SKU: M7.DOHR-20293
ISBN 9790202042939.
Das muntere Werk komponierte Harald Heilmann in einem Satz, wobei zwei Moderato-Teile einen miteinander korrespondierenden Rahmen bilden: Der Eröffnungsteil wird nach einem Mittelteil wiederholt und schlie?lich mit einem temporeichen Schluss und sich stetig steigernder Dynamik beendet. Für den Komponisten ist die Wiederholung ein adäquates musikalisches Mittel, um bei den Spieler/innen und Hörer/innen einen Wiedererkennungseffekt hervorzurufen und damit Vertrautheit zu schaffen. In diesem Sinne setzt er melodische und rhythmische Motive wiederholt ein, allerdings in immer neuen Zusammenhängen und Harmonien, so dass ein gleichsam farbiges und lebendiges Tongemälde entsteht. Wechselnoten und die Durchmischung der überwiegend binären mit gelegentlichen ternären Rhythmen schaffen rhythmische Lebendigkeit; lange Noten und Pausen geben dem Stück eine innere Struktur. In Auftrag gegeben wurde das Werk von dem bulgarischen Konzertpianisten, Komponisten und Klavierpädagogen Ivan Shekov. Die Uraufführung erfolgte am 17. Oktober 1999 durch Julia Taube und Anika Wippich in Tettnang, wo der Auftraggeber an der dortigen Musikschule unterrichtete. Das Stück, das für fortgeschrittene junge Musiker/innen ebenso geeignet ist wie für professionelle Künstler/innen auf dem Konzertpodium, bietet viel Raum für die musikalische Ausgestaltung des Titels: Die Spielanweisung a tempo beinhaltet die Erwartung bzw. Möglichkeit, mit Tempowechseln zu arbeiten. Da der Komponist selbst keine Angaben dazu in den Notentext gesetzt hat, ist hier die individuelle künstlerische Freiheit eines jeden einzelnen Interpretenduos gefragt. (Ulrike Lausberg).
Das muntere Werk komponierte Harald Heilmann in einem Satz, wobei zwei Moderato-Teile einen miteinander korrespondierenden Rahmen bilden: Der Eröffnungsteil wird nach einem Mittelteil wiederholt und schließlich mit einem temporeichen Schluss und sich stetig steigernder Dynamik beendet. Für den Komponisten ist die Wiederholung ein adäquates musikalisches Mittel, um bei den Spieler/innen und Hörer/innen einen Wiedererkennungseffekt hervorzurufen und damit Vertrautheit zu schaffen. In diesem Sinne setzt er melodische und rhythmische Motive wiederholt ein, allerdings in immer neuen Zusammenhängen und Harmonien, so dass ein gleichsam farbiges und lebendiges Tongemälde entsteht. Wechselnoten und die Durchmischung der überwiegend binären mit gelegentlichen ternären Rhythmen schaffen rhythmische Lebendigkeit; lange Noten und Pausen geben dem Stück eine innere Struktur. In Auftrag gegeben wurde das Werk von dem bulgarischen Konzertpianisten, Komponisten und Klavierpädagogen Ivan Shekov. Die Uraufführung erfolgte am 17. Oktober 1999 durch Julia Taube und Anika Wippich in Tettnang, wo der Auftraggeber an der dortigen Musikschule unterrichtete. Das Stück, das für fortgeschrittene junge Musiker/innen ebenso geeignet ist wie für professionelle Künstler/innen auf dem Konzertpodium, bietet viel Raum für die musikalische Ausgestaltung des Titels: Die Spielanweisung a tempo beinhaltet die Erwartung bzw. Möglichkeit, mit Tempowechseln zu arbeiten. Da der Komponist selbst keine Angaben dazu in den Notentext gesetzt hat, ist hier die individuelle künstlerische Freiheit eines jeden einzelnen Interpretenduos gefragt. (Ulrike Lausberg).
SKU: CA.4060791
Key: C major. Latin.
One of his later works, Haydn’s Missa in tempore belli, composed in 1796, is also referred to as the “Paukenmesse” (Kettledrum Mass) through the use of timpani in the Agnus Dei. For the Vienna premiere, Haydn added flutes, clarinets and horns to the score, so that in terms of sound the soloists and the chorus have to hold their own against a truly large orchestral apparatus. In this case, practicing with the Carus Choir Coach is of course recommended for a good vocal presence.The Carus Choir Coach offers choir singers the unique opportunity to study and learn their own, individual choral parts within the context of the sound of the entire choir and orchestra. For every vocal range a download containing each choir part is available. The Carus Choir Coach is based on recorded interpretations by renowned artists who have performed the work from carefully prepared Carus Urtext editions. Each choir part is presented in three different versions:Original recordingCoach: each part is accompanied by the piano, with the original recording sounding in the backgroundCoach in slow mode: the tempo of the coach slows down to 70% of the original version – through this reduction passages can be learned more effectively.Performer s: Ann Hoyt (soprano), Kirsten Sollek (alto), Daniel Neer (tenore), Richard Lippold (basso) – Trinity Church Choir, Rebel Baroque Orchestra – J. Owen Burdick. Score available separately - see item CA.4060700.
