Auf in's Metropol!

SKU: PR.11441690S

UPC: 680160626021. 9 x 12 inches.

Ran's third string quartet was written for the Pacifica Quartet, who are featuring it in numerous performances from May 2014 through February 2016, across the country and abroad. Their blog page dedicated to the work also features the composer's notes, for more indepth insight. ...impassioned solos emerge from ominous quiet, and high arpeggios in the violins quiver alongside the earthy cello. Ms. Ran skillfully deploys these extremes of color, volume and pitch, yet the overall somewhat chilly impression is one of poise. -- Zachary Woolfe, The New York Times.
My third string quartet was composed at the invitation of the Pacifica Quartet, whose music-making I have come to know closely and admire hugely as resident artists at the University of Chicago.  Already in our early conversations Pacifica proposed that this quartet might, in some manner, refer to the visual arts as a point of germination.  Probing further, I found out that the quartet members had special interest in art created during the earlier part of the 20th century, perhaps between the two world wars.  It was my good fortune to have met, a short while later, while in residence at the American Academy in Rome in the fall of 2011, art conservationist Albert Albano who steered me to the work of Felix Nussbaum (1904-1944), a German-Jewish painter who, like so many others, perished in the Holocaust at a young age, and who left some powerful, deeply moving art that spoke to the life that was unraveling around him. The title of my string quartet takes its inspiration from a major exhibit devoted to art by German artists of the period of the Weimar Republic (1919-1933) titled “Glitter and Doom: German Portraits from the 1920s”, first shown at New York’s Metropolitan Museum of Art in 2006-07.  Nussbaum would have been a bit too young to be included in this exhibit.  His most noteworthy art was created in the last very few years of his short life.  The exhibit’s evocative title, however, suggested to me the idea of “Glitter, Doom, Shards, Memory” as a way of framing a possible musical composition that would be an homage to his life and art, and to that of so many others like him during that era.  Knowing that their days were numbered, yet intent on leaving a mark, a legacy, a memory, their art is triumph of the human spirit over annihilation. Parallel to my wish to compose a string quartet that, typically for this genre, would exist as “pure music”, independent of a narrative, was my desire to effect an awareness in my listener of matters which are, to me, of great human concern.  To my mind there is no contradiction between the two goals.  As in several other works composed since 1969, this is my way of saying ‘do not forget’, something that, I believe, can be done through music with special power and poignancy.    The individual titles of the quartet’s four movements give an indication of some of the emotional strands this work explores. 1) “That which happened” (das was geschah) – is how the poet Paul Celan referred to the Shoah – the Holocaust.  These simple words served for me, in the first movement, as a metaphor for the way in which an “ordinary” life, with its daily flow and its sense of sweet normalcy, was shockingly, inhumanely, inexplicably shattered. 2) “Menace” is a shorter movement, mimicking a Scherzo.  It is also machine-like, incessant, with an occasional, recurring, waltz-like little tune – perhaps the chilling grimace we recognize from the executioner’s guillotine mask.  Like the death machine it alludes to, it gathers momentum as it goes, and is unstoppable. 3) â� ��If I must perish - do not let my paintings die”; these words are by Felix Nussbaum who, knowing what was ahead, nonetheless continued painting till his death in Auschwitz in 1944.  If the heart of the first movement is the shuddering interruption of life as we know it, the third movement tries to capture something of what I can only imagine to be the conflicting states of mind that would have made it possible, and essential, to continue to live and practice one’s art – bearing witness to the events.  Creating must have been, for Nussbaum and for so many others, a way of maintaining sanity, both a struggle and a catharsis – an act of defiance and salvation all at the same time. 4) “Shards, Memory” is a direct reference to my quartet’s title.  Only shards are left.  And memory.  The memory is of things large and small, of unspeakable tragedy, but also of the song and the dance, the smile, the hopes.  All things human.  As we remember, in the face of death’s silence, we restore dignity to those who are gone.—Shulamit Ran .

SKU: HL.48014038

UPC: 073999227291. 9.25x12.25x0.064 inches.

Contents: Marchen und Traume * Schaukel-Lied * Kasino-Lied * Die Jahreszeiten der Liebe * Der Vorschuss auf die Seligkeit * Sonne und Mond * Willst Du mein Cousinchen sein * Du mein altes Berlin.

SKU: CF.SPS71

ISBN 9781491143544. UPC: 680160901043. Key: G minor.

