Matériel : Octavo
SKU: LM.PB734
ISBN 9790231307344.
Le vent de l'hiver - je sais que la terre est plate - adieu haiti - le petit train - sixieme etage - la jonque - quand c'est toi qui conduis - concordia - tess - les limites du monde - transsiberien.
SKU: FV.FUE-10244
ISBN ISMN 979-0-50182-244-7.
With a duration of 17 mn, the eleven preludes for piano op 78 have been composed in March 2018. Together with the seven preludes op 70 and the six preludes op 77, they form a group of 24 preludes which are didicated to my son Jean Gagnaire. They are a remember of my travel on board of the Transsiberian Train in August 2017. Melodic, resonant or rhythmic, and supported by rich chords, they offer a varied set of writing for the piano. They also highlight the expressive qualities of the pianist.
SKU: CF.CM9740
ISBN 9781491161203. UPC: 680160919789. Key: Bb major. English. Siegfried Sasson.
Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom... These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the Great War finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he was feeling dull-minded and depressed. Perhaps his time in the trenches was still too recent. One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality. The appearance of suddenly in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush. There are expressive opportunities with so many of the poet's bold choices of action words - burst, winging, and shaken. Then there's alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance. Suddenly/singing (measures 6-7 and 10-11) Find/freedom (measure 21-22) Winging/wildly (measure 23) Setting/sun (measures 47-49) Was/wordless (measures 65-75) Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as O is set apart in the poem by punctuation, I wanted the musical setting - in measure 57 - to honor that feeling of wonder - ...O, but Everyone Was a bird; and the song was wordless; the singing will Never be done. Friends, there is so much good ahead, so much to be excited about. May the singing never be done.Everyone suddenly burst out singingAnd I was filled with such delightAs prisoned birds must find in freedom…These opening lines to Everyone Sang by the British war poet Siegfried Sassoon feel as relevant today as they did when the poem was first published in 1919. It was after the end of World War I and these words capture so much of the collective exhilaration, relief, and pure joy about the “Great War†finally coming to an end. And yet Sassoon himself felt none of that when he wrote this poem. In his own words, he “was feeling dull-minded and depressed.†Perhaps his time in the trenches was still too recent.One of the reasons the creative arts are so powerful is that a poet like Sassoon (or a painter like Van Gogh or a composer like Mahler) can take their own feelings of deep sadness or pain and transform them into something beautiful, even uplifting. Everyone Sang is a celebration of the promise that things can get better, that there are things worth looking forward to. The poem itself has so much rhythm and musicality.The appearance of “suddenly†in the first line of each verse gives those verses a rush of energy. Attention to the crescendo in measure 7, and again in measure 37, from mf to f will help the listener experience that rush.There are expressive opportunities with so many of the poet’s bold choices of action words – burst, winging, and shaken.Then there’s alliteration - a poetic device that can be overdone, but Sassoon strikes a wonderful balance.Suddenly/singing (measures 6-7 and 10-11)Find/freedom (measure 21-22)Winging/wildly (measure 23)Setting/sun (measures 47-49)Was/wordless (measures 65-75)Give these alliterations just a hint of emphasis (without overdoing) to bring out the natural rhythm of the text. And just as “O†is set apart in the poem by punctuation, I wanted the musical setting – in measure 57 - to honor that feeling of wonder –…O, but EveryoneWas a bird; and the song was wordless; the singing willNever be done. Friends, there is so much good ahead, so much to be excited about.May the singing never be done.
SKU: HP.C5167C
UPC: 763628951672. By Bernard Kyamanywa, tr. Howard S. Olson.
Traditional Tanzanian Easter song by Bernard Kyamanywa& tr. Howard S. Olson This spirited Hal Hopson arrangement of a traditional Tanzanian Easter song calls for children's choir and percussion to transform it into a true Global Song celebration of Christ's resurrection. This spirited Hal Hopson arrangement of a traditional Tanzanian Easter song calls for children's choir and percussion to transform it into a true Global Song celebration of Christ's resurrection.
SKU: BT.DHP-1145577-030
English-German-French- Dutch.
The opening of this three-movement work features an initial appearance of the thematic material that returns in various guises later on in the work. The leitmotiv centres on a minor second. A range of thematic variations is heard in the lively and energetic Metamorphosis One. This movement is interrupted by an atmospheric meno mosso, containing melodic passages that return to the opening theme.Metamorhosis Two is characterised by various changes in tempo and musical character. Seven different soloists transform the thematic material each in their own way. This eventually culminates in a passionate tutti passage.The source of inspiration for Metamorphosis Three is the so-called BACH-motif, a musical autograph consisting of the notes B flat, A, C and B. This distinctive motif arises from the leitmotiv (here a descending minor second), which continuesto evolve through various transpositions and transformations. For the composer, this spectacular last movement is an homage to one of the greatest and most influential composers in the history of music: Johann Sebastian Bach.An impressive contest piece commissioned by Brass Band Schoonhoven, performed at the 2014 European Brass Band Championships.