SKU: HL.49007592
ISBN 9783795718626. German.
Peter Giger macht komplizierte Zusammenhange transparent und verrat Insiderwissen, das hier erstmals veroffentlicht wird. Er zeigt konventionelle, aber auch neue Wege, die es Anfangern und fortgeschrittenen Musikern erlauben, Rhythmik und Polymetrik von Grund auf zu verstehen und bis zur personlichen Meisterschaft zu entwickeln. Dieses Lehrbuch vermittelt fundiertes Wissen, versucht den allgemeinen terminologischen Wirrwarr zu entflechten, gibt neue Denkanstosse und raumt mit esoterischen Spekulationen auf. Die zahlreichen Ubungen und detaillierten Einfuhrungen - von denen viele hier zum ersten Mal dargestellt werden - behandeln Themen wie: - Tempogestaltungen und Tempowechsel - Verschiebungen und Verzierungen - Augmentationen / Diminutionen - Iso-, Sub- und Supradivisionen - Bimetren / Polymetren - rhythmische Intervalle - optische Rhythmik - Rhythmoglyphen - Metamorphosen - Jazzphrasierung - u.v.m.
SKU: BA.BA10726-01
ISBN 9790006575596. 33 x 26 cm inches. Text Language: Italian. Preface: Pacholke, Michael.
In the brief half-year period from August 14, 1736, to January 27, 1737, Georg Friedrich Handel achieved an unprecedented level of productivity in his opera compositions, creating three operas. Additionally, in March 1737, he also composed a largely new oratorio titled â??Il trionfo del Tempo e della Verità â? (â??The Triumph of Time and Truthâ?) HWV 46b. The libretto of this oratorio closely corresponds to that of the oratorio â??La Bellezza ravveduta nel trionfo del Tempo e del Disingannoâ? (â??Beauty Reconciled in the Triumph of Time and Enlightenmentâ?) HWV 46a written in 1707. With â??La Bellezza ravvedutaâ?, Handel composed an allegorical and particularly dramatic oratorio right at the beginning of his oratorio compositions. In this work, there is no chorus inclined towards reflection. Not only do the four allegorical figures, Bellezza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (Enlightenment), listen to each other and react to the ideas presented by the others, but this prevailing dramatic principle of dispute is also found in the recitatives.In 1737, when reworking the oratorio material as â??Il trionfo del Tempo e della Verità â?, Handel approached the task pragmatically. He needed a new non-dramatic work to fulfill the eveningâ??s program for his audience at the Covent Garden Theatre during the fasting season when theatrical performances were prohibited. Although he had excellent Italian vocal soloists, notorious for their pronunciation in Handelâ??s English oratorios and who naturally preferred singing in Italian, Handel found a solution. It was evident to Handel that, in response to the ban on performances of his Italian operas during the fasting season of 1737, he should promptly create a new oratorio in the Italian language but following the three-part â??Englishâ? oratorio form that he had developed in â??Estherâ? HWV 50b in 1732. Unlike in Rome in 1707, he had access to a chorus in London in 1737, and the English oratorio, with its substantial choral sections, a preference for concert-like rather than dramatic composition, and frequent inclusion of organ concertos loosely related to the narrative, was already established.The new volume of the HHA includes the original version of the 1737 premiere as well as all the surviving early and later versions (the latter being exceptional highlights) of individual musical pieces from â??Il trionfo del Tempo e della Verità â?.
SKU: CF.CAS135
ISBN 9781491159248. UPC: 680160917822.