Nordanvind is a tour de force symphonic rhapsody that is built on three Scandinavian folk songs. Composer Carl Strommen has composed these Viking-influenced melodies into a concert setting that brings out all of the history of the Scandinavian people. The piece is at times bold and aggressive, at other times beautiful. Carl employs all of the instrumental colors of the concert band to create a new work for more advanced ensembles.
Modern Scandinavians are descendants of the Vikings, an adventuresome people who were known for their love of the sea, their naval prowess, and as fierce fighters . The Scandinavian Vikings were warriors from Denmark, Norway, and Sweden who traded, raided and settled in various parts of Europe, Russia, the North Atlantic islands, and the northeastern coast of North America .Starting around 1850, over one million Swedes left their homeland for the United States in search of religious freedom and open farm land . Augustana College was founded in 1860 by graduates of Swedish universities and is located on the Mississippi River in Rock Island, Illinois . Home of the “Vikings,” Augustana College is the oldest Swedish- American institution of higher learning in the United States . This powerful and lively piece takes inspiration from Swedish history and from Swedish folk songs and hymns .Havsdrake (Dragon of the Sea)The Nordanvind or “North Wind” blows a cold wind during a journey of a group of courageous Viking rowers . The “Dragon-ship” or long ships designed for raiding and war was a sophisticated, fast ship able to navigate in very shallow water . To musically portray these magnificent seafaring vessels, the director is encouraged to use an Ocean Drum (or a rain stick) during the introduction . Wind players may consider blowing air through their instruments to suggest the North wind . Adding men’s voices to accompany the haunting low brass and percussive “rower” sounds can be helpful in creating the dark and ominous portrayal of Viking adventurers .Slangpolska efter Byss - KalleIn Sweden, a “polska” is a partner dance where the dancers spin each other (släng in Swedish “to sling or toss”) . Slangpolska efter Byss - Kalle is attributed to Byss-Kalle, who was a notable Swedish folk musician, specifically a nyckelharpa player . Slangpolska efter Byss - Kalle is a traditional “polska” dance song most often played on the Nyckelharpa or keyed fiddle and is commonly heard in pubs and at festive events throughout Sweden . Approximately 10,000 nyckelharpa players live in Sweden today, and the Swedish and the American Nyckelharpa Associations are dedicated to this Swedish National instrument . The director is encouraged to share video and audio examples of the nyckelharpa playing the original Slangpolska efter Byss - Kalle .Tryggare Kan Ingen Vara (Children of the Heavenly Father)Tryggare Kan Ingen Vara Is a traditional Swedish melody, possibly of German roots, and was believed to be arranged as a hymn by the Swedish hymn writer, Karolina Wilhelmina Sandell-Berg (1832–1903) . As a daughter of a Swedish Lutheran minister, she began writing poems as a teenager and is said to have written over 1,700 different texts . There are two different accounts as to the inspiration for this hymn . The first story is that Lina (as she was called) wrote the hymn to honor her father and to say thank you to him for raising her and protecting her . A second belief is of her witnessing the tragic death of her father . She and her father were on a boat, when a wave threw her father overboard . It was said that the profound effect of watching her father drown is what caused Lina to write the text to this hymn . Although this is a treasured song to people of Swedish descent everywhere, it speaks to all people about a father tending and nourishing his children, and protecting them from evil .SPS71FThe Augustana College Concert BandFounded in 1874, the Augustana Band program is one of the oldest continuously active collegiate band programs in the country . The Concert Band is one of two bands on campus and was formed more than thirty years ago . The Concert Band attracts students of every skill level and from a wide variety of majors . Students in the ensemble play a large part in choosing their music for performance, which include works from the standard repertoire, orchestral transcriptions, and the latest compositions from leading composers .Rick Jaeschke began his musical career as a clarinet player in the 1st US Army Band . He received a Bachelor of Music degree from Susquehanna University, a Masters of Music from James Madison University, and a doctorate from Columbia University in New York . He was also fortunate to study conducting with Donald Hunsburger and with Frederick Fennell .Dr . Jaeschke taught band and choir at Great Mills High School in Southern Maryland, and for fifteen years, he was the district Music Supervisor in Armonk, New York, where he taught high school concert and jazz bands, beginning band, and music technology . During that time, the music program flourished, and the high school band consistently received Gold Medals in the New York State Festivals, as well as in national, and international festivals . As a clarinet and saxophone player, Dr . Jaeschke performed in the New York metropolitan area with the Rockland Symphony Orchestra, the Putnam Symphony Orchestra, Fine Arts Symphony Orchestra, and served as the concert master for the Hudson Valley Wind Symphony .For several years, Dr . Jaeschke served as the Fine Arts Coordinator for the District 204 schools in Naperville, IL, a district selected as One of the Best 100 Schools in America for Music . Currently, Dr . Jaeschke is an Associate Professor at Augustana College where he teaches music and music education courses, and directs the Concert Band . He has served on various educational boards, is a National edTPA scorer, and has presented at state, national and international music conferences . He lives with his family in Bettendorf Iowa, and enjoys any opportunity to explore the open water in his sea kayak .

SKU: CF.CM9704

ISBN 9781491160114. UPC: 680160918713. Key: F# minor. English. Sir Rabindranath Tagore.

