings and Queens », « My Future» et « Break My Heart», ces chanteuses de la scène pop actuelle ont certainement égayé lâ??année 2020 !

SKU: BT.DHP-1216355-140

English-German-French- Dutch.

Ava Max, Billie Eilish and Dua Lipa: altogether, they possess a great deal of girl power. That was all Peter Kleine Schaars needed to arrange this exciting, great-sounding and playable pop medley. With hits like ‘Kings and Queens’,‘My Future’ and ‘Break My Heart’, these female artists from today’s pop scene certainly gave the year 2020 an entertaining boost!

Ava Max, Billie Eilish en Dua Lipa: samen zijn ze goed voor een flinke dosis girlpower. Meer was er voor Peter Kleine Schaars niet nodig om een spetterende, maar vooral goed klinkende en speelbare popmedley te arrangeren. Met hitsals ‘Kings and Queens’, ‘My Future’ en ‘Break My Heart’ wisten deze vrouwelijke artiesten uit de hedendaagse popmuziek het jaar 2020 toch nog behoorlijk wat schwung te geven!

Ava Max, Billie Eilish und Dua Lipa sie alle stehen für extrem viel Girlpower. Mehr brauchte Peter Kleine Schaars nicht, um dieses spannende, großartig klingende und gut spielbare Pop-Medley zu arrangieren. Mit Hits wie Kings andQueens“, My Future“ und Break My Heart“ haben die Künstlerinnen aus der heutigen Popszene dem Jahr 2020 einen unterhaltsamen Schub verliehen!

Ava Max, Billie Eilish et Dua Lipa : ensemble, elles font preuve d’une puissance féminine extraordinaire. Il n’en fallait pas plus pour inciter Peter Kleine Schaars arranger ce dynamique medley pop aux sonorités fabuleuses. Avecdes tubes comme « Kings and Queens », « My Future» et « Break My Heart», ces chanteuses de la scène pop actuelle ont certainement égayé l’année 2020 !

SKU: HL.14003062

ISBN 9788759870075. 12.0x16.5x0.7 inches. Danish.

Per Norgard BACH TO THE FUTUREFor many years I have been specially fascinated by three of the preludes of Bach's Well-tempered Piano, and I wish with this concerto-version for percussion-duo and orchestra to highlight some of the structural aspects of these pieces: It is my belief that there is a tradition in the music history, that makes it possible to let certain germs in an earlier period unfold into new, but not heterogenious, dimensions of a perhaps several hundred years later phase of the tradition.This concerto is a result of several years collaboration with Uffe Savery and Morten Friis (Safri-Duo), as well in original compositions - (Resonances, Repercussion, Resume in EchoZone I-III) as in arrangements of the 3 Bach preludes, preparing for the enormous stylistic challenges of this work.A few introductory comments to each movement:I Movement: The archetypal sequence of broken chords within C-major has established itself as almost a cultural code, allowing the composer of 1996 to tell his tale-in-tones only by stressing and colouring the tones in the original piece without changing the pitches or (relative) durations as a 'palimpsest' containing as well the old as the new musical tale simultaneously. Later in the movement, this singleline is multiplied by the, till then discrete, but permanently pervading, proportion - throughout the piece - very close to the 'Golden Section'(= 3:5:8.t.i:8 before repetition, 5 before starting anew from the deepest tone, 3 as the rest etc. unchanged). The 3 tonal levels as well as the 3 relative speeds are treated according to these proportions for certain passages, but even in those the main focal point is directed at the freely invented melody (by me) incarnating itself solely by the unpermutad sequels of the original prelude.II Movement: One feature of the F sharp-prelude pervades all the six minutes-long second movement: A 4 times identical rhythmic pattern = 6:4:3:2:3:4:6 - as an hourglass-shaped timeshape - inspired me by the closeness of this pattern to a shape within the infinity-drumming of my invention, called Wide-Fan and Narrow-Fan , referring to pattern consisting of 8:4:2:1:2:4:8, the familiarity with the above - quoted one being obvious. New and old elaborations of this pattern-pair permeates the movement, especially since the Safri-Duo by their performance of my Repercussion had augmented my appetite for including this idiom in a wider context:III Movement: Without the existence of the d-minor-prelude I doubt that I would have dared to write a work like this, since it is the inexhaustible, rare quality and pecularity of this piece, which has stimulated my feeling of wonder and 'modernity' (or: eternity!) of this piece, of which I know of no equal in its special respect: the perpetual ambiguity of melodic foothold in the rhythmic ostinato of a broken descending triad, co.