Valerie

SKU: BT.DHP-1135412-140

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

Just a year after the English rock band The Zutons had considerable success with Valerie in Great Britain, Mark Ronson and Amy Winehouse released a cover version - a version that was funkier, more upbeat and, in typical Winehouse fashion, more soulful, which shot up the charts in many countries. Valerie is surely one of the hits that immortalises the singer who died in 2011 and will find a welcome place in the repertoire of every concert band.

Een jaar na het grote succes dat de Engelse rockband The Zutons in eigen land had met Valerie, verscheen de coverversie van Mark Ronson en Amy Winehouse. Deze vlotte, funky versie in soulstijl, zo typisch voor Amy Winehouse, veroverde in snel tempo de hitlijsten van vele landen. Het is een blijvende herinnering aan de veel te jong overleden zangeres. Met dit arrangement van Valerie presenteren wij een onsterfelijke hit die niet mag ontbreken aan uw repertoire!

Bereit s ein Jahr nachdem die englische Rockband The Zutons mit Valerie einen beachtlichen Erfolg in Großbritannien hatten, kam die Coverversion von Mark Ronson und Amy Winehouse heraus. Die funkigere, flottere und - typisch für Amy Winehouse - souligere Version des Songs eroberte rasch die Charts in vielen Ländern. Valerie ist sicherlich einer der Hits, die das Andenken an die 2011 verstorbene Sängerin unsterblich machten und gehört damit in das unterhaltsame Repertoire jedes Blasorchesters.

Un e seule année s’est écoulée entre la sortie de la chanson Valerie, interprétée par le groupe de rock anglais The Zutons, qui eu beaucoup de succès au Royaume-Uni, et la reprise de Mark Ronson et Amy Winehouse. Plus funky, plus optimiste et typiquement plus «winehousienne», cette version soul a rapidement conquis les hit-parades de nombreux pays. L’arrangement de Peter Kleine Schaars rend hommage la grande chanteuse décédée en 2011, avec ce titre récréatif et pétillant de fraîcheur !

Appena un anno dopo aver ottenuto un buon successo con Valerie, nell’interpretazio ne della rock band britannica The Zutons, Mark Ronson la riadattò con suoni jazz e con atmosfere vintage pensando bene di completare il tutto con la bellissima voce di Amy Winehouse. Questa versione si catapultò in vetta alle chart di molti paesi e rimane a oggi un ricordo struggente della straordinaria artista scomparsa nel 2011.

SKU: BT.DHP-1135412-010

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

Just a year after the English rock band The Zutons had considerable success with Valerie in Great Britain, Mark Ronson and Amy Winehouse released a cover version - a version that was funkier, more upbeat and, in typical Winehouse fashion, more soulful, which shot up the charts in many countries. Valerie is surely one of the hits that immortalises the singer who died in 2011 and will find a welcome place in the repertoire of every concert band.

Een jaar na het grote succes dat de Engelse rockband The Zutons in eigen land had met Valerie, verscheen de coverversie van Mark Ronson en Amy Winehouse. Deze vlotte, funky versie in soulstijl, zo typisch voor Amy Winehouse, veroverde in snel tempo de hitlijsten van vele landen. Het is een blijvende herinnering aan de veel te jong overleden zangeres. Met dit arrangement van Valerie presenteren wij een onsterfelijke hit die niet mag ontbreken aan uw repertoire!

Bereit s ein Jahr nachdem die englische Rockband The Zutons mit Valerie einen beachtlichen Erfolg in Großbritannien hatten, kam die Coverversion von Mark Ronson und Amy Winehouse heraus. Die funkigere, flottere und - typisch für Amy Winehouse - souligere Version des Songs eroberte rasch die Charts in vielen Ländern. Valerie ist sicherlich einer der Hits, die das Andenken an die 2011 verstorbene Sängerin unsterblich machten und gehört damit in das unterhaltsame Repertoire jedes Blasorchesters.

Un e seule année s’est écoulée entre la sortie de la chanson Valerie, interprétée par le groupe de rock anglais The Zutons, qui eu beaucoup de succès au Royaume-Uni, et la reprise de Mark Ronson et Amy Winehouse. Plus funky, plus optimiste et typiquement plus «winehousienne», cette version soul a rapidement conquis les hit-parades de nombreux pays. L’arrangement de Peter Kleine Schaars rend hommage la grande chanteuse décédée en 2011, avec ce titre récréatif et pétillant de fraîcheur !

Appena un anno dopo aver ottenuto un buon successo con Valerie, nell’interpretazio ne della rock band britannica The Zutons, Mark Ronson la riadattò con suoni jazz e con atmosfere vintage pensando bene di completare il tutto con la bellissima voce di Amy Winehouse. Questa versione si catapultò in vetta alle chart di molti paesi e rimane a oggi un ricordo struggente della straordinaria artista scomparsa nel 2011.

SKU: BT.DHP-1155660-010

English-German-French- Dutch.