In de opening van deze driedelige compositie wordt het thematische materiaal gepresenteerd dat verderop in het werk in allerlei transformaties voorkomt. De ‘kleine secunde’ dient daarbij als leidmotief. In het levendige en flitsende Metamorphosis One wordt volop gevarieerd met de thematiek. Het deel wordt onderbroken door een sfeervol meno mosso met daarin melodische passages die teruggrijpen op het beginthema.In Metamorhosis Two treden veel veranderingen op in het tempo en het muzikale karakter. Zeven verschillende solisten transformeren ieder op hun eigen wijze het thematische materiaal. Uiteindelijk resulteert dat in een gepassioneerd, tuttigespeeld gedeelte.De inspiratiebron voor Metamorphosis Three is het zogenaamde BACH-motief, een muzikale handtekening met de noten Bes, A, C en B. Dit karakteristieke motief ontstaat vanuit het leidmotief (in dit geval een dalende kleine secunde) en verandert voortdurend van gedaante door allerlei transposities en omvormingen. De componist beschouwt dit spectaculaire laatste deel als een eerbetoon aan een van de grootste en invloedrijkste componisten uit de geschiedenis van de muziek: Johann SebastianBach.In der Eröffnung dieses dreisätzigen Werkes wird zum ersten Mal das thematische Material präsentiert, das im weiteren Verlauf in diversen Gewändern wiederkehrt. Kern des Leitmotivs ist eine kleine Sekunde.Eine Reihe von thematischen Variationen ist in der lebhaften und energiereichen Metamorphosis One zu hören. Der Satz wird von einem stimmungsvollen Meno mosso aus melodischen Passagen, die zum Eröffnungsthema zurückführen, unterbrochen.Metam orphosis Two ist von mehreren Wechseln im Tempo und im musikalischen Charakter geprägt. Sieben verschiedene Solisten verwandeln das thematische Material jedes auf seine eigene Weise. Das Ganze steigert sich schließlich zu einemfulminanten Tutti.Quelle der Inspiration für Metamorphosis Three ist das so genannte BACH-Motiv, eine musikalische Signatur aus den Tönen B, A, C und H. Dieses ausgeprägte Motiv geht aus dem Leitmotiv hervor (hier ist es eine absteigende kleine Sekunde),welches fortwährend durch verschiedene Transpositionen und Transformationen weiterentwickelt wird. Für den Komponisten ist dieser spektakuläre letzte Satz eine Hommage an einen der größten und einflussreichsten Komponisten der Musikgeschichte: JohannSebastian Bach.Le titre Metamorphosis décrit une transformation musicale – autrement dit, le processus qui commence avec nos origines (Initium), puis progresse à travers l’évolution du corps et de l’ me (Corpus, Animus) et enfin, gr ceà l’expérience de la vie (Virtus, Invidia), se développe en une personnalité adulte (Estasi).Les musiciens connaîtront des états d’esprit changeants, entretenant la conscience de ce qui a été et de ce qui sera (le présent et l’avenir) tout en jouant. Les passages d’improvisation ont été délibérément laissés vierges –sans notation – afin de permettre à l’instrumentiste d’évoluer sans contraintes dans ce style musical et de laisser libre cours à son imagination.
SKU: BT.DHP-1165672-010
The Magic Book is taken from a tale by Danish author Tang Kristensen. It tells the story of Hans who has the power to transform himself into anything he likes thanks to a magical book. But his last transformation turns the tide against them…This great and refreshing piece contains three movements: Hans and the Animals, In the Castle and Royal Wedding.Th e Magic Book is gebaseerd op een verhaal van de Deense auteur Tang Kristensen. Het gaat over Hans, die zichzelf kan veranderen in alles wat hij wil, dankzij een toverboek. Maar zijn laatste transformatie lijkt zich tegen hem te keren… Ditfraaie, hartverwarmende werk bevat drie delen: Hans and the Animals, In the Castle en Royal Wedding.Diese s großartige, erfrischende Werk in drei Sätzen geht auf ein Märchen des dänischen Autors Tang Kristensen zurück. Es erzählt die Geschichte von Hans, der sich dank eines Zauberbuches in alles Mögliche verwandeln kann. Aber bei seiner letztenVerwandlung wendet sich das Blatt gegen ihn…
Die drei Sätze: Hans and the Animals (Hans und die Tiere“), In the Castle (Im Schloss“) und Royal Wedding (Königliche Hochzeit“). The Magic Book est tiré d’un conte de l’auteur danois Tang Kristensen. Il raconte l’histoire de Hans qui possède le pouvoir de se transformer en tout ce qu’il désire gr ce un livre magique. Mais sa dernière transformation lui joue un mauvaistour… Ce morceau magnifique et rafraîchissant contient trois mouvements : Hans and the Animals (Hans et les animaux), In the Castle (Au ch teau)et Royal Wedding (Mariage royal).Tratto dalla favola del narratore danese Tang Kristensen, è la storia di Hans, il ragazzo con la capacit di trasformarsi in qualsiasi cosa grazie ai poteri conferitigli da un libro magico. La sua ultima trasformazione, tuttavia, potrebbe ritorcerglisi contro… scopri questa grande storia musicale che si compone di quattro movimenti!
