| Berko's Journey Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143L
Composed by Stacy Garrop.
Spiral. Large Score. 68
pages. Duration 20
minutes. Theodore Presser
Company #116-42143L.
Published by Theodore
Presser Company
(PR.11642143L). UPC:
680160693320. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $71.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Berko's Journey [Conducteur] Theodore Presser Co.
Orchestra Bass Clarinet, Bass Trombone, Bassoon 1, Bassoon 2, Cello, Clarinet in...(+)
Orchestra Bass Clarinet,
Bass Trombone, Bassoon 1,
Bassoon 2, Cello,
Clarinet in Bb 1,
Clarinet in Bb 2,
Clarinet in Bb 3,
Contrabassoon, Double
Bass, English Horn, Flute
1, Flute 2, Flute 3,
Harp, Horn 1, Horn 3,
Horn 4, Oboe 1, Oboe 2,
Percussion 1 and more.
SKU: PR.11642143S
Composed by Stacy Garrop.
Sws. Score. 68 pages.
Duration 20 minutes.
Theodore Presser Company
#116-42143S. Published by
Theodore Presser Company
(PR.11642143S). UPC:
680160693313. 11 x 17
inches. For most of
my life, I never knew
where my father’s
family came from, beyond
a few broad strokes: they
had emigrated in the
early 1900s from Eastern
Europe and altered the
family name along the
way. This radically
changed in the summer of
2021 when my mother and
sister came across a
folder in our family
filing cabinet and made
an astounding discovery
of documents that
revealed when, where, and
how my great-grandfather
came to America. The
information I had been
seeking was at home all
along, waiting over forty
years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craft Berko’s
Journey, I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1, Leaving
Ekaterinoslav, we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2, In
Transit, we follow Berko
as he boards a train and
then a steamship, sails
across the Atlantic
Ocean, arrives at Ellis
Island and anxiously
waits in line for
immigration, jubilantly
steps foot into New York
City, and finally boards
a train that will take
him to Chicago. While
he’s on the steamship,
we hear a group of fellow
steerage musicians play a
klezmer tune
(“Freylachs in d
minor”). In movement
3, At Home in Omaha, we
hear Berko court and
marry Anna. Their
courtship is represented
by “Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and
Anna. For most of my
life, I never knew where
my father’s family came
from, beyond a few broad
strokes: they had
emigrated in the early
1900s from Eastern Europe
and altered the family
name along the way. This
radically changed in the
summer of 2021 when my
mother and sister came
across a folder in our
family filing cabinet and
made an astounding
discovery of documents
that revealed when,
where, and how my
great-grandfather came to
America. The information
I had been seeking was at
home all along, waiting
over forty years to be
discovered.Berko
Gorobzoff, my
great-grandfather, left
Ekaterinoslav in 1904. At
that time, this city was
in the southern Russian
area of modern-day
Ukraine; as his family
was Jewish, he and his
siblings were attempting
to escape the ongoing
religious persecution and
pogroms instigated by
Tzar Nicholas II to root
out Jewish people from
Russia. Berko’s older
brother Jakob had already
emigrated to Illinois,
and Berko was traveling
with Chaje, Jakob’s
wife, to join him. Their
timing was fortuitous, as
the following year saw a
series of massive, brutal
pogroms in the region.
After arriving in
Illinois, Berko went on
to Omaha, Nebraska, where
he married my
great-grandmother Anna
about eighteen months
later. They remained in
Omaha for the rest of
their lives.There is one
more intriguing part to
this historical account:
I have a great-aunt in
Texas who, as it turns
out, is the youngest
daughter of Berko and
Anna. Through a series of
phone calls, my
great-aunt and I
discussed what she could
remember: her parents
spoke Yiddish at home,
her mother didn’t learn
to read or write in
English so my great-aunt
was tasked with writing
letters to family
members, Berko ran a
grocery store followed by
a small hotel, and her
parents enjoyed playing
poker with friends. Above
all else, neither of her
parents ever spoke a word
about their past or how
they got to America. This
was a common trait among
Eastern European Jewish
immigrants whose goal was
to “blend in” within
their new communities and
country.To
craftxa0Berko’s
Journey,xa0I melded the
facts I uncovered about
Berko with my own
research into methods of
transportation in the
early 1900s. Also, to
represent his heritage, I
wove two Yiddish songs
and one Klezmer tune into
the work. In movement
1,xa0Leaving
Ekaterinoslav,xa0we hear
Berko packing his
belongings, saying his
goodbyes to family and
friends, and walking to
the train station.
Included in this movement
is a snippet of the
Yiddish song “The
Miller’s Tears” which
references how the Jews
were driven out of their
villages by the Russian
army. In movement 2,xa0In
Transit,xa0we follow
Berko as he boards a
train and then a
steamship, sails across
the Atlantic Ocean,
arrives at Ellis Island
and anxiously waits in
line for immigration,
jubilantly steps foot
into New York City, and
finally boards a train
that will take him to
Chicago. While he’s on
the steamship, we hear a
group of fellow steerage
musicians play a klezmer
tune (“Freylachs in d
minor”). In movement
3,xa0At Home in
Omaha,xa0we hear Berko
court and marry Anna.
Their courtship is
represented by
“Tumbalalaika,” a
Yiddish puzzle folksong
in which a man asks a
woman a series of riddles
in order to get better
acquainted with each
other and to test her
intellect.On a final
note, I crafted a musical
motive to represent Berko
throughout the piece.
This motive is heard at
the beginning of the
first movement; its first
pitches are B and E,
which represent the first
two letters of Berko’s
name. I scatter this
theme throughout the
piece as Berko travels
towards a new world and
life. As the piece
concludes, we hear
Berko’s theme
repeatedly and in close
succession, representing
the descendants of the
Garrop line that came
from Berko and Anna. $40.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Strokes: Room on Fire Guitare notes et tablatures [Partition] I.M.P.
The Strokes. For Guitar. This edition: Guitar TAB/Vocal. Guitar Personality. Boo...(+)
The Strokes. For Guitar.
This edition: Guitar
TAB/Vocal. Guitar
Personality. Book.
Published by I.M.P.
(1)$25.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Strokes - Is This It Guitare notes et tablatures [Partition] Cherry Lane
Performed by The Strokes. Play It Like It Is (Authentic note-for-note transcript...(+)
Performed by The Strokes.
Play It Like It Is
(Authentic note-for-note
transcriptions).
Softcover. With notes and
tablature. Size 9x12
inches. 62 pages.
Published by Cherry Lane
Music.
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Broad Strokes Caisse Claire [Partition + CD-ROM] Tapspace Publications
Studies in Style for the Advanced Snare Drummer. Composed by Rick Dior. B...(+)
Studies in Style for
the Advanced Snare
Drummer. Composed by
Rick Dior. Book CD-ROM.
140 pages. Published by
Tapspace Publications
(TA.TSPB-28).
$35.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Strokes -- Angles Guitare notes et tablatures Faber Music Limited
(Guitar TAB). For Guitar. This edition: Guitar TAB. Artist/Personality; Book; Gu...(+)
(Guitar TAB). For Guitar.
This edition: Guitar TAB.
Artist/Personality; Book;
Guitar Personality;
Guitar TAB. Published by
Faber Music
$25.99 - 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 | | |
| 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 | | |
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