On July 23 2011, the news of the death of Amy Winehouse shocked the entire world. What could have been one of the most impressive careers in the history of pop and modern soul, was halted by a tragic event which no one will forget. The best way tohonour Amy Winehouse now is through her music. A Tribute to Amy Winehouse includes all of the songs which earned her cult status and made her unforgettable You Know Iâ??m No Good, Valerie, Love Is a Losing Game, Back to Black andRehab.

Op 23 juli 2011 werd de wereld opgeschrikt door het nieuws over de dood van Amy Winehouse. Aan wat een van de meest indrukwekkende carrières in de geschiedenis van de pop en moderne soul had kunnen worden, kwam op tragische wijze een eind. De bestemanier om Amy Winehouse nu in ere te houden, is door middel van haar muziek. A Tribute to Amy Winehouse omvat alle songs waarmee ze haar cultstatus verwierf en waardoor ze onvergetelijk werd: You Know Iâ??m No Good, Valerie, Love Is a LosingGame, Back to Black en Rehab.

Die Nachricht vom Tod Amy Winehouses am 23. Juli 2011 schockierte die ganze Welt. Was die beeindruckendste Karriere in der Geschichte der Pop- und modernen Soulmusik hätte werden können, wurde durch ein tragisches Ereignis beendet, das niemandvergessen wird. Man kann Amy Winehouse am besten mit ihrer Musik ehren. A Tribute to Amy Winehouse umfasst alle Songs, durch die sie Kultstatus erreicht hat und die sie unvergesslich machen You Know Iâ??m No Good, Valerie, Love Is a LosingGame, Back to Black und Rehab.

La mort dâ??Amy Winehouse le 23 juillet 2011 choqua le monde entier. Sa carrière, interrompue par un évènement que personne nâ??oubliera, aurait pu être lâ??une des plus célèbres de lâ??histoire de la musique pop et du soul moderne. La meilleure façondâ??honorer Amy Winehouse aujourdâ??hui est travers sa musique. A Tribute to Amy Winehouse inclut toutes les chansons lâ??origine de la réputation culte de la chanteuse, et qui lâ??ont rendue inoubliable You Know Iâ??m No Good, Valerie, Love Isa Losing Game, Back to Black et Rehab.

Il 23 luglio 2011 lâ??improvvisa scomparsa di Amy Winehouse sconvolse il mondo intero. La sua morte ha stroncato una delle più promettenti carriere della storia del modern soul. Solo attraverso la sua musica è possibile tenere viva la fiamma creativadella popstar britannica. Per questo è stato pensato A Tribute to Amy Winehouse è un medley che raccoglie le canzoni che ne hanno reso la breve quanto intensa carriera indimenticabile: You Know Iâ??m No Good, Valerie, Love Is aLosing Game, Back to Black and Rehab.

SKU: BT.DHP-1155660-140

English-German-French- Dutch.

On July 23 2011, the news of the death of Amy Winehouse shocked the entire world. What could have been one of the most impressive careers in the history of pop and modern soul, was halted by a tragic event which no one will forget. The best way tohonour Amy Winehouse now is through her music. A Tribute to Amy Winehouse includes all of the songs which earned her cult status and made her unforgettable You Know I’m No Good, Valerie, Love Is a Losing Game, Back to Black andRehab.

Op 23 juli 2011 werd de wereld opgeschrikt door het nieuws over de dood van Amy Winehouse. Aan wat een van de meest indrukwekkende carrières in de geschiedenis van de pop en moderne soul had kunnen worden, kwam op tragische wijze een eind. De bestemanier om Amy Winehouse nu in ere te houden, is door middel van haar muziek. A Tribute to Amy Winehouse omvat alle songs waarmee ze haar cultstatus verwierf en waardoor ze onvergetelijk werd: You Know I’m No Good, Valerie, Love Is a LosingGame, Back to Black en Rehab.

Die Nachricht vom Tod Amy Winehouses am 23. Juli 2011 schockierte die ganze Welt. Was die beeindruckendste Karriere in der Geschichte der Pop- und modernen Soulmusik hätte werden können, wurde durch ein tragisches Ereignis beendet, das niemandvergessen wird. Man kann Amy Winehouse am besten mit ihrer Musik ehren. A Tribute to Amy Winehouse umfasst alle Songs, durch die sie Kultstatus erreicht hat und die sie unvergesslich machen You Know I’m No Good, Valerie, Love Is a LosingGame, Back to Black und Rehab.

La mort d’Amy Winehouse le 23 juillet 2011 choqua le monde entier. Sa carrière, interrompue par un évènement que personne n’oubliera, aurait pu être l’une des plus célèbres de l’histoire de la musique pop et du soul moderne. La meilleure façond’honorer Amy Winehouse aujourd’hui est travers sa musique. A Tribute to Amy Winehouse inclut toutes les chansons l’origine de la réputation culte de la chanteuse, et qui l’ont rendue inoubliable You Know I’m No Good, Valerie, Love Isa Losing Game, Back to Black et Rehab.

Il 23 luglio 2011 l’improvvisa scomparsa di Amy Winehouse sconvolse il mondo intero. La sua morte ha stroncato una delle più promettenti carriere della storia del modern soul. Solo attraverso la sua musica è possibile tenere viva la fiamma creativadella popstar britannica. Per questo è stato pensato A Tribute to Amy Winehouse è un medley che raccoglie le canzoni che ne hanno reso la breve quanto intensa carriera indimenticabile: You Know I’m No Good, Valerie, Love Is aLosing Game, Back to Black and Rehab.

SKU: PR.114418820

ISBN 9781491113998. UPC: 680160667697.

Compo sed by Telemann as a double concerto for recorder and transverse flute, Zart Dombourian-Eby’s new edition is prepared for piccolo, flute, and piano — remaining compatible with available orchestral editions, and respectfully faithful to Telemann’s detailed nuances. Cast in the slow-fast, slow-fast four-movement mold typical of Baroque concert works, the CONCERTO IN E MINOR is at once among the most beautiful and exhilarating works of Telemann’s formidable output.__________________ ____________________Text from the scanned back cover:ZART DOMBOURIAN-EBY is the Principal Piccoloist of the SeattleSymphony and is regularly featured as both a soloist and clinician in Seattle and across the world. Her performances consistently receive highest praise from both critics and audiences. A native of New Orleans, she received B.A. and M.M. degrees from Louisiana State University. After a year of study with Albert Tipton she attended Northwestern University earning a Doctor of Music degree under the tutelage of Walfrid Kujala. She has been a member of the New Orleans Pops, Baton Rouge Symphony, Colorado Philharmonic, and the Civic Orchestra of Chicago. She has performed with the Chicago Symphony and served on the faculties of the University of Washington and Pacific Lutheran University. She was the founding editor of Flute Talk and ison the Editorial Board for The Flutist Quarterly. Zart is the immediate past president of the National Flute Association, and been a featured soloist and presenter at numerous NFA conventions. Zart has commissioned numerous works, including two for piccolo and piano by Martin Amlin, sonatas by Gary Schocker and Levente Gyongyosi, and a chamber work by Ken Benshoof. She can be heard in over 100 recordings by the Seattle Symphony, and her solo CD, in shadow, light, is available on Crystal Records. Her award-winning edition of the three Vivaldi piccolo concertos is published by Theodore Presser.A native of Seattle, VALERIE SHIELDS received her B.M. summa cum laude in organ and violin from St. Olaf College. While completing her M.M. from Northwestern University, she became increasingly interested and skilled in the art of improvisation. She served as Director of Music at St. Luke’s Lutheran Church in Park Ridge, Illinois, where she developed a music program involving over 150 participants in choirs and chamber music groups.Upon her return to Seattle, she served for 12 years as director of adivision of the Northwest Girlchoir. She became organist and developed a vibrant Youth Choir at Phinney Ridge Lutheran Church, where she served for over 30 years, as well as enjoying a 20-year tenure as Music Director and Composer-in-Residence of Temple De Hirsch Sinai. Valerie’s work with children’s choirs,churches, and synagogues has inspired over 100 published compositions.
When I was invited to perform a Vivaldi piccolo concerto in Italy a few years ago, my host, Luisa Sello, wrote that Carol Wincenc was going to be on the same concert, and was there any piece that we could play together? I looked and asked around, and my colleague Joanna Bassett recommended the Telemann Concerto in E Minor for Traverso and Recorder. I didn’t know the piece, but as I listened to a recording of it, I immediately loved it and could easily envision how beautifully it could work, with a few “adjustments,� � for flute and piccolo. I got to work, and the current publication is the result. I have performed it many times, and enjoy it even more every time. It fits a unique place in our repertoire, and works equally well with piano as with the string orchestra setting.According to Steven D. Zohn, pre-eminent Telemann scholar, and author of Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s Instrumental Works, much is unknown about the concerto itself; it likely dates from the 1720s, soon after Telemann moved to Hamburg. Only an eighteenth-century copyist’s set of parts is extant, that of Johann Samuel Endler, who was engaged at the Darmstadt court as a singer and violinist, later becoming Vice-Kapellmeister and Kapellmeister, and who had a large collection of Telemann’s works.As in my Vivaldi concertos edition (Presser 414-41190), I have added virtually all of the articulations and dynamics that appear here, and have inserted quite a bit of ornamentation. Unlike the Vivaldi edition, I have not included any indication of the original Telemann in those passages, nor have I included any pedagogical markings, such as fingerings.Finally, I would like to acknowledge, with gratitude, Joanna Bassett, Daniel Dorff, Benton Gordon, Evan Pengra-Sult, Sandra Saathoff, Valerie Shields, Carol Wincenc, and Steven Zohn, for the various roles they played in the making of this publication.— Zart Dombourian-EbyJune 2018.