Fritz Kreisler (1875-1962) was considered one of the greatest violinists of all time. He was also known for composing a number of pieces for violin to be played as solos for encores. Many of them are known as pastiches, which are works composed in the styles of other composers. He also wrote operettas, a string quartet and many cadenzas which are the most often played by violinists today. Tempo di Minuetto is in the style of Gaetano Pugnani. Kreisler also composed his well known Praeludium and Allegro in the style of this eighteenth-century Italian composer/violinist. Tempo di Minuetto is a work for violin and piano which is a standard in the solo repertoire. In this arrangement, the solo violin part has been integrated into the string orchestra. The parts have been cleverly adapted so that all string parts have thematic interest. It is written in a basic minuet-and-trio form which will offer many teaching points on style and historical perspective. The arranger suggests that the director and students become acquainted with the original work for solo violin and piano to familiarize them with the style intended by Kreisler. This will help them recreate these styles in their orchestral performance.Fritz Kreisler (1875–1962) was considered one of the greatest violinists of all time. He was also known for composing a number of pieces for violin to be played as solos for encores. Many of them are known as “pastiches,†which are works composed in the styles of other composers. He also wrote operettas, a string quartet and many cadenzas which are the most often played by violinists today.Tempo di Minuetto is in the style of Gaetano Pugnani. Kreisler also composed his well known Praeludium and Allegro in the style of this eighteenth-century Italian composer/violinist. Tempo di Minuetto is a work for violin and piano which is a standard in the solo repertoire.In this arrangement, the solo violin part has been integrated into the string orchestra. The parts have been cleverly adapted so that all string parts have thematic interest. It is written in a basic minuet-and-trio form which will offer many teaching points on style and historical perspective.The arranger suggests that the director and students become acquainted with the original work for solo violin and piano to familiarize them with the style intended by Kreisler. This will help them recreate these styles in their orchestral performance.
About Carl Fischer Concert String Orchestra Series
Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:
SKU: LM.26219
ISBN 9790230962193.
Pour commencer - Pour les doubles notes - Tout Duke - Cotton repons - Jamais d'accord - Independance - Pour les lies - Autumn files - Hors tempo, en tempo - Now's G Tune - Ballad - De temps en temps - Improvisation - Two for Two - Untitled 1 - Untitled 2 - Effet de mode - Vers l'improvisation.
SKU: LM.28668D
ISBN 9790231701647.
BACH C.P.E. : Andante - BACH J.C. : Andante (Sonate Op.5 n. 2) - BACH W.F. : Menuet - BACH J.S. : Gavotte (Suite anglaise en Sol mineur) - Menuet (Suite francaise en Si mineur) - BADINGS : Scherzo Pastorale - BARTOK : For Children Vol.1 n. 29 - For Children Vol.2 n. 27 - For Children Vol.2 n. 33 - Lied (Mikrokosmos n. 116) - Nocturne (Mikrokosmos n. 97) - BEETHOVEN : Bagatelle Op.33 n. 3 - Tempo di menuetto (Sonate n. 20) - BURGMULLER : Berceuse - CHOPIN : Polonaise en Sol mineur - CONSTANTINESCU : Le Renard et le corbeau - FRANCK : Canon - GRIEG : Arietta - HAENDEL : Courante - HAYDN : Sonate en Sol majeur (Hob XVI :G1) - HELLER : Etude Op.47 n. 9 - HUMMEL : Scherzo - IBERT : Premier bal - KULLAK : Tanzchen im freien - LIGETI : Musica ricercata (n. IV Tempo di valse) - MENDELSOHN : Romance (Kinderstuck Op.72 n. 2) - MOZART : Rondo (Sonatine viennoise en Re majeur) - PROKOFIEFF : Cortege de sauterelles - Sur les pres la lune se promene - REGER : A toutes jambes - REGNER : Dans la caverne - ROSSI : Andantino - SCHUBERT : Allegretto en Ut mineur - SCHULHOFF : Invention Op.36 n. 10 - SCHUMANN : Theme et variations (1re sonatine) - STOLZEL : Menuet - TCHAIKOVSKI : La Sorciere dans la foret - TURINA : L'Enfant s'endort - Boite a musique.
SKU: BA.BA10721-90
ISBN 9790006568680. 27 x 19 cm inches. Text Language: Italian. Preface: Annette Landgraf. Text: Pamphili, Benedetto.
Handel composed his first Italian oratorioLa Bellezza ravveduta nel trionfo del Tempo e del DisingannoHWV 46a in 1707. It is based on an allegorical moral libretto written by Cardinal Benedetto Pamphili who also commissioned this work.Disinganno (Illumination) and Tempo (Time) try to get the young, beautiful and frivolous Bellezza (Beauty) to recognise the true values of life and to act accordingly. The audience accompanies Bellezza in her spiritual development, in which she increasingly distances herself from Piacere (Pleasure) and listens more and more to Tempo and Disinganno.The oratorio contains some of the most beautiful music Handel ever composed. This includes the enchanting ariaLascia la spina, in which he uses the music of the sarabande from the operaAlmira, composed in Hamburg in 1704, and which then achieved immortal fame inRinaldo(1711) asLascia ch'io pianga.
