Ihr Tore Zu Zion Bwv 193

SKU: CA.3119313

ISBN 9790007050801. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119314

ISBN 9790007050818. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119300

ISBN 9790007050733. Key: D major / g major. Language: German/English.

SKU: CA.3119309

ISBN 9790007050771. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119312

ISBN 9790007050795. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119305

ISBN 9790007050757. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119307

ISBN 9790007050764. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119319

ISBN 9790007136987. Key: D major / g major. Language: German/English.

Sco re and parts available separately - see item CA.3119300.

SKU: CA.3119303

ISBN 9790007050740. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: CA.3119311

ISBN 9790007050788. Key: D major / g major. Language: German/English.

Sco re available separately - see item CA.3119300.

SKU: BT.DHP-1053885-030

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

The numerous, mostly religious works of the Bohemian composer Andreas Hammerschmidt are composed with great craftmanship, and sound full and catchy. They were composed for 17th century village churches, in which they were sung by the congregation—and they are still familiar and popular today. Robert van Beringen took the advent hymn Lift Up Your Heads, Ye Gates and created this beautiful arrangement.

De talrijke, overwegend religieuze composities van de Boheemse componist Andreas Hammerschmidt zijn solide gecomponeerd, klinken vol en liggen goed in het gehoor. Deze eenvoudige werken werden in de zeventiende eeuw vooral voor dekerkkoren gecomponeerd. Zo zijn ze tot op de dag van vandaag bekend en populair gebleven. Robert van Beringen koos de titel Machet die Tore weit om het te bewerken voor harmonie- en fanfareorkest.

Die zahlreichen, vorwiegend geistlichen Kompositionen des böhmischen Komponisten Andreas Hammerschmidt sind handwerklich solide komponiert, voll klingend und eingängig. Sie wurden im 17. Jahrhundert vor allem für Dorfkirchen komponiert, wo sie von Laienchören gesungen wurden und so bis heute sich großer Verbreitung und Beliebtheit erfreuen. Robert van Beringen nahm sich des vorweihnachtlichen Titels Machet die Tore weit an und schuf daraus dieses wunderschöne Arrangement.

Les nombreuses oeuvres du compositeur et organiste baroque tchèque Andreas Hammerschmidt, sont résolument sonores, la fois mélodieuses et entraînantes, alliant les formes traditionnelles du 16e siècle des éléments de la nouvelle musique italienne. Plusieurs de ses compositions sont toujours chantées de nos jours et jouissent d’une grande popularité. Robert van Beringen nous propose un admirable arrangement du psaume 24, Machet die Tore weit.

I numerosi mottetti, concerti sacri e pezzi religiosi del compositore organista barocco ceco Andreas Hammerschmidt, sono risolutamente sonori, melodiosi e coinvolgenti, caratterizzati da una struttura tradizionale del XVI secolo fino a elementi della nuova musica italiana. Numerose sue composizioni sono cantate ancora oggi e godono di grande popolarit . Robert van Beringen propone un arrangiamento del salmo 24, Machet die Tore weit.

SKU: PR.16500092L

UPC: 680160039531. 11 x 17 inches.

Zion is the third and final installment of a series of works for Wind Ensemble inspired by national parks in the western United States, collectively called Three Places in the West. As in the other two works (The Yellowstone Fires and Arches), it is my intention to convey more an impression of the feelings I've had in Zion National Park in Utah than an attempt at pictorial description. Zion is a place with unrivalled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both is Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph and unbreakable spirit. Zion was commissioned in 1994 by the wind ensembles of the University of Texas at Arlington, the University of Texas at Austin, and the University of Oklahoma. It is dedicated to the memory of Aaron Copland.

SKU: PR.466000470

UPC: 680160099405. 11 x 17 inches.

This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.

SKU: BT.RE10228

ISBN 9788876656255. Italian.

Il metodo, che si distingue per semplicit e chiarezza, è rivolto agli alunni delle classi delle scuole di musica, della scuola Primaria e Secondaria di Primo grado, e a tutti coloro che desiderano apprendere facilmente gli elementi iniziali dellinguaggio musicale. Fin dalle prime lezioni gli studenti possono suonare e cantare da soli o in gruppo, attraverso lesecuzioni di semplici ritmi e melodie. Il volume è suddiviso in due parti e prevede un percorso didattico graduale che consente anche la suddivisione delle classi in più gruppi di lavoro. In questo di dimostra particolarmente efficace la presenza di semplici accompagnamenti ritmici e diostinati, che permettono allinsegnante di coinvolgere tutti gli alunni nellesperienza piacevole e gratificante del fare musica dinsieme.I tempi di studio dei brani possono variare: si consiglia di mantenere una certa continuit nellattivit didattica. Lesperienza del Metallofono può protrarsi per più anni scolastici. Linsegnante potr cercare di sviluppare limitazione di brani ascoltati o la creazione di altri inventati o improvvisati dallalunno.Al libro è allegato un CD con in brani esposti nel metodo, ad alcuni dei quali è stata aggiunta una base di accompagnamento. Le indicazioni duso delle bacchette (destra e sinistra), come pure la velocit ascoltata su CD, possono essere modificatedallinsegnante e adeguate alle esigenze dellalunno e della classe.