Matériel : Conducteur
SKU: AP.50128
UPC: 038081572987. English. Words by Vincent van Gogh; Edgar Degas; Leonardo da Vinci; Pablo Picasso; Michelangelo.
Trans form your choral stage into a canvas for imagination with this innovative piece for concert or festival. The words of Vincent van Gogh, Edgar Degas, Leonardo da Vinci, Pablo Picasso, and Michelangelo come together to form an inspiring collective work. The ever-changing palette of musical colors reflects the time periods in which each of these artists lived. Discover more at alfred.com/thegallery.
About Alfred Choral Designs
Th e Alfred Choral Designs Series provides student and adult choirs with a variety of secular choral music that is useful, practical, educationally appropriate, and a pleasure to sing. To that end, the Choral Designs series features original works, folk song settings, spiritual arrangements, choral masterworks, and holiday selections suitable for use in concerts, festivals, and contests.
SKU: SU.91770351
Flute, Clarinet, Piano, Percussion, Violin, Cello & CD of precorded sounds Duration: 25' Full Score: available for sale (#91770350) Composed: 2000 Published by: Subito Music Publishing.
SKU: BT.DHP-1043546-140
Claudio Monteverdi composed this toccata as an instrumental introduction for the opera L’Orfeo (1607). According to the composer, this introduction should be played three times before the rising of the curtain. This is actually the first overture in the history of opera.)The story of Orfeo, who enchanted nature with his music, is tragic, as he loses his beloved Eurydice and decides to retrieve her from the underworld. On their return journey, one glance back at her is fatal: he loses her for the second time.)This arrangement for wind band is very suitable as a concert opener. The toccata is played three times just like the original. The first time it is played by a quintetconsisting of two trumpets and three trombones.)Various ways of performing this toccata are possible. The tension builds up more intensely if the quintet starts off stage. Eventually, these five players join the band, after which the tutti version follows two times. You can also have the brass play from the gallery during the second or third time for a double choir effect. Claudio Monteverdi componeerde deze toccata als instrumentale inleiding tot de opera L’Orfeo (1607). Dit arrangement voor harmonieorkest is dan ook heel geschikt als openingswerk. De toccata wordt drie keer gespeeld, de eerste keer door een kwintet van twee trompetten en drie trombones. De opbouw van de spanning is intenser als het kwintet in de coulissen of achter het podium begint. Vervolgens voegen deze vijf muzikanten zich bij de rest van het orkest, waarna de tutti-versie nog twee keer klinkt.Claudio Monteverdi schrieb diese Toccata als instrumentales Vorspiel zur Oper l'Orfeo. Sie sollte drei Mal vor der Hebung des Vorhangs gespielt werden. Damit hatte er tatsächlich die erste Ouvertüre der Operngeschichte geschaffen! Wie im Original, wird auch in dieser Bearbeitung die Toccata drei Mal gespielt: zunächst von einem Trompeten- und Posaunenquintett, dann zwei Mal vom gesamten Blasorchester. Ein ideales Eröffnungswerk!Claudio Monteverdi (1567-1643) a composé cette toccata instrumentale pour l’ouverture de son opéra tragique L’Orfeo (1607). Selon le souhait du compositeur, cette pièce d’introduction doit être jouée trois fois rideau baissé. Ce faisant, Monteverdi a composé la première ouverture dans l’histoire de l’opéra. Cet arrangement pour Orchestre d’Harmonie est idéal pour débuter un concert. Fidèle la version originale, la Toccata est interprétée trois fois dont la première par un quintette composé de trois trombones et de deux trompettes.Claudi o Monteverdi (1567-1643) compose questa Toccata strumentale per l’ouverture dell’opera tragica L’Orfeo (1607). Il compositore desiderava che questo brano di apertura fosse eseguito tre volte a sipario chiuso. Così facendo, compose la prima ouverture nella storia dell’opera. Questo arrangiamento per banda è ideale per iniziare un concerto. Fedele alla versione originale, la Toccata è interpretata tre volte, di cui la prima dal quintetto composto da tre tromboni e due trombe.
SKU: BT.DHP-1043546-010
SKU: PE.EP72785A
ISBN 9790577011349. 210 x 297mm inches. English.
From the composer:
How did it all begin? And what happened next?
I found myself pondering these questions in an art gallery in Bremen, in a James Turrell installation that carved through three storeys of the gallery. Looking down from the top floor through great circles of colour-changing light to the distant sparkling points in a dark ellipse on the ground floor, I felt that I was looking back in time to the origins of the universe – and I started to hear children’s voices in my mind’s ear, accompanied by twinkling metal percussion.
It occurred to me that the beginning of our world was a good story to be sung by children, especially the unique Hallé Children’s Choir, and accompanied by the magnificent Hallé Orchestra.
Haydn&rs quo;s Creation&n bsp;immediately comes to mind as a precedent, but that is a setting and elaboration of the Book of Genesis. I thought we should tell the modern version of our story, and be as scientifically accurate as possible.