SKU: HL.14030082
ISBN 9788759850220. French.
Work for Violin and Piano dating from 1917.
SKU: TM.40731SET
Give the ensemble a challenge with this piece, based on the famous string quartet. Students are exposed to theme and variations form, intricate rhythms, and advanced techniques.
SKU: CF.CAS135F
ISBN 9781491159415. UPC: 680160917990.
Fritz Kreisler (1875-1962) was considered one of the greatest violinists of all time. He was also known for composing a number of pieces for violin to be played as solos for encores. Many of them are known as pastiches, which are works composed in the styles of other composers. He also wrote operettas, a string quartet and many cadenzas which are the most often played by violinists today. Tempo di Minuetto, written in the style of Gaetano Pugnani, is a work for violin and piano that has become a standard in the solo repertoire. Kreisler also composed his well known Praeludium and Allegro in the style of this eighteenth-century Italian composer/violinist. In this arrangement, the solo violin part has been integrated into the string orchestra. The work has been cleverly adapted so that all string parts have thematic interest. It is written in a basic minuet-and-trio form which will offer many teaching points on style and historical perspective. The arranger suggests that the director and students become acquainted with the original work for solo violin and piano to familiarize them with the style intended by Kreisler. This will help them recreate these styles in their orchestral performance.Fritz Kreisler (1875–1962) was considered one of the greatest violinists of all time. He was also known for composing a number of pieces for violin to be played as solos for encores. Many of them are known as “pastiches,†which are works composed in the styles of other composers. He also wrote operettas, a string quartet and many cadenzas which are the most often played by violinists today. Tempo di Minuetto, written in the style of Gaetano Pugnani, is a work for violin and piano that has become a standard in the solo repertoire. Kreisler also composed his well known Praeludium and Allegro in the style of this eighteenth-century Italian composer/violinist.In this arrangement, the solo violin part has been integrated into the string orchestra. The work has been cleverly adapted so that all string parts have thematic interest. It is written in a basic minuet-and-trio form which will offer many teaching points on style and historical perspective. The arranger suggests that the director and students become acquainted with the original work for solo violin and piano to familiarize them with the style intended by Kreisler. This will help them recreate these styles in their orchestral performance.
SKU: TM.40731XSC
SKU: BT.SY-2944
German.
A selection of motivating pieces for flute and piano. The book relates to the progression of the popular flute method Flöte spielen (Playing the flute) vol. D, but can be used with any other flute method as well. Piano and flute are at about thesame level. With play-along CD. The faster pieces are recorded in a slower practice version additionally, and the CD contains a software which can play all the tracks at a slower tempoFlöte spielen macht Spaß - und ganz besonders im Zusammenspiel mit anderen. Man kann damit gar nicht früh genug beginnen!
Diese Sammlung abwechslungsreicher und motivierender Spielstücke ist auf Flöte spielen Band D abgestimmt, kann aber natürlich auch parallel zu anderen, ähnlich aufgebauten Schulen verwendet werden. Die Klavierbegleitungen sind weitgehend inähnlichem Schwierigkeitsgrad wie die Flötenstimme gehalten, um das Musizieren Gleichaltriger zu ermöglichen. Die Mitspiel-CD enthält die Klavierbegleitungen und langsamere Übungsversionen.
SKU: FG.55011-850-8
ISBN 9790550118508.
Eina r Englund (1916-1999) was a major Finnish composer of symphonies, concertos and film music. His first symphony (1946) bears the title War Symphony, not given by the composer. He preferred to think think of it rather as a euphoric shout of joy at living to survive the hells of war. The first movement Tempo di marcia depicts seemingly never-ending marching through Karelia during the Soviet-Finnish war. Influences from Sibelius and Shostakovich are present.American conductor Robert J. Ambrose's arrangement of Englund's Tempo di Marcia is scored for wind band. The duration is 9 minutes. This product includes the full score and the parts:Piccolo Flute 1-2Oboe 1Oboe 2 doubling English hornBassoon 1-2Clarinet 1-3 B-flatBass Clarinet B-flatSoprano Saxophone (opt.) (part for alto saxophone II provided in lieu of soprano saxophone)Alto SaxophoneTenor SaxophoneBaritone SaxophoneHorn 1-4 FTrumpet 1-3 B-flatTrombone 1-3Euphonium (BC)TubaTimpaniPercussion 1-4Harp (opt.)Double Bass.
