SKU: HL.49018948
ISBN 9790001149952. Latin - German.
Soprano, alto, tenor, baritone, bass, speaker, mixed choir, boys' choir, 3 organs, percussionnsemble and large orchestra - Latin - German.
SKU: ML.013656080
A thrilling and joyous spectacle! That's the best way to describe A Farewell to Arms. The chorale Mach mit mir, Gott, nach deiner Gut, BWV 377, inspired a magnificent piece of music in which all the instrumental sections of the orchestra shine. The composer uses traditional techniques such as the fugato and the chorale. With lots of percussion and epic themes, this masterpiece is a perfect opening number.Een spannend en vrolijk spektakel! Dat is de beste manier om A Farewell to Arms te beschrijven. Het koraal Mach mit mir, Gott, nach deiner Gut, BWV 377, inspireerde tot een prachtig stuk muziek waarin alle instrumentale secties van het orkest schitteren. De componist gebruikt traditionele technieken zoals het fugato en het koraal. Met veel percussie en epische thema's is dit meesterwerk een perfect openingsnummerUn spectacle palpitant et joyeux ! C'est la meilleure façon de décrire L'Adieu aux armes. Le choral Mach mit mir, Gott, nach deiner Gut, BWV 377, a inspiré un magnifique morceau de musique dans lequel toutes les sections instrumentales de l'orchestre brillent. Le compositeur utilise des techniques traditionnelles telles que le fugato et le choral. Avec beaucoup de percussions et des thèmes épiques, ce chef-d'oeuvre est une oeuvre d'ouverture parfaite.Ein spannendes und freudiges Spektakel! So lässt sich A Farewell to Arms am besten beschreiben. Der Choral Mach mit mir, Gott, nach deinem Gut, BWV 377, inspirierte ein großartiges Stück Musik, in dem alle Instrumentalgruppen des Orchesters brillieren. Der Komponist verwendet traditionelle Techniken wie das Fugato und den Choral. Mit viel Schlagwerk und epischen Themen ist dieses Meisterwerk eine perfekte Eröffnungsnummer.
SKU: BA.BA06018
ISBN 9790006474684. 27 x 21 cm inches.
SKU: PR.114417130
ISBN 9781491110409. UPC: 680160626687. 9x12 inches.
A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspired by the ancient Chinese poet Li Bai's poem Drinking Alone under the Moon with the Shadow. The premiere was given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned the work to celebrate its 25th Anniversary NYC Season. From the Program Note by Matthew Levy (The PRISM Quartet), Not Alone (2014) is an interdisciplinary work...but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspective solos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alone for a 2017 release on XAS Records titled Paradigm Lost. But we're excited for a wider community of saxophonists to embrace the work, and share it with their own audiences. Not Alone is published together with Happy Birthday to PRISM, a brief miniature that Chen Yi wrote for the quartet's 20th anniversary celebration in 2004. For advanced performers._________________________Text from the scanned back cover:NOT ALONE for Saxophone QuartetHAPPY BIRTHDAY TO PRISM for Saxophone QuartetNot Alone is a 14-minute saxophone quartet and dance score inspired by the ancient Chinese poet Li Bai’s “Drinking Alone under the Moon with the Shadow.†The expansively-textured sax quartet matches the exploratory and dramatic movements and gestures in the dance. NOT ALONE was commissioned by the Nai-Ni Chen Dance Company which premiered the work in collaboration with the PRISM Quartet. Also included in this publication is Chen Yi’s fascinating take on “Happy Birthday to You,†composed in celebration of Prism’s 25th anniversary season.A recipient of the New Music USA 2013 Live Music For Dance Award commissioning grant, Not Alone is inspiredby the ancient Chinese poet Li Bai’s poem “Drinking Alone under the Moon with the Shadow.†The premierewas given on April 26, 2014 by the PRISM Quartet with the Nai-Ni Chen Dance Company, which commissioned thework to celebrate its 25th Anniversary NYC Season. Program Note by composer Chen YiThe original inspiration for this work for both the choreographer and the composer came from the Tang Dynasty poem - Alone Under the Moon by Li Bai. The poem describes the poet being alone in a garden. The moon and his shadow became his companions that night. The choreographer brings this idea to modern life in an urban setting. She created a series of “mindscapes†which are the result of the exploration of the different mental and physical states of being alone.Through self-examination, the choreographer raises the question: are we ever really alone? Our physical being may be standing by itself, but what about our introspective self? When we are still, we let our thoughts pass