SKU: BT.DHP-1165672-140
The Magic Book is taken from a tale by Danish author Tang Kristensen. It tells the story of Hans who has the power to transform himself into anything he likes thanks to a magical book. But his last transformation turns the tide against them…This great and refreshing piece contains three movements: Hans and the Animals, In the Castle and Royal Wedding.Th e Magic Book is gebaseerd op een verhaal van de Deense auteur Tang Kristensen. Het gaat over Hans, die zichzelf kan veranderen in alles wat hij wil, dankzij een toverboek. Maar zijn laatste transformatie lijkt zich tegen hem te keren… Ditfraaie, hartverwarmende werk bevat drie delen: Hans and the Animals, In the Castle en Royal Wedding.Th e Magic Book (Das Zauberbuch“) ist ein Märchen des dänischen Autors Tang Kristensen. Es erzählt die Geschichte von Hans, der sich dank eines Zauberbuches in alles Mögliche verwandeln kann. Aber bei seiner letzten Verwandlung wendet sich dasBlatt gegen ihn … Dieses großartige und erfrischende Stück hat drei Sätze: Hans and the Animals (Hans und die Tiere“), In the Castle (Im Schloss“) und Royal Wedding (Königliche Hochzeit“). The Magic Book est tiré d’un conte de l’auteur danois Tang Kristensen. Il raconte l’histoire de Hans qui possède le pouvoir de se transformer en tout ce qu’il désire gr ce un livre magique. Mais sa dernière transformation lui joue un mauvaistour… Ce morceau magnifique et rafraîchissant contient trois mouvements : Hans and the Animals (Hans et les animaux), In the Castle (Au ch teau)et Royal Wedding (Mariage royal).Tratto dalla favola del narratore danese Tang Kristensen, è la storia di Hans, il ragazzo con la capacit di trasformarsi in qualsiasi cosa grazie ai poteri conferitigli da un libro magico. La sua ultima trasformazione, tuttavia, potrebbe ritorcerglisi contro… scopri questa grande storia musicale che si compone di quattro movimenti!
SKU: GI.G-10550
ISBN 9781622776306.
Just as a conductor’s preparatory “upbeat†gesture at the beginning of a performance influences the way an ensemble plays, we too get to choose our “upbeatâ€â€ ”our thoughts and attitudes—at the start of each day, at the beginning of each class, and in our interactions with students and colleagues. With this clever premise at its core, Upbeat! presents a winning combination of mindset and mindfulness strategies as well as leadership principles that will motivate, inspire, and transform not only your internal world but the culture of your music program. Divided into three parts—Ignite, Inspire, and Lead—Upbeat! takes readers on a journey from internal self-reflection to outward expressions of leadership, with chapters addressing such topics as: Self-care for optimal mental, emotional, and physical wellness The transformative power of positivity and gratitude Growth mindset Mindful breathing and listening in an ensemble setting Fostering a culture of excellence and connection Creating vision and mission statements for your organization The essential qualities of an effective leader How to develop a thriving student leadership program As the conductors and composers of our own lives, we can choose to live an “upbeat†life from a posture of gratitude, positivity, and enthusiasm. As a result, we experience greater fulfillment and achieve personal and professional goals. Students also benefit from the clarity of our example as they embark on their own leadership journeys. With immediately applicable ideas and strategies that work for students, teachers, and professionals in any field, Upbeat! affirms the importance of living and working with intentionality and establishes that what we do, why we do it, and how we do it matters. Dr. Matthew Arau, founder of Upbeat Global and Upbeat! Leadership Workshops, Coaching, and Keynotes, is an Associate Professor of Music and the Chair of the Music Education Department and the Symphonic Band Conductor at the Lawrence University Conservatory of Music in Appleton, Wisconsin. Dr. Arau has guest conducted and presented on student leadership, mindfulness, growth mindset, rehearsal techniques, and creating positive cultures in person in more than twenty-five states and four continents. Learn more about Dr. Arau at www.upbeatglobal.com.