Richard Hageman (1881-1966) was a born into a family of musicians. As a pianist, he performed concerts from the age of six, and his mastery of this instrument is evident in the intricate accompaniment of this piece. After coming to America, (originally as accompanist to touring French singer Yvette Guilbert), he worked for a period of years as a conductor and pianist for the Metropolitan Opera in New York. It was during this period of time that he composed Do Not Go, My Love for solo voice, originally dedicating it to the operatic tenor, George Hamlin. Hageman's later career included work in Hollywood, first as a conductor, but later as a film-score composer and actor. Do Not Go, My Love is well-known among classical soloists, and many recordings exist. The SSA version of this American standard brings a vocal classic to younger singers who might not yet possess the dexterity to perform the original solo. Rabindranath Tagore (1861-1941) was an Indian polymath; someone who possesses deep knowledge and understanding of many disparate subjects. Tagore's expertise included the visual arts, music, and poetry. Tagore won the Nobel Prize in Literature in 1913, contributing to his receiving knighthood from King George V in 1915, but Tagore renounced his knighthood after the 1919 Jallianwala Bagh massacre. There are five Tagore museums in Bangladesh and three in India; at least three universities bear his name. Do Not Go, My Love is taken from The Gardener, a collection of poems translated from Bengali by Tagore and published in 1915. Number 34 in the collection, and taken by itself, the poem might be interpreted as someone watching over the deathbed of a lover or child; however, the larger narrative woven through The Gardener suggests a romantic relationship being clung to by the speaker.  .
Richard Hageman (1881–1966) was a born into a family of musicians. As a pianist, he performed concerts from the age of six, and his mastery of this instrument is evident in the intricate accompaniment of this piece. After coming to America, (originally as accompanist to touring French singer Yvette Guilbert), he worked for a period of years as a conductor and pianist for the Metropolitan Opera in New York. It was during this period of time  that he composed Do Not Go, My Love for solo voice, originally dedicating it to the operatic tenor, George Hamlin. Hageman’s later career included work in Hollywood, first as a conductor, but later as a film-score composer and actor. Do Not Go, My Love is well-known among classical soloists, and many recordings exist. The SSA version of this American standard brings a vocal “classic” to younger singers who might not yet possess the dexterity to perform the original solo.Rabindranath Tagore (1861–1941) was an Indian polymath; someone who possesses deep knowledge and understanding of many disparate subjects. Tagore’s expertise included the visual arts, music, and poetry. Tagore won the Nobel Prize in Literature in 1913, contributing to his receiving knighthood from King George V in 1915, but Tagore renounced his knighthood after the 1919 Jallianwala Bagh massacre. There are five Tagore museums in Bangladesh and three in India; at least three universities bear his name.Do Not Go, My Love is taken from The Gardener, a collection of poems translated from Bengali by Tagore and published in 1915. Number 34 in the collection, and taken by itself, the poem might be interpreted as someone watching over the deathbed of a lover or child; however, the larger narrative woven through The Gardener suggests a romantic relationship being clung to by the speaker. .

SKU: CF.SPS78

ISBN 9781491152553. UPC: 680160910052. Key: Bb major.

Festival March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
Festival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

SKU: CF.SPS78F

ISBN 9781491153239. UPC: 680160910731.

Festi val March is presented in a new edition arranged by Richard Summers. It is a tour de force composition for advanced bands and hearkens back to a bygone era during the golden age of the band movement. Directors and students will hear operatic music from composer Victor Herbert who is best known for his Christmas classic, Toyland. This is a richly scored masterpiece that deserves to return to standard status in concert band repertoire. We are proud to bring you this new setting of this cherished classic.
About the CompositionFestival March by Victor Herbert was written for the Pittsburgh Symphony and first performed under Herbert’s direction in Chicago on Dec. 9, 1901 celebrating the 12th anniversary of Chicago’s Auditorium Theatre. Also known as the Auditorium Festival March, he included it many times for programs of a festival nature. The main theme Auld Lang Syne, a famous Scottish folk song, is incorporated many times along with brass fanfares, interludes and march melodies. This band arrangement is very similar to the original orchestral composition. The missing string parts, the addition of the saxophone section and other band instruments, editing of the superimposed triplets against sixteenth notes, to one or the other, and articulations suitable for the band, were major challenges. The style of early twentieth-century American music is captured here. This arrangement will give band musicians access to a fine piece of music that could only be appreciated by orchestra musicians up to now. Although suitable for many occasions, this piece is a great way to begin or end a December holiday concert.  Notes to the ConductorVictor Herbert’s music can be interpreted in a romantic style, which is the conductor’s responsibility to read in nuance and musicality. The beginning and other triple-tonguing sections of this piece have a March of the Toys quality to it.  The interludes and Auld Lang Syne sections are legato and musical. The March sections can also be shaped musically.About the ComposerVictor Herbert was born in Ireland in 1861 and raised in Germany. When he moved to America in 1886, he joined the Metropolitan Opera as principal cellist and eventually composed many works including forty-three operettas on Broadway from the 1890s to World War I, including Naughty Marietta and Babes in Toyland. Victor Herbert conducted the Pittsburgh Symphony from 1898 to 1904 and then was the conductor of his own Victor Herbert Orchestra. He formed ASCAP with a group of composers in 1914 and was the director until his death in 1924. Among his thirty-one compositions for orchestra, Festival March was a favorite of his and was eventually published by Carl Fischer Music.  .