by like flowing water. If we could engage with our shadows, what would it be like?Program Note by Matthew Levy, The PRISM QuartetThe PRISM Quartet has commissioned a great many composers since our founding days in 1984. Chen Yi is among ahandful of our very favorites, and one to whom we’ve returned time and time again. Her music is powerful, expansive,intimate, and draws connections between Eastern and Western, ancient and modern traditions in a voice all her own.Chen Yi has written or adapted four works for the PRISM Quartet. She penned a wonderful miniature called HappyBirth day to PRISM to celebrate the ensemble’s 20th anniversary back in 2004 (Dedication, Innova Recordings).We subsequently commissioned her to compose Septet (2008) for Erhu, Pipa, Percussion, and Saxophone Quartet(2008), premiered and recorded with the New York ensemble Music From China (Antiphony, Innova Recordings 2010).In 2015, the PRISM Quartet performed and recorded (XAS Records) a new version of her saxophone quartet concerto,BA YIN, with the University of Missouri-Kansas City Wind Ensemble under the baton of Steven Davis (originally writtenfor the Rascher Quartet and scored for saxophones and string orchestra.).Finally, Not Alone (2014) is an interdisciplinary work written for the Nai-Ni Chen Dance Company with the PRISMQuartet, but it stands alone in a chamber music setting. The work spans a stunning range of textures, from introspectivesolos for each of the four saxophones to majestic hyper-active gestures. The PRISM Quartet recorded Not Alonefor a 2017 release on XAS Records titled Paradigm Lost. But we’re excited for a wider community of saxophonists toembrace the work, and share it with their own audiences.In his liner notes for the recording, WNYC’s John Schaefer writes: “As with much of her music, Chen employs percussiveeffects and glissandi; in Chinese music these are not considered “extended techniques†or special effects, but animportant part of the performer’s arsenal. Here, they help create the twilit mood of the opening moments. The piecesoon becomes more dramatic, suggesting the arrival of the drinker’s companions (real or imagined) and his or herincreasingly garrulous outbursts. Passages of consonance and discord can easily be heard as companionable singingand bouts of drunken argument. The piece bustles along on a kind of restless energy, until, finally, that restlessnesssubsides, giving way to a gently humorous ending where a short falling phrase signals the drinker falling asleep.â€.
SKU: HL.4008643
ISBN 9798350114997. UPC: 196288189664.
During his experience as a band conductor and teacher of wind orchestra conducting at university, Franco Cesarini has dealt with the topic of warm-ups very frequently. Throughout these long years of conducting he has had the opportunity to try many existing methods, evaluating their advantages and disadvantages. After a long time, he has decided to compile a collection of chorales for warm-ups, which are organized according to the criteria that he considers most effective. While working on his60 Warm-up Chorales for Concert Band, Franco Cesarini has always borne in mind that amateur musicians play for pleasure. He feels that it is extremely important that they have satisfaction at every moment of the rehearsal and not to start the rehearsal with needless “punishing†exercises. Nobody is really motivated to start playing with scales, long notes, or tricky rhythmical exercises. There is often a distinguished absentee in band rehearsals, namely music itself! Although this publication does not foresee a specific tempo for the chorales, they should often be performed rather slowly but without dragging. Dynamics are not indicated, so that the conductor has the opportunity to draw the attention of the musicians to his gestures and to make them react according to his indications. Timpani and bell parts have been added with the aim of not leaving the percussionists completely inactive during the warm-up phase, but can also be omitted. The chorales are written in four parts (SATB) and are also playable in smaller groups. The four voices can be played in different combinations of woodwinds or brass quartets or in mixed combinations. The collection includes ten chorales for the following keys: D flat major, A flat major, E flat major, B flat major, F major and C major. With his 60 Warm-up Chorales Franco Cesarini would like to convey the message to play the chorales in a musical way, thus raising the musicians’awareness of phrasing, the right interpretation of cadences, rubato and agogic. Above all, never do anything withoutputting the musical aspect in the foreground.