SKU: BT.DHP-1165673-010
The Tower of Pisa is beyond doubt the most famous and legendary tower in the world. The main motif symbolizes the three bells of the tower. The motif is transformed throughout the piece in which the spectacular effect of a downward motive playedagainst sustained chords, symbolizing the leaning tower, is used. The finale portrays a parade of all bands from around Pisa coming to town to celebrate, accompanied by the bells of the tower!De Toren van Pisa is zonder twijfel de beroemdste en meest legendarische toren van de wereld. In dit werk symboliseert het hoofdmotief de drie klokken van de toren. Dit hoofdthema wordt gaandeweg getransformeerd, terwijl halverwege de compositieeen spectaculair neerwaarts motief tegenover aangehouden akkoorden staat voor het scheef hellen van de toren. De finale weerspiegelt een optocht van blaasorkesten uit de omgeving, op weg naar Pisa om er feest te vieren, begeleid door hetklokkenmotief! Der Schiefe Turm von Pisa gehört zweifellos zu den berühmtesten und legendärsten Türmen der Welt. Das Hauptmotiv des Stückes symbolisiert die drei Glocken des Turms. Das Thema mit dem großartigen Effekt eines abwärtsgehenden Motivs, welches denschiefen Turm symbolisiert, im Kontrast zu den gehaltenen Akkorden, kehrt im gesamten Stück in verschiedenen Versionen wieder. Das Finale stellt eine Parade aller Orchester aus der Umgebung von Pisa dar, die zum Feiern in die Stadt kommen und von denGlocken des Turms begleitet werden!La tour de Pise est sans doute la tour la plus célèbre et légendaire du monde. Le motif principal symbolise les trois cloches de la tour et est transformé tout au long du morceau. En contraste aux accords soutenus, une impression descendante estcréée par un autre motif qui symbolise la tour inclinée. Le final dépeint une parade de tous les orchestres des alentours de Pise qui se rassemblent en ville pour célébrer, accompagnées par les cloches de la tour !Quella di Pisa è, con ogni probabilit , la più famosa torre al mondo. Il leitmotif del brano di de Haan simbolizza le tre campane della torre, mentre tutta l’opera mantiene un andamento fluttuante capace di rendere pienamente il senso di pendenza della torre. Il finale illustra una grande parata alla quale partecipano tutte le bande dei dintorni della citt , festanti e accompagnate dal suono gioioso delle campane.
SKU: BT.AMP-482-130
Sparkling Brass was commissioned by Osaka Concert Brass, one of Japan’s top brass bands, and premiered by them on 27th December 2018 during a concert which celebrated their 10th Anniversary. The work opens in lively mood with fanfare-style figures from the lower band which are answered by the cornets. This interplay intensifies until the mood calms suddenly to introduce a chorale which leads to a duet-cadenza for cornet and euphonium. The rhythmic mood of the opening soon returns and leads to the main theme of the work, a modal caccia which features various section of the band. A short bridge passage leads to a change of key and a new cantabile theme which isintroduced by euphoniums and baritone. This is taken up by the full band after another change of key and leads back to the caccia theme. A transformed version of the opening fanfare returns to close the work. Sparkling Brass werd geschreven in opdracht van Osaka Concert Brass voor een concert ter gelegenheid van het tienjarig bestaan van die band. Het werk opent in een levendige sfeer, met fanfareachtige motieven in het lage koper, beantwoord door de kornetten. Dit samenspel wordt intenser tot de sfeer plotseling rustiger wordt en er een koraal naar voren komt dat leidt naar een duet-cadens voor kornet en eufonium. De ritmische sfeer van het begin keert snel terug en mondt uit in het hoofdthema, een modale caccia met diverse secties uit de band. Een korte bridgepassage brengt een verandering in toonsoort en een nieuw cantabile thema, ge ntroduceerd door de eufoniumsen bariton. Dit wordt overgenomen door de hele band na nog een toonsoortverandering, waarna het caccia-thema terugkeert. Het werk besluit met een getransformeerde versie van de openingsfanfare. Sparkling Brass wurde von