Format : Score and Parts
SKU: BT.GOB-001203-010
9x12 inches. English-German-French-Dutch.
The special landscape in the Valley of Flowers national park in the Himalayas is distinguished by its brilliant colours and the variety of its _x001D_flora and fauna. Marc Cunningham was deeply in_x001D_fluenced by the temple dances of this region. The theme behind these dances, which were originally religious performances and for which the dancers dress in colourful garb, is the tension between good and evil. In Himalayan Dances - Valley of Flowers, various aspects of this ancient dance form are brought into the spotlight.Marc Cunningham haalde voor deze compositie voor jeugdorkest zijn inspiratie uit het natuurreservaat “Valley of Flowers” in het Himalaya gebied. De kleurenpracht van de fauna en _x001E_flora en de indrukwekkende lokale, oorspronkelijk religieus getinte dansen waren aanleiding tot het componeren van dit inspirerende en contrastrijke werk. Diese besondere Landschaft im Nationalpark Valley of Flowers im Himalaya zeichnet sich durch ihre Farbenpracht und Vielfalt in Flora und Fauna aus. Marc Cunningham war von den Tempeltänzen dieser Region tief beeindruckt. Thema dieser ursprünglich religiösen Tänze, bei denen sich die Tänzer bunt verkleiden, ist das Spannungsverhältnis zwischen Gut und Böse. In Himalayan Dances - Valley of Flowers werden verschiedene Aspekte dieser alten Tanzkunst ins Rampenlicht gerückt.Les danses himalayennes ont profondément impressionné le compositeur Marc Cunningham. Les danseurs sont parés de costumes chatoyants et portent des masques colorés. Le fil conducteur de cet art populaire est la distinction entre le bien et le mal. Les minuscules mouvements des yeux, les gestes précis de la main et les expressions faciales jouent un rôle d’interprétation important. Dans l’oeuvre Himalayan Dances, divers aspects de cette danse folklorique sont mis en évidence. Haute en couleurs_x001E_!Le danze della regione dell’Himalaya che hanno profondamente impressionato il compositore Marc Cunningham, traggono ispirazione dalla religione indù, ma non sono più praticate. Esiste però una versione più attuale nella quale le danzatrici, che spesso indossano costumi sgargianti e maschere colorate, si esibiscono in balli spettacolari. Il _x001E_filo conduttore di quest’arte popolare è la distinzione tra il bene e il male. I minuscoli movimenti degli occhi, le gesta precise della mano e le espressioni del viso rivestono un ruolo importante nell’interpretazione. Himalayan Dances evidenzia diversi aspetti folcloristici di questa affascinante cultura.
SKU: HL.44011909
UPC: 884088950477. 9x12 inches.
The special landscape in the Valley of Flowers national park in the Himalayas is distinguished by its brilliant colors and the variety of its flora and fauna. Marc Cunningham was deeply influenced by the temple dances of this region. The theme behind these dances, which were originally religious performances and for which the dancers dress in colorful garb, is the tension between good and evil. In Himalayan Dances â Valley of Flowers, various aspects of this ancient dance form are brought into the spotlight. Duration: 3:10.
SKU: CF.YAS225
ISBN 9781491162736. UPC: 680160921485. Key: A minor.
This plaintive Scottish tune was used extensively by Michael Nyman in his score for Jane Campion's film, The Piano. This arrangement offers young players an entrée into the rich breadth of Scottish folk music with a lilting dotted melody that is fun to play. With pizzicato and staccato accompaniments, this lyrical melody is passed around to every section of the orchestra. The lyrics tell of winter’s end giving way to bright flowers of spring, which the singer compares to his darling loved one. While playable in first position, more advanced students may practice playing in higher positions with ringing vibrato.
About Carl Fischer Young String Orchestra Series
This series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:--Occasionally extending to third position--Keys carefully considered for appropriate difficulty--Addition of separate 2nd violin and viola parts--Viola T.C. part included--Increase in independence of parts over beginning levels
SKU: CF.YAS225F
ISBN 9781491163078. UPC: 680160921829. Key: A minor.
SKU: 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) 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.  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 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...  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.  All subdivisions of the structures coincide with the numbers of proportions based on the GS principle.  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 “echo†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.
SKU: CF.BAS74
ISBN 9781491146385. UPC: 680160903887. 9 x 12 inches. Key: G major.
Graceful flower dances are a beautiful part of many cultures, illustrated here with a flowing theme in first position. Very playable by beginning ensembles with simple rhythms and melodies based on the D-major and G-major scales. Delicate pentatonic harmonies and gentle pizzicato accompaniment float like the lotus blossom in an ancient garden.
About Carl Fischer Beginning String Orchestra Series
This series of Grade 1 pieces is designed for first year string groups. The pieces in this series are characterized by:
