SKU: GI.G-CD-1043
Ford ? McCarthy ? Abe ? Higdon ? Goto Since the inception of the projects, composers, conductors, music critics, and connoisseurs worldwide have praised the recordings conducted by Eugene Migliaro Corporon for their innovation, excellence, and professional standards. These exceptional videos and compact discs identify and preserve the standard repertoire and globally encourage composers to contribute to the ever-growing legacy of great music that has the power of universality. The breadth and variety of the discs highlight the fact that the wind symphony, in its many forms throughout hundreds of years of music history, has been and continues to be a significant original medium for serious aesthetic expression. The projects have yielded more than 100 discs that showcase the creative energy of thousands of world-renowned composers and gifted musicians. Winds magazine offers the following regarding the body of work: ??This series has immense historic value in documenting the best of the repertoire...as well as providing much sheer listening (and viewing) pleasure for the level of artistry in the performances. The acoustic quality of the recording is state-of-the- art...All of the works are superbly realized and worthy of exploration...these discs represent the standards to which all must aspire.? This is a monumental recording that should be listened to and studied by every serious concert percussionist. The writing for percussion and winds is innovative and cutting edge, and there is much here for composers to learn about scoring for percussion and winds. The [University of North Texas] Wind Symphony performs these works fabulously and flawlessly, and the baton of Maestro Corporon is evident throughout. ??Tom Morgan, Percussive Notes ? Vol. 56, No. 3 ? July 2018 Watch this video: Eugene Corporon and Mark Ford Discuss Contact Read Mark Ford's commentary on his project with Eugene Corporon: Contact Contents 1. Stubernic Fantasy (2012) ? Mark Ford (b. 1958) ? (13:04) Copyright © Innovative Percussion ? Mark Ford, Paul Rennick, Sandi Rennick ?? Marimba Soloists Chamber Symphony No. 1 for Marimba (1993) ? Daniel McCarthy (b. 1955) ? (16:03) Copyright © C. Alan Publications 2. Deer Hunting in Michigan (4:07) 3. Harmonic Rhythms (4:33) 4. The Stuff of Adventure (7:23) Mark Ford ?? Marimba Soloist 5. Prism Rhapsody II (1996) ? Keiko Abe (b. 1937) ? (15:54) Copyright © Xebec Music ? Mark Ford, Keiko Abe ?? Marimba Soloists 6. Percussion Concerto (2009) ? Jennifer Higdon (b. 1962) ? (25:21) Copyright © Lawson Press ? Mark Ford ?? Percussion Soloist 7. Ruffles Call from Afar (2013) ? Yo Goto (b. 1958) ? (10:26) Copyright © C. Alan Publications ? Mark Ford ?? Snare Drum Soloist Total Time (70:22) .
Ford • McCarthy • Abe • Higdon • Goto Since the inception of the projects, composers, conductors, music critics, and connoisseurs worldwide have praised the recordings conducted by Eugene Migliaro Corporon for their innovation, excellence, and professional standards. These exceptional videos and compact discs identify and preserve the standard repertoire and globally encourage composers to contribute to the ever-growing legacy of great music that has the power of universality. The breadth and variety of the discs highlight the fact that the wind symphony, in its many forms throughout hundreds of years of music history, has been and continues to be a significant original medium for serious aesthetic expression. The projects have yielded more than 100 discs that showcase the creative energy of thousands of world-renowned composers and gifted musicians. Winds magazine offers the following regarding the body of work: “This series has immense historic value in documenting the best of the repertoire...as well as providing much sheer listening (and viewing) pleasure for the level of artistry in the performances. The acoustic quality of the recording is state-of-the- art...All of the works are superbly realized and worthy of exploration...these discs represent the standards to which all must aspire.† This is a monumental recording that should be listened to and studied by every serious concert percussionist. The writing for percussion and winds is innovative and cutting edge, and there is much here for composers to learn about scoring for percussion and winds. The [University of North Texas] Wind Symphony performs these works fabulously and flawlessly, and the baton of Maestro Corporon is evident throughout. —Tom Morgan, Percussive Notes • Vol. 56, No. 3 • July 2018 Watch this video: Eugene Corporon and Mark Ford Discuss Contact Read Mark Ford's commentary on his project with Eugene Corporon: Contact Contents 1. Stubernic Fantasy (2012) • Mark Ford (b. 1958) • (13:04) Copyright © Innovative Percussion • Mark Ford, Paul Rennick, Sandi Rennick – Marimba Soloists Chamber Symphony No. 1 for Marimba (1993) • Daniel McCarthy (b. 1955) • (16:03) Copyright © C. Alan Publications 2. Deer Hunting in Michigan (4:07) 3. Harmonic Rhythms (4:33) 4. The Stuff of Adventure (7:23) Mark Ford – Marimba Soloist 5. Prism Rhapsody II (1996) • Keiko Abe (b. 1937) • (15:54) Copyright © Xebec Music • Mark Ford, Keiko Abe – Marimba Soloists 6. Percussion Concerto (2009) • Jennifer Higdon (b. 1962) • (25:21) Copyright © Lawson Press • Mark Ford – Percussion Soloist 7. Ruffles Call from Afar (2013) • Yo Goto (b. 1958) • (10:26) Copyright © C. Alan Publications • Mark Ford – Snare Drum Soloist Total Time (70:22)  .
SKU: HL.48188250
Michel Zbar: Contacts (Trombone solo).
SKU: ML.013723090
Dr Jekyll researches the evil in man and succeeds in creating a potion that transforms him into his alter ego, Hyde. However, Jekyll loses control and fights an inner battle with Hyde. He loses this battle when Hyde commits murder. Understanding that there is only one way to resolve this, Jekyll kills himself and thus Hyde. In this solo concert the main characters Jekyll and Hyde are played by two solo trumpeters. The different sides of the trumpet are highlighted in this story: from the lyrical passages (Jekyll) to the sharp, mean and dark passages (Hyde). A challenging adventure for orchestra and soloists.This is rental music. Please contact us at office@molenaar.comDr. Jekyll onderzoekt het kwaad in de mens en slaagt erin een drankje te maken dat hem verandert in zijn alter ego, Hyde. Jekyll verliest echter de controle en voert een innerlijke strijd met Hyde. Hij verliest deze strijd wanneer Hyde een moord pleegt. In het besef dat er maar één manier is om dit op te lossen, doodt Jekyll zichzelf en daarmee Hyde. In dit soloconcert worden de hoofdpersonen Jekyll en Hyde gespeeld door twee solotrompettisten. De verschillende kanten van de trompet worden in dit verhaal belicht: van de lyrische passages (Jekyll) tot de scherpe, gemene en donkere passages (Hyde). Een uitdagend avontuur voor orkest en solisten.Dit is huurmuziek. Neem contact met ons op via office@molenaar.comLe Dr Jekyll recherche le mal dans l'homme et réussit à créer une potion qui le transforme en son alter ego, Hyde. Cependant, Jekyll perd le contrôle et mène une bataille intérieure avec Hyde. Il perd cette bataille lorsque Hyde commet un meurtre. Comprenant qu'il n'y a qu'une seule façon de résoudre ce problème, Jekyll se tue et tue ainsi Hyde. Dans ce concert solo, les personnages principaux Jekyll et Hyde sont interprétés par deux trompettistes solistes. Les différentes facettes de la trompette sont mises en évidence dans cette histoire : des passages lyriques (Jekyll) aux passages aigus, méchants et sombres (Hyde). Une aventure stimulante pour l'orchestre et les solistes.Il s'agit de musique de location. Veuillez nous contacter à l'adresse suivante : office@molenaar.comDr. Jekyll erforscht das Böse im Menschen und schafft es, einen Trank herzustellen, der ihn in sein Alter Ego Hyde verwandelt. Doch Jekyll verliert die Kontrolle und kämpft einen inneren Kampf mit Hyde. Er verliert diesen Kampf, als Hyde einen Mord begeht. Jekyll erkennt, dass es nur einen Weg gibt, um das Problem zu lösen, und tötet sich selbst und damit auch Hyde. In diesem Solokonzert werden die Hauptfiguren Jekyll und Hyde von zwei Solotrompetern gespielt. Die verschiedenen Seiten der Trompete werden in dieser Geschichte hervorgehoben: von den lyrischen Passagen (Jekyll) bis zu den scharfen, gemeinen und dunklen Passagen (Hyde). Ein anspruchsvolles Abenteuer für Orchester und Solisten.Dies ist Leihmusik. Bitte kontaktieren Sie uns unter office@molenaar.com.