Osaka Concert Brass, einer der führenden japanischen Brass Bands, in Auftrag gegeben und bei einem Konzert zum 10-jährigen Jubiläum uraufgeführt. Das Werk beginnt lebhaft mit Fanfarenfiguren in den tieferen Stimmen, die von den Kornetten beantwortet werden. Dieses Wechselspiel wird intensiver, bis sich die Stimmung plötzlich beruhigt und ein Choral erklingt, der in eine Duo-Kadenz für Kornett und Euphonium mündet. Der rhythmische Charakter des Anfangs kehrt bald zurück und führt zum Hauptthema des Werkes, einer modalen Caccia, in der verschiedene Instrumentengruppen der Brass Band hervorgehoben werden. Eine kurze Überleitung führt zu einemTonartwechsel und einem neuen Cantabile-Thema, das von den Euphonien und Baritonen eingeleitet wird. Nach einem weiteren Tonartwechsel wird es von der gesamten Brass Band übernommen und führt wieder zum Caccia-Thema zurück. Zum Schluss des Werkes erklingt noch einmal eine veränderte Version der Eröffnungsfanfare. Sparkling Brass est une commande d’Osaka Concert Brass, qui l’a créée lors d’un concert marquant son 10e anniversaire. La pièce s’ouvre dans une atmosphère enjouée, avec des figures de style fanfare dans le registre grave auxquelles répondent les cornets. Cette interaction s’amplifie jusqu’ ce que, soudainement, le climat se calme pour introduire un choral qui mène une cadence pour cornet et euphonium. L’ambiance rythmée du début revient bientôt et mène au thème principal de la pièce, une caccia modale qui met en avant divers pupitres de l’orchestre. Un bref passage de transition mène un changement de tonalité et un nouveau thème cantabile introduit parles euphoniums et le baryton. Ce thème est repris par l’orchestre entier après un autre changement de tonalité pour revenir au thème en caccia. L’œuvre se termine par une version transformée de la fanfare du début.
SKU: BT.DHP-1165659-010
This work is named after the Turkish word for ‘landscape’: Manzara. The title describes the marshland in Rheinland-Pfalz, which in 150 years has gradually been transformed into a wild landscape through the harvesting of peat. Different musical elements such as fugues and rhythmical patterns, as well as beautiful melodic themes, depict several aspects of the evolution and occurrences of this region. An exciting and challenging concert or contest piece!Dit werk is genoemd naar een Turks woord voor landschap: Manzara. De muziek verklankt het veenmoerasland in Rijnland-Palts, dat geleidelijk is getransformeerd tot een wild landschap, door de winning van turf. Diverse muzikale elementen, zoals fuga’s, ritmische motieven, maar ook mooie melodieuze thema’s, beschrijven verschillende aspecten van de ontwikkelingen in deze regio. Een meeslepend en uitdagend concert- of wedstrijdwerk! Manzara bedeutet auf Türkisch Landschaft“. Das Werk beschreibt eine Bruchlandschaft in Rheinland-Pfalz, die sich während des 150 Jahre währenden Torfabbaus in eine wilde Landschaft verwandelt hat. Verschiedene musikalische Elemente wie Fugen und rhythmische Figuren sowie wunderschöne Melodien beschreiben einige Aspekte der Entwicklung und Ereignisse dieser Region. Dieses spannende und anspruchsvolle Werk eignet sich hervorragend als Konzert- oder Wettbewerbsstück!< br>Cette Å“uvre porte le nom d’un mot turc pour paysage : Manzara. Elle dépeint les marais de Rhénanie-Palatinat qui, en 150 ans, furent transformés progressivement en paysage sauvage par l’exploitation de la tourbe. Des éléments musicaux comme des fugues, des motifs rythmiques, ainsi que de magnifiques thèmes mélodiques, dépeignent plusieurs aspects et évènements de l’évolution de cette région. Un morceau de concert ou de concours vibrant et exigeant !Manzara è una parola turca che significa “paesaggioâ€. L’opera descrive le paludi della Renania, area nota per l’eccezionale prosperare di torba negli ultimi centocinquant’anni . Mediante una notevole ricchezza di elementi musicali come fughe e originali espedienti ritmici, il lavoro di Jacob de Haan esprime i movimenti della natura e la variet dei suoi colori con incredibile efficacia. Perfetto come brano da concorso!
SKU: BT.AMP-482-030
SKU: GI.G-9566
ISBN 9781622773589.