SKU: HL.49018308
ISBN 9790001139793.
Best playability and musical spirit - this is what characterizes the music of Bertold Hummel who died in 2002, and why his music must be part of the repertoire of any amateur and semi-professional orchestra. The 'Oregon Symphony' occupies a special position in his oeuvre: it was written by Hummel for the typically American symphonic wind bands, requiring almost 100 musicians, including 15 clarinets in three groups of five alone, as well as four piccolos and six flutes, bass clarinet, bassoons, saxophones, trumpets, horns, tubas and the typically American sousaphone, and five percussionists. The work consists of four movements; in the rousing finale, Hummel mixes jazz motifs with popular themes and even weaves the anthem of the State of Oregon in the final music. For getting better acquainted with this music, the first movement is also separately available ('Symphonische Ouverture', SHS 1001).Picc. * 2 * 2 * Klar. in Es * 3 * Bassklar. in B * 2 Altsax. in Es * Tenorsax. in B * Baritonsax. in Es * 2 - 4 * 3 (Korn.) * 3 * Tenorhr. in B (Bar.) * 2 - P. S. (Trgl. * 4 hg. Beck. * Beckenp. * Tamt. * Gong * Glock. ad lib. * Bngs. * Schellentr. * kl. Tr. * gr. Tr. * Holzbl. * Tempelbl. * Ratsche * Xyl. * Vibr) (5 Spieler) - Kb.
SKU: HL.233153
9.25x12.0x0.117 inches. English.
For five percussionists playing: bowed crotales, orchestra bells, vibes, chimes, bowed vibes. Commissioned by the University of Wisconsin - River Falls. Duration: 10 minutes 30 seconds.
SKU: HL.48186440
Drummers Jacky Bourbasquet (founder of the Sonor school network) and Claude Gastaldin (professor at the Geneva Conservatoire) have a ?long and faithful friendship? that goes beyond playing music. Since 1997, the two percussionists have pursued a large-scale educational adventure that earned its fame under the name Drum Session.Offered in a multilingual version (French, English, German, Spanish), the 17th Volume includes everything that brought the series its success: a progressive structure divided into levels, clear method instructions and a range of pieces ? 29 in total ? showcasing a wide variety of styles: jazz, progressive pop, tango and funk. The method, which favours group work with orchestra, is enhanced with a CD (sold separately) in which each piece is recorded without the drums in two versions: one as an etude (slower), the other a tempo. A variety of tracks have been added for a total of 70 minutes of music. ?A very useful tool, well-designed and including enough styles to satisfy nearly everyone? (Batteur magazine).This book must be purchased with the CD accompaniment (AL30675) separately..
SKU: LM.28975
ISBN 9790230989756.
SKU: HL.14032285
ISBN 9780711927445.
Scored for Piccolo, Horn, Trombone, 2 Violas, 2 Cellos and 2 Percussionist.
SKU: HL.49015665
ISBN 9790001139786. UPC: 884088156251. 9.0x12.0x0.296 inches.
Best playability and musical spirit - this is what characterizes the music of Bertold Hummel who died in 2002, and why his music must be part of the repertoire of any amateur and semi-professional orchestra. The Oregon Symphony occupies a special position in his oeuvre: it was written by Hummel for the typically American symphonic wind bands, requiring almost 100 musicians, including 15 clarinets in three groups of five alone, as well as four piccolos and six flutes, bass clarinet, bassoons, saxophones, trumpets, horns, tubas and the typically American sousaphone, and five percussionists. The work consists of four movements; in the rousing finale, Hummel mixes jazz motifs with popular themes and even weaves the anthem of the State of Oregon in the final music. For getting better acquainted with this music, the first movement is also separately available ('Symphonische Ouverture', SHS 1001).Picc. * 2 * 2 * Klar. in Es * 3 * Bassklar. in B * 2 Altsax. in Es * Tenorsax. in B * Baritonsax. in Es * 2 - 4 * 3 (Korn.) * 3 * Tenorhr. in B (Bar.) * 2 - P. S. (Trgl. * 4 hg. Beck. * Beckenp. * Tamt. * Gong * Glock. ad lib. * Bngs. * Schellentr. * kl. Tr. * gr. Tr. * Holzbl. * Tempelbl. * Ratsche * Xyl. * Vibr) (5 Spieler) - Kb.