That&rsqu o;s easier said than done! For a start, it’s hard to find a modern account of creation that is anything like as compact as the one in Genesis. I talked about it with my regular collaborator, Alasdair Middleton. Neither of us could remember being taught anything about the Big Bang or Evolution at school, although I had certainly spent many happy hours making papier-mâché dinosaurs. So the first thing we had to do was a lot of research – reading books for grown-ups, books for children, looking at charts and diagrams and watching films. There was a wonderful moment, reading Adam Rutherford’s < em>The Origin of Life, when I had the glorious feeling I understood everything – but that quickly evaporated as soon as I put the book down.
Scientific ideas seem to date very quickly, so this account of the beginning of our world is necessarily provisional. It&rs.
SKU: HL.14042212
For Flute (doubling Piccolo), Clarinet in B flat*, Very large Tam-Tam (sounding from a high gallery), and Choir (SSATTBB).* Notated in C in the score.'According to Hindu Cosmology, welive at the end of a cycle, the Kali Yuga - the Dark Age. There are two important sayings of Christ that should accompany his disciples always during these challenging times.The first is The Gates of Hell shall not prevail against my Church (Matthew 16, v. 18); and the second I am with you always unto the end of the world (Matthew 28, v. 20).< /span>These sayings form the basis of this work, which falls into two main sections, each with the same structure and with linked material. Each section begins with Kali Yuga, which I havetried to represent in a chaotic, unstructured way, in contrast to the cosmic Cries of Humanity to Christ (Kyrie eleison - Lord, have mercy), and Christ's responses from Saint Matthew's Gospel.The work ends with a serene'Coda' of the sacred monosyllable OM, representing the peace and beatitude of God's presence. The intermingling of Christianity and Hinduism is an important simile for our times; in the same way, early Christianity did nothesitate to incorporate Jewish and Greek thought.'- John Tavener
SKU: HL.14030965
ISBN 9788759861448. English.
Version for String Quartet. Score available: KP00510 The composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's paint-ing: 'The Lady of Shalott'. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources. As suggested above the piece was originally written for viola solo. The version for string quartet is from 1993.'.
SKU: HL.14030964
ISBN 9788759861455. English.
The Composer writes: 'In February 1987 I saw in the Tate Gallery in London a painting by the Victorian English painter John William Waterhouse. The painting kept haunting my memory, and as I at the same time planned to write a piece for solo Viola, my ideas for the music and the memory of the painting fused more and more. I decided, then, to let my piece borrow the title of Waterhouse's painting: The Lady Of Shalott. The picture of a mad-like, pale, and perhaps singing woman alone in a boat without sculls, which calmly slips out from the rush growth of the river is an illustration for the ending of Alfred Tennyson's poem by the same title, which again plaits into the old English legends about King Arthur. My piece tries to meander - like the river at Camelot - among these sources.' As suggested above the piece was originally written for Viola solo. This version for String Quartet is from 1993.
SKU: AY.FRD05
ISBN 9790302114406.
The product available here for purchase is the solo flute part and piano reduction for John La Montaine's Concerto for Flute. Premiered on April 12, 1981 by Keith Bryan and the National Gallery Orchestra, John La Montaine's Concerto for Flute and Orchestra is best summed up in this review from Paul Hume at The Washington Post: The world premiere of a flute concerto by John La Montaine was the centerpiece. La Montaine clearly had a great time writing the concerto, since he filled it with wit and open, songful beauty. The formal design is neatly broken up into imaginative divisions. There are some exotic touches for woodblocks, and bass clarinet, but the heart of the work lies in the brilliance of the writing for the soloist. The cadenza in the final movement is impressively introduced and beautifully concluded..
SKU: HL.280361
ISBN 9781540032539. UPC: 888680783419. 9.0x12.0x0.233 inches.
Thomas Lang presents a completely innovative and inspired practice regime, and system for helping you develop incredible drumset technique, that will forever change your approach to drumming. Lang's awesome speed, control, finesse and unparalleled interdependence will inspire you to hone your drumming chops so that you can play more effectively in any musical context. Thomas also offers blazing solos and performances in many different styles, including a definitive version of The Black Page, the Frank Zappa tour de force. Special online video features: All of the solos, fills and exercises available in separate audio files which will allow you to change the tempo without affecting the pitch * Looping function for continuous play, making it easier to absorb and master each one * Bonus live performance footage and live drum solos * PDF files of transcriptions of many of Thomas' exercises and performances, including The Black Page, a photo gallery, and more. Running Time: Over 5 hours!
SKU: PR.140401200
UPC: 680160638710. 9 x 12 inches.
Composed in 2015, RINGING CHANGES is in part derived from the fourth movement of Levinson’s Time and the Bell... The essence of that movement is a constantly evolving perpetual-motion single line in fluidly changing rhythmic groupings, and in shifting modes inspired both by Balinese gamelan and North Indian ragas (both authentic and invented), which is now developed in counterpoint. Another version of the original movement also forms the centerpiece of the solo piano work, Ragamalika.