SKU: PR.111401800

UPC: 680160618132. 8.5 x 11 inches. Text: Nelly Sachs. Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger.

O The Chimneys is a setting of five poems by Nelly Sachs, the great German-Jewish 1966 Nobel Prize co-winner in literature, whose writing concerned itself almost entirely with the subject of the holocaust. Composed in 1969, the work was my own personal way of saying, through my own art, do not forget. Shockingly, these words have as much relevance today as they did when the work was written. Today we find ourselves having to say do not forget, do not distort, do not deny it ever happened.   I selected the five poems from Sachs' O The Chimneys collection, retaining its grimly evocative title even though I did not include the actual poem by that name. In scoring the work for female voice, flute, clarinet/bass clarinet, cello, piano and percussion, I aimed to give myself the broadest possible palette of instrumental colors while using the smallest number of participants. Yet as I was planning the final moments of my cycle, I felt that instrumental sound alone would not suffice to express the horror. An electronic tape segment was added to the work's final climax.   The first two poems (A Dead Child Speaks and Already Embraced by the Arm of Heavenly Solace), both depicting the tearing of a child away from his mother, are treated essentially as one unit, with the first acting as an introduction to the second. These two, and the cycle's apocalyptic fifth poem (Hell is Naked from Glowing Enigmas II), act as the two weighty pillar points, so to speak, surrounding the more introspective two middle poems (Fleeing and Someone Comes). To maximize dramatic differentiation within the constraints of a relentlessly tragic subject matter, I used range as a means to delineate contrast, by dividing the sounds available to me into low and dark (mvt. III) vs. high and, at times, eerily bright (mvt. IV) colors. Thus the two middle poems are intended to balance the frenzied madness of which the work's outer parts are made.   The work received its first performance in New York at the Metropolitan Museum of Art's Grace Rainey Auditorium on January 19, 1970.   --Shulamit Ran.

SKU: PR.11140180S

UPC: 680160601691. Text: Nelly Sachs. Nelly Sachs. Text: Five Poems of Nelly Sachs, Translation from German of Nos. I, III and IV by Ruth and Matthew Mead, of No. II by Michael Roloff and No. V by Michael Hamburger.

O The Chimneys is a setting of five poems by Nelly Sachs, the great German-Jewish 1966 Nobel Prize co-winner in literature, whose writing concerned itself almost entirely with the subject of the holocaust. Composed in 1969, the work was my own personal way of saying, through my own art, do not forget. Shockingly, these words have as much relevance today as they did when the work was written. Today we find ourselves having to say do not forget, do not distort, do not deny it ever happened.   I selected the five poems from Sachs' O The Chimneys collection, retaining its grimly evocative title even though I did not include the actual poem by that name. In scoring the work for female voice, flute, clarinet/bass clarinet, cello, piano and percussion, I aimed to give myself the broadest possible palette of instrumental colors while using the smallest number of participants. Yet as I was planning the final moments of my cycle, I felt that instrumental sound alone would not suffice to express the horror. An electronic tape segment was added to the work's final climax.   The first two poems (A Dead Child Speaks and Already Embraced by the Arm of Heavenly Solace), both depicting the tearing of a child away from his mother, are treated essentially as one unit, with the first acting as an introduction to the second. These two, and the cycle's apocalyptic fifth poem (Hell is Naked from Glowing Enigmas II), act as the two weighty pillar points, so to speak, surrounding the more introspective two middle poems (Fleeing and Someone Comes). To maximize dramatic differentiation within the constraints of a relentlessly tragic subject matter, I used range as a means to delineate contrast, by dividing the sounds available to me into low and dark (mvt. III) vs. high and, at times, eerily bright (mvt. IV) colors. Thus the two middle poems are intended to balance the frenzied madness of which the work's outer parts are made.   The work received its first performance in New York at the Metropolitan Museum of Art's Grace Rainey Auditorium on January 19, 1970.   --Shulamit Ran.

SKU: HL.49032560

ISBN 9783795718695. German - English.