SKU: HL.14028553
UPC: 884088692810. 10.5x14.0x0.138 inches.
Commissioned by the French Government and Musica Strasbourg. As the title suggests, Trois rivières is divided into three separate sections. The first part introduces all the instrumental colours used in the piece. The rhythmic aspect is here nearly eliminated, giving room for the timbral scales, colours, resonances, attacks and textures to come to the fore. The instruments come from all members of the percussion family, but unpitched instruments are given a primary role. The second part adds a rhythmic aspect to the nuances of colour and texture, as an ostinato is developed in markedly varying directions. The last part is an epilogue, recalling components of the two preceding parts. Here, earlier aspects of the material are reorganised and placed in different relationships to each other. The voices of the percussionists act together as an extension of the instruments, being used to create either rhythmically free textures or strictly notated rhythms. They are treated instrumentally, combining to create rhythms and timbres. The poem 'La nuit de lune sur le fleuve' (Moonlit night on the river) by the Chinese poet Li Po (701-762) constitutes the material for the voices, which are amplified and further enhanced throughout.
SKU: HR.HRBV002
This interactive package is designed to offer both student percussionists and music educators insight into a more musical performance of band and orchestra repertoire. Technique.
SKU: BT.EMBZ15085
English-Hungarian.
Ãrpád Solti (born 1986) studied with Zoltán Jeney and Gyula Fekete at the Budapest Academy of Music, where he also studied piano and percussion. He has pursued advanced studies in Bruxelles and Gothenburg. His works - which range from solo pieces through chamber music and the award-winning orchestral composition Aktok [Nudes], which was premiered in 2011 at the New Hungarian Musical Forum's composers' competition - have been programmed featuring prominent Hungarian performers as well as the conductors Chelsea Tipton and Michael Francis and the Norrköping Symphony Orchestra. Solti composed the Sonatina between 2006 and 2008. The piece has since been added to the compulsorycurriculum for percussion students at the Budapest Academy of Music. These pieces for four timpani show classical forms blended with the energetic musical language characteristic of Ãrpád Solti. The first, Rondino movement demands highly precise pedal work. It is followed by a meditative Intermezzo requiring discipline and depth on the part of the performer. The final Toccata presents percussionists with an excellent opportunity to let their technical skills shine brightly.
SKU: SU.80111701
Prometheus was composed in the spring of 1975 during my stay in Munich. The work was conceived as a complete scene for my opera, also called Prometheus, in which the percussionists are on stage as the main actors. With the help of dancers, projections, and a dazzling array of lighting effects, the opera re-enacts the story of Prometheus. Earlier and later in the opera there are singing soloists and a chorus, and an orchestra of many brass and wind instruments added to the percussion. Strings are used only for a few lyrical sections. The percussion group is made up of six players, five of whom are surrounded by a large phalanx of drums, cymbals, gongs, bells, wood, skin, metal and mallet instruments. The slide whistle is even used to suggest the wind on the high mountain that Prometheus is chained to. The sixth player is represented by the four timpani, and is somewhat set apart from the others because he is the musical image of the hero--Prometheus. The timpani cadence is the high point of the scene, with the lighting throwing everything on the stage into a silhouette, except for the face and hands of the timpanist. The work is built around the concept of a God choosing to bring fire and energy to mankind; he imparts the gift of work and the freedom for man to choose his own destiny. The five big bass drums explode in stretto-like passages suggesting the anger of the Gods. Ultimately Prometheus is punished, but man once tasting freedom, becomes the winner. Prometheus was composed under a Guggenheim Fellowship and was first performed by Paul Price's Manhattan School Percussion Ensemble in 1976.Percussion Ensemble (6 players) Duration: 13’30 Composed: 1975 Published by: Soundspells Productions.
SKU: HL.4007483
UPC: 196288058175.