Bacchanalia

SKU: KN.13736

UPC: 822795137361.

This grade 3+ - 4 collection is a follow-up to the bestselling collection Contest Solos For The Intermediate Timpanist. Musical styles include classical, jazz, Latin, 2/4 and 6/8 march, funk and contemporary multi-meter. Important aspects of timpani playing such as pitch changes, rolls, staccato and legato strokes, and muffling are incorporated in the solos.

Contents:
General Patton; A Kilt On A Lilt; Cutting It; Haydn-Seek; Funky March; Meltin' With The Buckets; Mozambique Chic; Bacchanalia; Pedal To The Metal; Meter-Made.

SKU: CA.410100

ISBN 9790007097998.

The Baccanale is a genre of traditional Italian choral song without instrumental accompaniment. In most cases it is sung by two tenors and a bass. Most of the anonymous song are in a straightforward, homophonic-syllabic style. These songs are often at carnival time and are jocular in content, with a playful, ironic touch and they contain many erotic allusions. In addition to the Italian text of the 12 settings, sometimes in dialect, German singing texts are also included.

SKU: PR.11440719S

UPC: 680160011087. 8.5 x 11 inches.

Sambuca, which most people know today as a licorice-flavored liqueur, was the name the Greeks gave to a kind of sharp, shrill-sounding harp, of Eastern, possibly Jewish origin. The Greeks then gave this same name to a wooden flute made from the elder bush, and in the middle ages it was also associated with the viol, at least to the extent that the Hurdy-gurdy, an instrument shaped like a viol and played by means of a rotating wheel, was sometimes called a Sambuca rotata. Thus, the word Sambuca is tied up with the ancestors - in each case, ancestors of ow birth, as it were - of the modern harp, flute, and viola. Somehow, the present-day association with alcohol seems very meet, in that a certain objectionable quality seems to have gone with the name - in 1545 one George Ascham wrote, This I am sure... all maner of pypes, barbitons, sambukes... be condemned of Aristotle. The word Sambucistria - for a female Sambuca player - was used by Plutarch and others to evoke a feeling of foreign-inspired decadence [Grove's Dictionary of Musical Instruments, 1984]. Currier's work is truly a Sambuca sonata. Written for the three Sambuca instruments, Currier has first of all seemingly endeavoured to make the harp part particularly Sambuca-like (i.e., sharp and shrill) with its many nail and xylophonic effects, but more importantly, has used musical material that corresponds to the low-brow, somewhat Dionysian, indeed, today even Bacchanalian implication of the name - thus, rock music seems to inspire a great deal Currier's work [the Samba, an appropriately Bacchanalian Brazilian Carnival dance, in duple meter with syncopations, while apparently having no etymological connection to Sambuca, might seem to be musically involved, too]. The Sambuca which lies behind this rather drunken piece is probably the only musical instrument which became a model for an instrument of war; one Craxton wrote in 1489 that Sambuce is an engyn whiche is made in manere of a harpe able to perce a walle. But whether talking of the modern liqueur or the ancient instrument condemned of Aristotle and mentioned four times in the Book of Daniel, it is a shame that Debussy - inspired by the Dionysian side of classical culture (as in Prelude a l'apres-midi d'un faune) - seems to have remained ignorant Sambuca, a word which to some extent must lie behind all works for this wonderful instrumentation which he invented, and which I might seem to have striven unconsciously, equally ignorant, to make the sole basis of Currier's work - until, having completed this piece, written for harpist Marie-Pierre Langlamet, and rummaging around for a title, I chanced upon it in an old dictionary.

SKU: M7.DOHR-98592

ISBN 9790202005927.

SKU: BT.PL2774

SKU: BT.PL2808

SKU: M7.KECF-142

ISBN 9790502361426. German English.

Eine unterhaltsame Suite in vier Sätzen. Der zweite Satz ist eine musikalische Hommage an Erik Satie und seine Sammelleidenschaft für Regenschirme. Der dritte Satz erweist dem Fugenmeister J. S. Bach Reverenz, entwickelt sich zum Ende jedoch zunehmend zu einer temperamentvollen 'Noten-Orgie' (Bacchanal). Der Leprechaun Dance ('Koboldstanz') schließlich lebt von seinen wechselnden 3/4- und 6/8-Rhythmen wie in Bernsteins 'America'.