Dass das erste wissenschaftliche Symposium im deutschsprachigen Raum zum Schaffen Antonin Dvoraks 1991 im Rahmen der 2. Musikfestspiele Saar in Saarbrucken, also abseits der grossen Metropolen in der musikalischen Provinz an einem Ort stattfand, der keine direkte Verbindung zu diesem Komponisten aufweist, mag insofern bezeichnend erscheinen, als fur die internationale Musikwissenschaft Dvorak lange Zeit ein eher abseitiges Thema darstellte. In den letzten Jahren ist das vermehrte Interesse auch ausserhalb seines tschechischen Heimatlandes, auf das die Dvorak-Forschung bis dahin weitgehend konzentriert war, unubersehbar geworden. Nach den Prager Kolloquien, dem Dvorak-Kongress in New Orleans und der grossen Jubilaums-Konferenz in Dobris bot Saarbrucken eine weitere Gelegenheit, eine Zwischenbilanz der neueren Forschungsergebnisse in Tschechien, Grossbritannien, den USA, aber eben auch Deutschland zu ziehen, die in diesem Sammelband zur Diskussion gestellt werden.

SKU: AP.6-293297

ISBN 9780486293295. English.

Considered the greatest Italian opera composer since Verdi, Giacomo Puccini (1858--1924) created many of the most popular operas in the repertoire, including Madama Butterfly, La Boheme, Tosca, Manon Lescaut, and Turandot. His well-known gifts for lush melody and rapturous lyricism, along with his strong sense of theater, are amply evident in Il Trittico (The Triptych), a series of three highly individual one-act operas patterned after the Parisian Grand Guignol's three-part scheme of horror, tragedy, and farce. Il Trittico, which premiered at New York's Metropolitan Opera in 1918, consists of Il Tabarro, a somber, near-melodramatic tragedy; Suor Angelica, a sentimental tragedy with strong melodies and a mystic theme; and Gianni Schicchi, a delightful comedy, full of wit and vivacity, whose libretto was derived---surprisingly enough---from a few lines in Dante's Inferno. All three works appear in this single volume, reprinted from authoritative early editions.

SKU: IG.PM063

9 x 12 in inches.

By Jennifer Castellano. Spectrum, Seven Preludes for Piano was inspired by a work by the American artist, Ellsworth Kelly (b. 1923). The composer writes, When I was a freshman in college, I saw his work entitled Spectrum at the Metropolitan Museum of Art. The work consisted of thirteen large panels, and each contained a different color or shade of color. The first panel was yellow and the last was yellow. To me this work was a visual representation of a chromatic scale played one full octave up the piano keyboard. Five years after the magnificent sighting at the Met, I decided that I wanted to make an audio representation of the seven colors of the rainbow, each represented by a different tonality or pitch center: A being red, B orange, C yellow, D green, E blue, F indigo, and G violet. Spectrum abandons the use of the conventional major-minor key systems and instead uses a scale which the composer invented called the Castellonian Mode. In it's original form the scale is spelled C D E F G G# (or Ab) A Bb C. The sound of this new tonal system exhibits both major and minor-like qualities and yet has a new sonority of its own. The Castellonian Mode was invented in the summer of 2004 and has served as the basis of many of her tonal compositions.

SKU: HL.49045305

ISBN 9781495082405. UPC: 888680656539. 9.0x12.0x0.256 inches.

Following the premiere of my opera An American Tragedy at the Metropolitan Opera, the President of the Manhattan School of Music, Robert Sirota, called me and told me that the American String Quartet had asked him to commission me as part of the school's 90th anniversary celebration. I was very excited because this meant that the first new music I would compose after my largest piece ever would be a string quartet for my alma mater. I embraced the chance to return to chamber music with gusto because I saw this not only as an opportunity to incorporate everything I'd learned writing four grand operas into an intimate yet profound genre but also as the starting point of a new direction in my compositional thinking. 20 years separate my first and second quartet and it is not difficult to hear the evolution between the two. Tobias Picker.

SKU: PR.110418240

ISBN 9781491133835. UPC: 680160683338. 9 x 12 inches.

This cosmopolitan 5-movement suite was inspired by the multitudinous energy in every city, where people from all walks of life intersect in close proximity. The resulting experience breeds collaboration for the inspired, ambition for the eager, danger in the masses, beauty in the diversity, coldness in the operation, power in the structure, and everything in between. The movement titles are: 1. Luminous Canopy, 2. Urban Glass, 3. Magnetic Avenue, 4. Iron Organ, and 5. Midnight City. METROPOLITAN is also available for Orchestra.
Metropolita n was inspired by the multitude of life inherent to every city. A huge variety of people from all walks of life comes together, now united by proximity. The result is a completely unique experience that breeds collaboration for the inspired, ambition for the eager, danger in the masses, beauty in the diversity, coldness in the operation, power in the structure, and everything in between.Each movement explores a different aspect of this complex environment. It is the composer’s hope that the music may inform, illuminate, or resonate with your own urban experiences.METROPOLITAN is also available for Orchestra.

SKU: BT.DHP-1094658-020

9x12 inches. English-German-French-Dut ch.