SKU: BT.DHP-0900226-120
This major concert work cosists o five movements.1st movement: La Laguna del ShimbeSituated high up in the Andes mountains in Northern Peru are the Huaringas, a group of lagoons in isolated and mysterious surroundings. The water has healing powersand for centuries traditional healers have settled there in small villages. From far the sick come to the Huaringas to be treated in nightly rituals, in which the hallucinating juice of the San Pedro cactus gives the prophet a look inside hispatient. The biggest lagoon is the “Laguna del Shimbeâ€, one of the countless wells of the immense Amazon stream.2nd movement: Los AguarunasFurther downstream in Northern Peru we come across the rain tribe of Los Aguarunas. It’s a proud, beautiful andindependent race, which has never succumbed to domination, not even from the Incas. They live from everything the forest has to offer: fish, fruit, plants, ... . They also grow some crops and live as semi-nomads. They take their fate into their ownhands and after having made contact with modern civilisation, they have integrated new elements into their lives without betraying their own ways.3rd movement: MekaronMekaron is an Indian word meaning “pictureâ€, “soulâ€, “essenceâ€. The Indians are theorigina inhabitants of the Amazon region. They either live in one place as a group or move around a large region. They all have their own political system, their own language and an intense social life. At the same time they are master of music andmedicine. “Everywhere the white man goes, he leaves a wilderness behind himâ€, wrote the North American Indian leader Seatl in 1885. As a result of these contacts with the whites, the disruption of most Indian societies began. (In this century alone,80 tribes have vanished completely).4th movement: KêêtuajêThis is the name of the initiating ceremony of the Krahô tribe in the Brazilian state of Goias, in which young boys and girls enter adult life. They are cleansed with water, painted with redpaint and covered with feathers, after which the ritual dance holds the entire tribe spell-bound.5th movement: Paulino FaiakanIn 1988 the Indian chiefs Faiakan and Raoni Kaiapo came to Europe to protest against the building of the Altamira dam inBrazil. As a result of the dam the Indians would be driven from their traditional land and enormous artificial would be created. The project was supported financially by, amongst others, the European Community. In February 1989 the Indian tribesaround Altamira held a protest march for the first time in their history together. Amongst other things they paid tribute tot Chico Mendez, who, murdered in 1988, was the leader of the rubber syndicate and a fierce opponent of the destruction of theBrazilian rain forest. Brazilian and world opinion was awakened. The building of the dam was -albeit temporarily - stopped.
SKU: BT.DHP-0900226-020
SKU: HL.48025267
UPC: 196288152262.
This piece is an adaptation of the instrumental movement Reflection in Kim André ArnesenÂ’s large-scale work The Stranger. Arnesen was inspired by research showing the emotional effect of having eye contact with a stranger for only a few minutes. Studies have shown that this can develop deeper trust and empathy for each other. The idea was to have the audience facing each other to make eyecontact during the performance. With that being essential for peace among people, Arnesen used the texts “Dona nobis pacem†(“Grant us peaceâ€) and “Miserere nobis†(“Have mercy on usâ€) for this version for choir. An optional piano part is supplied which not only supports the choral harmonies, but provides underlying momentum, though a slightly slower tempo is suggested if the piano accompaniment is used.