What do coaches, master teachers, and studies of the psychology of learning have to teach us about conducting? It turns out, quite a bit. In this concise yet insightful volume, Richard Sparks draws from years of experience in the professional choral world and from his time teaching at two leading universities to help choral conductors transform their craft and create truly artful experiences. He gains inspiration from legendary college basketball coach John Wooden and shares striking and refreshing parallels between coaching sports teams and conducting music ensembles. Sparks draws equally from research in the fields of teaching and the psychology of learning—and what a conductor can take from those areas as well. Just as an artisan builds a set of skills and learns the tools of the trade, conductors too must build a box of tools to help them learn, understand, and interpret music, lead rehearsals, and conduct. The Conductor’s Toolbox conveniently and succinctly compiles these tools. Highlights include: Assessing yourself and your choir Using modeling Developing good habits in yourself and your choir Learning and teaching new skills Rehearsing more efficiently Teaching fundamental elements of music Selecting repertoire that improves your and your choir’s skills Improving your planning and pacing of rehearsals This book is for the young conductor starting out who wants to build a truly solid craft. It is also for the experienced conductor who wonders how to move to the next level, reenergize, and grow. Richard Sparks was Professor of Music and Chair of Conducting & Ensembles at the University of North Texas from 2009–2019, and he served as Director of Choral Activities at Pacific Lutheran University from 1983–2001. He has founded and led a number of professional choral organizations and guest conducted ensembles including the Santa Fe Desert Chorale and the Swedish Radio Choir. Choral Music Skill Building Evaluation Form. This evaluation form, created by Alan Davis and available here as a free PDF download, touches on many of the skill building ideas discussed in The Conductor's Toolbox. A unique and deftly effective instructional reference guide and manual that is unreservedly recommended for personal, professional, community, college, and university library collection, The Conductor's Toolbox should be considered essential reading for anyone seeking a career in orchestral conducting in any form or format. —James A. Cox, Library Bookwatch, October 2019.
SKU: BT.DHP-1084674-010
9x12 inches. English-German-French-Dut ch.
Maxime Aulio was so enthralled by Monique de Huetras’ book Contes et légendes de Savoie, which contains tales and legends from the depths of the earth to the tops of the mountains, that he had to translate it into music. Music presents the perfect medium to add colour to the stories and life to the characters. Like voices from the past The Bilberry Fairy and the Chamois, The Magic Stick and The Lady from Val de Fier all appear for a while, and time stands still as you are told The Legend of Duvallon.Maxi me Aulio ließ sich von Monique de Huertas’ Buch Contes et légendes de Savoie inspirieren, das Sagen und Geschichten aus allen Ecken von Savoyen - vom Innern der Erde bis zu den Berggipfeln - enthält. Die Musik, als ideales Medium der Fantasie, haucht Geschichten Farbe und den Figuren Leben ein. Wie magische Funken aus der Vergangenheit leuchten Sagen wie Die Blaubeerfee und die Gemse, Der Zauberstab und Die Dame von Val de Fier auf, bevor mit der Legende von Duvallon der Geschichtenreigen beendet wird.Durant les longues soirées d’hiver, les familles savoyardes se racontent des histoires venues du fond des ges, des histoires qui ont forgé leur culture et leur identité. Au fil des siècles, le récit s’est s rement transformé ou tout simplement enrichi, mais il reste tout jamais solidement ancré dans le royaume de la mémoire, la mémoire des ancêtres. Maxime Aulio s’est inspiré du livre éponyme de Monique de Huertas qui reprend des contes et légendes en provenance de toutes les régions savoyardes, des abîmes jusqu’aux sommets, ce qui les rend si divers. La musique est un puissant vecteur d'imagination sous-jacent aux mots. Des couleurs apparaissent, les personnages et leshistoires prennent vie. Le temps d’un instant, nous croisons La Fée Myrtille et le Chamois, Le B ton Magique, La Dame du Val de Fier et découvrons La Légende de Duvallon. Le temps semble suspendre son vol. Brano commissionato dalla Federazione Musicale di Faucigny (Alta Savoia)Nel corso delle lunghe serate d’inverno, le famiglie della Savoia raccontano storie e vicende dei tempi passati. Maxime Aulio si è ispirato al libro eponimo di Monique de Huertas che raccoglie fi abe e leggende provenienti da tutte le regioni savoiarde. La musica è un potente vettore d’immaginazione dei testi scritti. Come per incanto attraverso la musica, ci appaiono personaggi ed atmosfere dei tempi passati. Il tempo sembra essersi fermato.
SKU: SU.12800086
BachScholar Editions Vol. 86: BACH MEETS RAGTIME: 10 Four-Part Chorales Arranged (Volume 2) (41 pages) was born out of classic ragtime and related style improvisations on selected four-part chorales by J.S. Bach. These arrangements transform Bach’s short chorales into exciting and idiomatic concert pieces for piano while fully retaining the chorales’ original melodies and harmonies. Styles encountered in this collection include two-step rags, cake walk, waltz, etude, cool swing, march macabre, and hoedown. The ten pieces have been assembled in a strategic order so that they may be played in succession as an effective concert cycle. In addition, they may be played singly or in pairs and groups as the performer sees fit. A complete performance lasts approximately 36 minutes. This collection is ideal for piano students, teachers, and concert artists who seek fresh, new, and creative material for study and performance. Keyboard/Theory Published by: BachScholar.
SKU: GI.G-9124
ISBN 9781622771745. English.