For Cityscapes, the composer used the metropolis of New York, the largest city of the United States, as a source of inspiration. The first movement mirrors the skyline of the ‘Big Apple’. In movement two, Central Park is introduced and in the closing movement of this triptych, the ever-sparkling Manhattan, known for its many skyscrapers, and its financial centre Wall Street, is the focal point. Not only are the busy city traffic and the chaotic hustle and bustle expressed in the music, but also the impressive buildings, including the famous Empire State Building. Let the magic of New York shine with this dramatic new item.

Voor Cityscapes heeft de componist zich laten inspireren door de metropool New York, de grootste stad in de Verenigde Staten. Het eerste deel verklankt de skyline van de ‘Big Apple’. De grootse aanblik van onder andere Manhattan,Brooklyn Bridge en het Vrijheidsbeeld staat model voor het pakkende hoofdthema. In deel twee wordt de stemming van het Central Park voorgesteld. Dit immense park in New York is een plek voor ontspanning en vermaak. In het slotdeelvan dit drieluik staat het altijd bruisende Manhattan, bekend om de vele wolkenkrabbers en het financiële centrum, Wall Street, centraal. Een absolute aanrader!

Jan de Haans Quelle der Inspiration für Cityscapes war die Metropole New York, die größte Stadt der Vereinigten Staaten. In drei Sätzen gelang es ihm, einige charakteristische Merkmale des Big Apples“ einzufangen: der großartige Anblick der Skyline von Manhattan, Brooklyn Bridge und der Freiheitsstatue, die Stimmung des berühmten Central Park und das pulsierende Leben in dieser glitzernden, eindrucksvollen Metropole. Absolut hörenswert!

Cityscapes (“Paysages urbains”) est une œuvre inspirée d’une série d’impressions et de paysages de la métropole de New York, la plus grande ville des États-Unis.Dans le premier mouvement, l’impressionnante ligne d’horizon de « La Grosse Pomme » s’étire devant nous. Manhattan, le pont de Brooklyn et la Statue de la Liberté sont l’essence du thème principal. Les dernières mesures de ce premier mouvement font référence la célèbre Symphonie n° 9 dite « du Nouveau Monde » que le compositeur tchèque Antón Dvorák composa lors d’un séjour New York.Le second mouvement est consacré Central Park, l’immense parc new-yorkais construit au XIXe siècle, etdestiné aux loisirs, au divertissement et la relaxation. Plusieurs b timents célèbres, tels que le Metropolitan Museum of Art, jalonnent Central Park.Le troisième et dernier mouvement de ce triptyque dépeint l’esprit bouillonnant de Manhattan, quartier célèbre pour abriter d’impressionnants gratte-ciel et la Bourse de Wall Street. La musique palpite au rythme du trafic intense et suit le tourbillon d’activité tumultueux. Elle décrit également les immenses buildings comme l'Empire State Building.

SKU: BT.DHP-1094658-010

9x12 inches. English-German-French-Dut ch.

For Cityscapes, the composer used the metropolis of New York, the largest city of the United States, as a source of inspiration. The first movement mirrors the skyline of the ‘Big Apple’. In movement two, Central Park is introduced and in the closing movement of this triptych, the ever-sparkling Manhattan, known for its many skyscrapers, and its financial centre Wall Street, is the focal point. Not only are the busy city traffic and the chaotic hustle and bustle expressed in the music, but also the impressive buildings, including the famous Empire State Building. Let the magic of New York shine with this dramatic new item for concert band.

Voor Cityscapes heeft de componist zich laten inspireren door de metropool New York, de grootste stad in de Verenigde Staten. Het eerste deel verklankt de skyline van de ‘Big Apple’. De grootse aanblik van onder andere Manhattan,Brooklyn Bridge en het Vrijheidsbeeld staat model voor het pakkende hoofdthema. In deel twee wordt de stemming van het Central Park voorgesteld. Dit immense park in New York is een plek voor ontspanning en vermaak. In het slotdeelvan dit drieluik staat het altijd bruisende Manhattan, bekend om de vele wolkenkrabbers en het financiële centrum, Wall Street, centraal. Een absolute aanrader!

Jan de Haans Quelle der Inspiration für Cityscapes war die Metropole New York, die größte Stadt der Vereinigten Staaten. In drei Sätzen gelang es ihm, einige charakteristische Merkmale des Big Apples“ einzufangen: der großartige Anblick der Skyline von Manhattan, Brooklyn Bridge und der Freiheitsstatue, die Stimmung des berühmten Central Park und das pulsierende Leben in dieser glitzernden, eindrucksvollen Metropole. Absolut hörenswert!