SKU: PR.11442131S
UPC: 680160681006.
A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend - my brother, who plays viola, was an is an inveterate chamber music player - and members of parents' generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra's concert mistress, and others) but also people from various other walks of life. Although I don't play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.) Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980's, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it's hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done. The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going. I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.A lot of chamber music playing went on in Fargo, North Dakota during my teenage years. The participants included both high school friend – my brother, who plays viola, was an is an inveterate chamber music player – and members of parents’ generation. The latter included not only professional musicians (the conductor of the Fargo-Moorhead Community Orchestra, who also played cello and was my first composition teacher, his wife, who was the orchestra’s concert mistress, and others) but also people from various other walks of life. Although I don’t play a string instrument, I was almost always in attendance, with score in hand. (One summer, all the young cellists we played with went to the Interlochen Music Camp, so I got to play the cello parts on the bassoon.)Mostly it was string quartets that were played, but one of the larger pieces I remember being done more than once was the Brahms Sextet in G Major, and I think that the idea for utilizing that combination had been lurking in the back of my mind since then. In the middle 1980’s, ideas for a string sextet began appearing in my sketchbooks; one movement (the fourth) was actually completed in one of the sketchbooks. But without a deadline, it’s hard for me to finish a major work, since there are always other pieces (with deadlines) waiting to be completed. So when the Composers Showcase at Lincoln Center asked me to put together a retrospective of my work, I knew I wanted to have a premiere on the program, and May 7, 1990 became the deadline that I got the piece done.The work is in six movements, with a symmetrical key pattern; the movements range from the very dramatic to the very easy-going.I had contacted the Lark Quartet, who had commissioned my String Quartet No.2, about forming the core of the sextet. Unfortunately, one of the Larks had a scheduling conflict, but the other three rounded up three more players, and the six of them gave the piece a rousing performance, in spite of the limited rehearsal time. The players were Eva Gruesser, Genovia Cummins, Anna Kruger, Mary Hamman, Astrid Schween and Julia Lichten.
SKU: PR.114421310
UPC: 680160680993.
SKU: GI.WAS22
Word & Song is a subscription-based resource. For information on quantity pricing , contact Suzanne Orland, Sales and Customer Relationship Manager at 708.552.9815 or email hymnalsandmissals@giamusi c.com Word & Song is the resource of choice for energetic and vibrant parishes. This comprehensive annual volume provides the ease-of-use of a missal and the repertory of a hymnal and songbook under one durable cover. No extra charge for readings. No extra charge for weekdays. Word & Song continues to be the most complete and most affordable one-volume annual available. Readings and Sacramentary prayers, responsorial psalms and gospel acclamations, and Entrance and Communion antiphons are provided for Sundays and Holy Days. The weekday section includes scripture citations, Entrance and Communion antiphons, and Psalm Responses. Even texts for Optional Memorials are included. The generous 6 X 9 format is easy to hold and easy to read. Scripture texts are even printed in larger type. Word & Song includes the core Catholic musical repertory your parish needs, as well as a wider selection of contemporary music for worship. More than 700 musical items are included every year. The annual format of Word & Song ensures that your community will always have an up-to-date liturgical resource containing the best in contemporary music! For more information, to request a sample copy, or to place an order, contact our Sales and Customer Relationship Manager, Suzanne Orland at suzanneo@giamusic.c om Click here for more detailed information or to download the most current indexes for this publication.
SKU: BR.DV-8375
ISBN 9790200482652. 9 x 12 inches.