Need to adapt an SATB work for your small SAB choir? Have sopranos who can’t sing divisi…but know a great trumpet player who is happy to help out? Need to simplify a viola part for a beginner? In straightforward, step-by-step fashion, authors Blake Henson and Gerald Custer show how to take a piece of existing music and craft a workable, polished arrangement that meets the needs of your ensemble in the real world. Arranging: A Beginner’s Guide is full of ideas, examples, and exercises to try out and adapt, grounded in the belief that arranging is not only a necessary skill, it is one that is relatively easy to learn and master. This book is written for conductors, church musicians, teachers, and students at all levels. Learn how to: • reconfigure a piece to fit your choral circumstances • translate your ideas into practical, performable music • turn a solo song into a choral piece • write a descant • transform a piano part into an arrangement for band or strings • extend a hymn into an anthem with introduction, interludes, and coda • create within copyright law With numerous examples and helpful tips—plus humor and insight—this engaging and practical workbook is designed to make the arranging process simple and fun. “We are generally familiar with an endless supply of songs and sounds. However, as performers and as listeners, we need ways of experiencing this information and inspiration in fresh and new ways for insight, understanding, and sometimes for the important and practical reasons of accessibility. This is at the core of Arranging: A Beginner’s Guide: Step-by Step Instructions and Exercises, and the tools we need to approach informed creativity are systematically outlined in this comprehensive guide to arranging.†—Tim Sharp, Executive Director American Choral Directors Association Sought after for his choral, solo vocal, and orchestral work, Blake Henson has received numerous commissions from choral and instrumental ensembles of all kinds. Dr. Henson is an experienced and popular teacher of theory and composition. A Grammy-nominated, award-winning composer and arranger with more than 95 works in print and two CDs, Jerry Custer teaches music theory and composition at Wayne State University in Detroit. Also by Blake Henson and Jerry Custer, available from GIA Publications, Inc.: From Words to Music: A User’s Guide to Text for Choral Musicians (G-8728) and The Composer’s Craft: A Practical Guide for Students and Teachers (G-8533).
SKU: CA.1631000
ISBN 9790007242800. Language: all languages.
1989. Stay in Aix-en-Provence, France, doing a language course. Reading, discussing and analyzing Les Georgiques; this pursuit is going to be the foundation of the multiple intellectual and literary levels of my composing. 2. THE WOODEN PLATFORM IS COVERED WITH FINE WHITE SAND (OR SALT), THE TWO SHELVES WITH BLACK CLOTH ... At the time I work on my first serious piece, still a far cry from the under-standing of writing music I have today. << tellement froid que >> (georgiques I) for bass flute, electronics and scene (1995-96), sections 1-7. << comme si le froid >> (georgiques II) for baritone saxophone, timpani and piano (1998), sections 18-24. << n'etait le froid >> (georgiques III) for orchestra (2000-2002), sections not yet decided. 3. THE INTERPRETER WILL BE DRESSED IN BLACK AND WHITE, MAINLY WHITE IF BLUISH LIGHT IS AT HAND ... The enormously rich vocabulary and the accuracy of expression - in temporal, spatial and material terms - is particularly impressive. To comprehend all of it, a reading on three different levels is called for: a first reading of one passage, then the acquisition of unknown vocabulary; thirdly a repeated - knowing - reading, which points out the utopia of precise expression: The text is treated in a rather problematic (cold: le froid?) manner: it's not the semantic content that is primarily dominant, but rather the outward appearance, the mise en page and the syntactic structure. 4. THE INTERPRETER ENTERS THE STAGE WITH ALL THE FLUTES (S)HE WILL PLAY DURING THE CONCERT AND DEPOSITS THEM - EXCEPT FOR THE BASS FLUTE - ON SHELF B; IF (S)HE ONLY PLAYS THIS PIECE, (S)HE SHOULD PUT THE PROGRAMME OF THE CONCERT THERE; IN ANY CASE THE INSTRUCTIONS IN BAR 195 MUST BE FOLLOWED ... In concrete terms the 10 centimetres of a line in the minuit edition correspond to 10 seconds of musical structure (which is three times as slow as the average reading speed). Only seven years later is the term / expression casse ferique changed into casse ferrique, and thus its secret is revealed, which almost becomes - due to its unreadability - the key to the planned musical cycle. The text is measured from section to section (big format: each section is marked with a continuous, ,,cold chord by the bass flute, played on tape recorder), from full stop to full stop (new entry of keynote material), from comma to comma (tripling of continuous resonances) etc. 5. DURING THE PERFORMANCE UP TO BAR 195, THE INTERPRETER WILL TRY - IN