Cityscapes (“Paysages urbains”) est une œuvre inspirée d’une série d’impressions et de paysages de la métropole de New York, la plus grande ville des États-Unis.Dans le premier mouvement, l’impressionnante ligne d’horizon de « La Grosse Pomme » s’étire devant nous. Manhattan, le pont de Brooklyn et la Statue de la Liberté sont l’essence du thème principal. Les dernières mesures de ce premier mouvement font référence la célèbre Symphonie n° 9 dite « du Nouveau Monde » que le compositeur tchèque Antón Dvorák composa lors d’un séjour New York.Le second mouvement est consacré Central Park, l’immense parc new-yorkais construit au XIXe siècle, etdestiné aux loisirs, au divertissement et la relaxation. Plusieurs b timents célèbres, tels que le Metropolitan Museum of Art, jalonnent Central Park.Le troisième et dernier mouvement de ce triptyque dépeint l’esprit bouillonnant de Manhattan, quartier célèbre pour abriter d’impressionnants gratte-ciel et la Bourse de Wall Street. La musique palpite au rythme du trafic intense et suit le tourbillon d’activité tumultueux. Elle décrit également les immenses buildings comme l'Empire State Building.

SKU: BT.DHP-1094658-140

9x12 inches. English-German-French-Dut ch.

For Cityscapes, the composer used the metropolis of New York, the largest city of the United States, as a source of inspiration. The first movement mirrors the skyline of the ‘Big Apple’. In movement two, Central Park is introduced and in the closing movement of this triptych, the ever-sparkling Manhattan, known for its many skyscrapers, and its financial centre Wall Street, is the focal point. Not only are the busy city traffic and the chaotic hustle and bustle expressed in the music, but also the impressive buildings, including the famous Empire State Building. Let the magic of New York shine with this dramatic new item for concert band.

Voor Cityscapes heeft de componist zich laten inspireren door de metropool New York, de grootste stad in de Verenigde Staten. Het eerste deel verklankt de skyline van de ‘Big Apple’. De grootse aanblik van onder andere Manhattan,Brooklyn Bridge en het Vrijheidsbeeld staat model voor het pakkende hoofdthema. In deel twee wordt de stemming van het Central Park voorgesteld. Dit immense park in New York is een plek voor ontspanning en vermaak. In het slotdeelvan dit drieluik staat het altijd bruisende Manhattan, bekend om de vele wolkenkrabbers en het financiële centrum, Wall Street, centraal. Een absolute aanrader!

Jan de Haans Quelle der Inspiration für Cityscapes war die Metropole New York, die größte Stadt der Vereinigten Staaten. In drei Sätzen gelang es ihm, einige charakteristische Merkmale des Big Apples“ einzufangen: der großartige Anblick der Skyline von Manhattan, Brooklyn Bridge und der Freiheitsstatue, die Stimmung des berühmten Central Park und das pulsierende Leben in dieser glitzernden, eindrucksvollen Metropole. Absolut hörenswert!

Cityscapes (“Paysages urbains”) est une œuvre inspirée d’une série d’impressions et de paysages de la métropole de New York, la plus grande ville des États-Unis.Dans le premier mouvement, l’impressionnante ligne d’horizon de « La Grosse Pomme » s’étire devant nous. Manhattan, le pont de Brooklyn et la Statue de la Liberté sont l’essence du thème principal. Les dernières mesures de ce premier mouvement font référence la célèbre Symphonie n° 9 dite « du Nouveau Monde » que le compositeur tchèque Antón Dvorák composa lors d’un séjour New York.Le second mouvement est consacré Central Park, l’immense parc new-yorkais construit au XIXe siècle, etdestiné aux loisirs, au divertissement et la relaxation. Plusieurs b timents célèbres, tels que le Metropolitan Museum of Art, jalonnent Central Park.Le troisième et dernier mouvement de ce triptyque dépeint l’esprit bouillonnant de Manhattan, quartier célèbre pour abriter d’impressionnants gratte-ciel et la Bourse de Wall Street. La musique palpite au rythme du trafic intense et suit le tourbillon d’activité tumultueux. Elle décrit également les immenses buildings comme l'Empire State Building.

SKU: BT.DHP-1094658-120

9x12 inches. English-German-French-Dut ch.

For Cityscapes, the composer used the metropolis of New York, the largest city of the United States, as a source of inspiration. The first movement mirrors the skyline of the ‘Big Apple’. In movement two, Central Park is introduced and in the closing movement of this triptych, the ever-sparkling Manhattan, known for its many skyscrapers, and its financial centre Wall Street, is the focal point. Not only are the busy city traffic and the chaotic hustle and bustle expressed in the music, but also the impressive buildings, including the famous Empire State Building. Let the magic of New York shine with this dramatic new item.

Voor Cityscapes heeft de componist zich laten inspireren door de metropool New York, de grootste stad in de Verenigde Staten. Het eerste deel verklankt de skyline van de ‘Big Apple’. De grootse aanblik van onder andere Manhattan,Brooklyn Bridge en het Vrijheidsbeeld staat model voor het pakkende hoofdthema. In deel twee wordt de stemming van het Central Park voorgesteld. Dit immense park in New York is een plek voor ontspanning en vermaak. In het slotdeelvan dit drieluik staat het altijd bruisende Manhattan, bekend om de vele wolkenkrabbers en het financiële centrum, Wall Street, centraal. Een absolute aanrader!