World premiere Berlin, December 3, 1995Bibliogra phy:Englund, Axel: Into You, Into You I Sing: Spasmodic Speech and the Borders of the Human Body, in: ders., Still Songs: Music In and Around the Poetry of Paul Celan, Farnham: Ashgate 2012, S. 106-145 The composition was inspired by the sculpture La Meditation by Auguste Rodin which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence never before has it been strained like this by its own soul and eased again by the elasticity of its own blood. (Paul-Heinz Dittrich) The composition was inspired by the sculpture La Meditation by Auguste Rodin which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence never before has it been strained like this by its own soul and eased again by the elasticity of its own blood. (Paul-Heinz Dittrich) CD Dreyer Gaido 21044Helmut Gerhold (Fl) Werner F. Selge (Klav)CD Dreyer Gaido 21046
SKU: BR.DV-8100
ISBN 9790200482713. 12 x 9 inches.
World premiere Halle, January 27, 1987 The composition was inspired by the sculpture La Meditation by Auguste Rodin which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence never before has it been strained like this by its own soul and eased again by the elasticity of its own blood. (Paul-Heinz Dittrich) The composition was inspired by the sculpture La Meditation by Auguste Rodin which the composer came into contact with during an exhibition at the Nationalgalerie in Berlin. Rilke wrote about this sculpture: never before has a human body been concentrated like this around its inner essence never before has it been strained like this by its own soul and eased again by the elasticity of its own blood. (Paul-Heinz Dittrich) CD Dreyer Gaido 21044Helmut Gerhold (Fl) Werner F. Selge (Klav)CD Dreyer Gaido 21046
SKU: DZ.DZ-4120
ISBN 9782898520372.
This fourth booklet is dedicated to ensemble playing through five trios and three quartets of various styles (tango, ballad, rock, etc.) appropriate for the end of primary school with a few years of experience and the beginning of secondary school. Some pieces are written in a homorhythmic manner and can constitute an introduction to ensemble music, while others are rather polyrhythmic. They can constitute a first contact with the following techniques and effects: staccato, pizzicato, accent, louré, natural harmonic, percussion or crossed strings. This volume is therefore intended for guitarists who already know the notes in first position. Two pieces include a more advanced part with an introduction to playing in 5th position. These are short pieces that do not present technical challenges other than those allowing you to achieve the effects and play expressively.You will find in the scores indications of nuances, timbre, attack and fingerings which constitute suggestions for work and not prescriptions. Teachers and students are therefore invited to make interpretation choices different from those proposed or to try to convincingly render those already written.The pieces were composed or arranged by UQAM music education students as part of a course aimed at equipping musicians for teaching guitar in the school system. Many of them are musicians from different backgrounds (composition, performance, world music, etc.), which explains the creativity found in the pieces. All the pieces have been the subject of an audio recording available on the Productions dâÂÂOz website and on YouTube. Search for àvos guitares, prêt, joue! Vol. 4.Isabelle Héroux, editor, professor, Department of Music, UQAM.Louis-Edouard Thouin-Poppe, assistant editor, arranger and engraver.Ce quatrième cahier est consacré au jeu en ensemble grâce àcinq trios et trois quatuors de styles variés (tango, ballade, rockâ¦) appropriés pour la fin du primaire avec quelques années dâÂÂexpér ience et le début du secondaire. Certaines pièces sont écrites de manière homorythmique et peuvent constituer une initiation àla musique dâÂÂensemble, alors que dâÂÂautres sont plutôt polyrythmiques. Elles peuvent constituer un premier contact avec les techniques et effets suivants : staccato, pizzicato, accent, louré, harmonique naturelle, percussion ou cordes croisées. Ce volume sâÂÂadresse donc aux guitaristes qui connaissent déjàles notes en première position. Deux pièces comportent une partie plus avancée avec une initiation au jeu en Ve position. Ce sont des pièces courtes qui ne présentent pas de défis techniques outre ceux permettant de réaliser les effets et de jouer de manière expressive. Vous trouverez dans les partitions des indications de nuances, de timbre, dâÂÂattaque et de doigtés qui constituent des suggestions de travail et non des prescriptions. Ainsi, les enseignants et les élèves sont invités àfaire des choix dâÂÂinterprà ©tation différents de ceux qui sont proposés ou àtenter de rendre de manière convaincante ceux déjàécrits.Les pièces ont été composées ou arrangées par des étudiants en enseignement de la musique de lâÂÂUQAM dans le cadre dâÂÂun cours qui vise àoutiller les musiciens pour lâÂÂenseignement de la guitare dans le système scolaire. Beaucoup dâÂÂentre eux sont des musiciens provenant dâÂÂhorizons différents (composition, interprétation, musique du monde, etc.) ce qui explique la créativité que lâÂÂon retrouve dans les pièces. Toutes les pièces ont fait lâÂÂobjet dâÂÂun enregistrement audio disponible sur le site des Productions dâÂÂOz et sur YouTube. Recherchez àvos guitares, prêts, jouez! Vol. 4.Isabelle Héroux, éditrice, professeure, Département de musique, UQAM.Louis-Edouard Thouin-Poppe, assistant éditeur, arrangeur et graveur.