A KIND OF THEATRICAL ADAPTATION - TO EXPRESS HIS/HER OWN FEELING OF IRREPRESSIBLY GROWING FRUSTRATION; FROM BAR 195 ONWARDS (S)HE WILL DEFINITELY HAVE PUT UP WITH THE BASS FLUTE ... Brackets in the text bring about a reduction of sound (the differentiating micro tones are no longer used), the syntactical progression to subordinate clauses of the remotest degree has its immediate effect on dynamics (degree of volume). Then: the perception of a logical and yet erratic syntax, vastly progressive layers of subordinate clauses and brackets (lowering tone of voice?), a polyphony of ,,memoire, which leads to a maelstrom of attention, a tonally centric / concentrated (main material?) and progressive (subordinate and brackets-material?) reading, listening and proceeding. The different levels are constantly in touch - transferring the sensuous moment of scenes of bodily encounter (Tryptique) that are evoked again and again - in perpetual excitement of text and imagination, memory and remembering sensitivity. 6. THE BODY MOVEMENTS AND FIXATION (FIGE) , BOTH CLEARLY PERCEPTIBLE, WILL EVOKE AND SUPPORT THE SAME EMOTIONS ... The basic moods of the text will be reflected in the relationship (which is very important here) of the interpreter to the music; (s)he is somehow at the mercy of given (and not always transparent) structures on the one hand and the complexity of musical sensations on the other, which has to be defeated inspite of exhaustion. It's not only here that semantic agreement (besides the materialistic structure) of music and text can be felt: On top of that there's the existential helplessness in view of the mercilessly flowing polyphony of levels and events -- as a mirror of this there are the remembered scenes of the Flemish cold in the second chapter (Les Georgiques). The interpreters are confronted with unusual directions which correspond to the adjectives in the respective passages of the text: anachronique, engourdi, glace et acre, monotone et desert etc. The possibilities of interpretation are amplified, the ability to perceive and personal reaction is opened. The impression of this inexorability is multiplied in the extremest way by the fact that the particular layers can be found in Simon's complete works. It's a continuous work of art in which each novel turns into a chapter of a complex, cyclic whole; its title denoting only one main strand, as it were. A personal comment is made also as regards the clearly defined stage; the mise en scene points out the extra-musical elements and the correlation between text, human being and music. 7. THE INTERPRETER IS ASKED TO MOVE FREELY WITHIN A DEFINED SPOT WITHOUT LOOKING ARTIFICIAL; SOUNDS CAUSED BY THE FEET MOVING ON THE SAND ARE WELCOME DURING THE WHOLE PIECE ... And here the idea of a cycle is born, an attempt to transfer these nuances of memorized structures, this clarity and coldness, to transform the text into musical material. Walter Feldmann.
SKU: BT.DHP-1094715-120
From Ancient Times is a major work for brass band, inspired largely by the music of the Franco-Flemish School of the Renaissance. Hints of Gregorian chant and middle age dances pay tribute to music from even earlier times. The foundation of this spectacular work rests on truly ancient times; while the tonal language is of a much more modern nature! From Ancient Times is een mijlpaal in het oeuvre van Jan Van der Roost. Doorgaans vinden zijn werken hun oorsprong veelal in de Vlaamse vocaalpolyfonie uit de renaissancetijd. Maar met gregoriaans gezang en middeleeuwse dansen grijpthij nu terug naar nog eerdere tijden. De basis voor dit grootse werk mag dan in ‘ancient times’ liggen, de toonspraak is dat zeer zeker niet..!From Ancient Times ist ein Meilenstein in Jan Van der Roosts Oeuvre, das vor allem von der Musik aus der Zeit der flämischen Vokalpolyphonie inspiriert ist. Mit gregorianischen Reminiszenzen und einem mittelalterlichen Tanz wird jedoch auch auf noch ältere Musik zurückgegriffen: Grundlage dieses großartigen Werkes sind wahrlich alte Zeiten (ancient times), die Tonsprache hingegen ist vorwiegend modern. From Ancient Times est une oeuvre de grande envergure, qui puise dans la musique franco-flamande de la Renaissance. La trame s'appuie sur quelques principes et techniques d'écriture caractéristiques de cette école qui a profondément transformé la musique occidentale. On y trouve également des réminiscences grégoriennes et une danse médiévale, mais le langage sonore reste essentiellement moderne. From Ancient Times est un sublime hommage aux maîtres des temps anciens.From Ancient Times è un brano di grande impatto che attinge nella musica rinascimentale franco-fiamminga. La trama si appoggia su principi e tecniche di scrittura caratteristici di questa scuola che ha profondamente trasformato la musica occidentale. Si colgono anche reminescenze gregoriane e una danza medioevale, ma il linguaggio sonoro resta moderno. From Ancient Times è un omaggio ai grandi maestri dei tempi antichi.