Jan de Haans Quelle der Inspiration für Cityscapes war die Metropole New York, die größte Stadt der Vereinigten Staaten. In drei Sätzen gelang es ihm, einige charakteristische Merkmale des Big Apples“ einzufangen: der großartige Anblick der Skyline von Manhattan, Brooklyn Bridge und der Freiheitsstatue, die Stimmung des berühmten Central Park und das pulsierende Leben in dieser glitzernden, eindrucksvollen Metropole. Absolut hörenswert!

Cityscapes (“Paysages urbains”) est une œuvre inspirée d’une série d’impressions et de paysages de la métropole de New York, la plus grande ville des États-Unis.Dans le premier mouvement, l’impressionnante ligne d’horizon de « La Grosse Pomme » s’étire devant nous. Manhattan, le pont de Brooklyn et la Statue de la Liberté sont l’essence du thème principal. Les dernières mesures de ce premier mouvement font référence la célèbre Symphonie n° 9 dite « du Nouveau Monde » que le compositeur tchèque Antón Dvorák composa lors d’un séjour New York.Le second mouvement est consacré Central Park, l’immense parc new-yorkais construit au XIXe siècle, etdestiné aux loisirs, au divertissement et la relaxation. Plusieurs b timents célèbres, tels que le Metropolitan Museum of Art, jalonnent Central Park.Le troisième et dernier mouvement de ce triptyque dépeint l’esprit bouillonnant de Manhattan, quartier célèbre pour abriter d’impressionnants gratte-ciel et la Bourse de Wall Street. La musique palpite au rythme du trafic intense et suit le tourbillon d’activité tumultueux. Elle décrit également les immenses buildings comme l'Empire State Building.

SKU: BT.DHP-1094658-030

9x12 inches. English-German-French-Dut ch.

For Cityscapes, the composer used the metropolis of New York, the largest city of the United States, as a source of inspiration. The first movement mirrors the skyline of the ‘Big Apple’. In movement two, Central Park is introduced and in the closing movement of this triptych, the ever-sparkling Manhattan, known for its many skyscrapers, and its financial centre Wall Street, is the focal point. Not only are the busy city traffic and the chaotic hustle and bustle expressed in the music, but also the impressive buildings, including the famous Empire State Building. Let the magic of New York shine with this dramatic new item for brass band.

Voor Cityscapes heeft de componist zich laten inspireren door de metropool New York, de grootste stad in de Verenigde Staten. Het eerste deel verklankt de skyline van de ‘Big Apple’. De grootse aanblik van onder andere Manhattan,Brooklyn Bridge en het Vrijheidsbeeld staat model voor het pakkende hoofdthema. In deel twee wordt de stemming van het Central Park voorgesteld. Dit immense park in New York is een plek voor ontspanning en vermaak. In het slotdeelvan dit drieluik staat het altijd bruisende Manhattan, bekend om de vele wolkenkrabbers en het financiële centrum, Wall Street, centraal. Een absolute aanrader!

Jan de Haans Quelle der Inspiration für Cityscapes war die Metropole New York, die größte Stadt der Vereinigten Staaten. In drei Sätzen gelang es ihm, einige charakteristische Merkmale des Big Apples“ einzufangen: der großartige Anblick der Skyline von Manhattan, Brooklyn Bridge und der Freiheitsstatue, die Stimmung des berühmten Central Park und das pulsierende Leben in dieser glitzernden, eindrucksvollen Metropole. Absolut hörenswert!

Cityscapes (“Paysages urbains”) est une œuvre inspirée d’une série d’impressions et de paysages de la métropole de New York, la plus grande ville des États-Unis.Dans le premier mouvement, l’impressionnante ligne d’horizon de « La Grosse Pomme » s’étire devant nous. Manhattan, le pont de Brooklyn et la Statue de la Liberté sont l’essence du thème principal. Les dernières mesures de ce premier mouvement font référence la célèbre Symphonie n° 9 dite « du Nouveau Monde » que le compositeur tchèque Antón Dvorák composa lors d’un séjour New York.Le second mouvement est consacré Central Park, l’immense parc new-yorkais construit au XIXe siècle, etdestiné aux loisirs, au divertissement et la relaxation. Plusieurs b timents célèbres, tels que le Metropolitan Museum of Art, jalonnent Central Park.Le troisième et dernier mouvement de ce triptyque dépeint l’esprit bouillonnant de Manhattan, quartier célèbre pour abriter d’impressionnants gratte-ciel et la Bourse de Wall Street. La musique palpite au rythme du trafic intense et suit le tourbillon d’activité tumultueux. Elle décrit également les immenses buildings comme l'Empire State Building.