SKU: GI.G-002504
MISAL/MISSAL ¡Celebremos!/Let Us Celebrate! is a subscription-based resource. For information on quantity pricing , contact Suzanne Orland, Sales and Customer Relationship Manager at 708.552.9815 or email hymnalsandmissals@giamusi c.com This is the 7 x 10 large-print edition of the ¡Celebremos!/Le t Us Celebrate! missal. ¡Celebremos!/Let Us Celebrate! is the original and most affordable bilingual missal, featuring a side-by-side English and Spanish-language format. Other features include: Four issues per year Lectionary readings for Sundays All prayer texts for Sunday Mass, including entrance and communion antiphons Also available in a standard-print edition (5.5 x 8.5) A rich selection of English and Spanish-language psalms No extra charge for weekdays! Accompaniment books designed specifically for ¡Celebremos!/Let Us Celebrate! There is a set for guitar and a set for keyboard, each consisting of three spiral-bound books.* Volume 1–Service Music Volume 2–English Music Volume 3–Spanish and Bilingual Music *Books are sold in sets only. For more information contact our Sales and CRM Manager, Suzanne Orland at 708-552-9815 or email (suzanneo@giamusic.com for pricing. Click here for more detailed information or to download the most current indexes for this publication.
SKU: GI.G-006517
Missal Parroquial is a subscription-based resource. For information on quantity pricing , contact Suzanne Orland, Sales and Customer Relationship Manager at 708.552.9815 or email hymnalsandmissals@giamusi c.com. The excellent quality of a WLP Missalette combined with culturally rich hymns, songs, psalms, acclamations, and Mass settings—all in Spanish! This annual missal is issued each year starting with the first Sunday of Advent and spanning the liturgical year. It contains the Sunday readings and feast days celebrated in the United States, plus selected texts for weekday Masses. The psalms were selected by the USCCB and were carefully chosen for Sunday Mass and weekdays. Features: 6 x 9 size Issued annually Complete Order of Mass with six Eucharistic Prayers Readings and prayers for Sundays and Holy Days from Leccionario para Estados Unidos Responsorial Psalms from Leccionario HispanoameÌrica Seasonal blessings and prayers Table of Contents segmented into liturgical seasons Songs for worship presented as text-only Mass settings with musical notation provided INCLUDES A WIDE SELECTION OF SONG CHOICES AND SERVICE MUSIC. For more information, to request a sample copy, or to place an order, contact our Sales and Customer Relationship Manager, Suzanne Orland at suzanneo@giamusic.com.
SKU: CF.B3475
ISBN 9781491162026. UPC: 680160920709.
This work for violin and piano by Martin Bresnick is a play on the words suite and bittersweet. Each of the four movements is based on a Yiddish folk song, which in English translate to On the Road, My Resting Place, Black Cat, and Dona, Dona. Each of the four pieces is primarily based on a Jewish folk song, but re-envisions them in a modern context, akin to Bartok and Kodaly. The composer noted, I found it a very challenging, yet touching way to remain in contact with some part of my own past that I don't usually reveal. The title references the difficult (bitter) and pleasant (sweet) aspects of experiencing the tumultuous history of a people through their folk music.This work for violin and piano by Martin Bresnick is a play on the words suite and bittersweet. Each of the four movements is based on a Yiddish folk song, which in English translate to On the Road, My Resting Place, Black Cat, and Dona, Dona. Each of the four pieces is primarily based on a Jewish folk song, but re-envisions them in a modern context, akin to Bartok and Kodaly. The composer noted, “I found it a very challenging, yet touching way to remain in contact with some part of my own past that I don’t usually reveal.†The title references the difficult (bitter) and pleasant (sweet) aspects of experiencing the tumultuous history of a people through their folk music.
SKU: HL.35007834
UPC: 747510051954. 7.0x10.5x0.016 inches. French.
Avoir une bonne oreille musicale fait indéniablement partie des éléments requis pour être ou devenir un bon pianiste. C’est bien simple... tout part de là ! Et tout passe par là !Mais à l’instar des doigts qui sont au contact du clavier, l’oreille doit aussi être formée et entraînée pour devenir performante. Et cela passe inévitablement par des exercicesspécifiqu es, tels que ceux qui vous sont proposés dans cette méthode. Savoir reconnaître les intervalles entre les notes est la base de la formation auditive (ear training, en anglais). C’estpourquoi un premier grand chapitre est consacré ici à leur étude approfondie. Dans les suivants, vous serez alors en mesure d’aborder, pas à pas, les arpèges et accords de 3 et 4 sons,ainsi que les gammes... qui sont autant d’outils indispensables pour identifier à l’oreille les mélodies et accompagnements joués par le piano. Chaque étape de l’apprentissage estponctuée d’un quiz musical, permettant d’évaluer vos acquis, vos progrès... mais aussi votre aptitude à passer à la suite. Vous trouverez sur le disque MP3 joint tous lesenregistrements audios (au format mp3) correspondant aux multiples exercices et autres quiz de la méthode.
SKU: GI.WAS21
SKU: CA.9700703
ISBN 9790007164744. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire. Score available separately - see item CA.9700700.
SKU: HL.49047042
UPC: 196288111016.
In this monographic study, the well-known historian Oliver Rathkolb not only discusses the most important previous research results on this controversial topic, but also supplements them with numerous new, source-based findings. Orff's behavior before, during and after the NS dictatorship is discussed, in particular his contacts with NS potentates. The artistic and political reception of the Orff Schulwerk, Carmina Burana and other stage works is also analyzed. Book in German.
SKU: AP.1-ADV6409
ISBN 9783892215400. UPC: 805095064094. English.
String Connection with Clarinet, is a three-movement suite that offers a sound-world that is somewhere between jazz and modern classical, with floating tonal centers and unpredictable rhythmic movement. Recorded by Andy Miles and the Auryn Quartet on their CD Crossing Borders and arranged for solo clarinet and string quarter by Rolf Küehn. Titles include: Connection * Contacts * Encounter.
SKU: CA.9700719
ISBN 9790007164720. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire. Score and parts available separately - see item CA.9700700.
SKU: CA.9700700
ISBN 9790007164713. Text language: German.
Joseph Leopold Eybler had frequent contacts with the great composers of his day: both Joseph Haydn and Albrechtsberger were his teachers and friends, and he had a close friendship with Mozart and Johann Michael Haydn. His major Christmas oratorio Die Hirten bei der Krippe zu Bethlehem (1794) was composed four years before Haydn's Die Schopfung (The Creation). The almost operatic work displays a wealth of different facets: from the virtuoso aria, through the tranquil depiction of nature in music, to the portrayal of the most heartfelt emotions. As a true jewel of Viennese classicism, Die Hirten (The Shepherds) is a worthwhile addition to the Christmas repertoire.