Matériel : Conducteur et Parties séparées
SKU: BA.BA05855
ISBN 9790006497942. 33.1 x 26.1 cm inches. Text: Christoph Gottlieb Wend.
In Die Last-tragende Liebe oder Emma und Eginhard (1728) several strands and levels of plot are interwoven in complex fashion. The serious is intertwined with the comic, affairs of state with the individually human. People of high rank and lower rank communicate with each other, one group perfectly understanding the language of the other and even capable of speaking it if necessary.Charlem agne, emerging victorious from a war, learns that his daughter Emma and his secretary Eginhard have fallen in love with each other. As Emperor, Charlemagne, pressed by his wife Fastrath, has to oppose this relationship, but as a loving father he comes into conflict, as Emma has to decide between her love or a marriage befitting her social standing. In addition to this, Emma is wooed by Prince Heswin who in turn is loved by Emma’s friend Hildegard. The servant Barbara, who is pursued by the factotum Urban, is in love with Eginhard, but it is Steffen, the commentator on everything, who succeeds in winning her.Telemann†™s highly complex music, expressive and emotional, artistic and stylish, is suited to each and every situation and level – “an incomprable masterpiece by Herr Telemann who is never praised enoughâ€, as the printed libretto stated.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?< /p> MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
What can I expect from a Barenreiter Urtext edition?< /p>
MUSICOLOGICA LLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: HL.14033723
ISBN 9788759891322. Danish.
Together Apart/Apart Together for Saxophone, Accordion and Double Bass was composed by Karsten Fundal in 2004. Written for and commissioned by Poing. Programme note: This piece is the 3rd in a row of pieces, which concentrates on a rhythmical relationship that continues to puzzle me. It is actually two relationships embedded. The 1st is a pattern that is very inspired by the composer Per Norgard, who in the beginning of the 90's got very preoccupied with the idea that you can have rhythms that never meet. This happens if you start a rhythm, like a quintuplet, on the beat and one, like a triplet, off beat. This can, with different rhythms, give very intricate interwoven patterns, that gives the illusion that they are not cyclic. In my case I use the two ratio five to seven, in the described way. This rythms have the strange property that if you take each 5th note of the seven and each 7 note of the five you get a ratio almost identical: 49:50. This is very intriguing, as you can use the possibility of letting them be equal or the possibility of letting them interfere. In the first case you get an interlocking rhythm which is smooth: an equal rhythmic pattern. In the second case you get a similar situation, but where one of them is one short after 50 of the other ones, which results in a disturbing almost equality, but not quite. Therefore the title: because when I use the unequal rhythm I put the two layers in a similar tone register, or a similar way of playing, and when I use the equal one I put them a part tone wise speaking. This is a very technical description, but it is very hard to put it in more wide terms, but you might compare it with driving in a train and looking at two fence rows behind each other: if the poles are placed exactly halfway between each other you will experience an illusion of a fast jump if there is enough distance between them, as a result of the perspective. If they are placed in a way that there are almost the same numbers of poles, like 49:50, you will experience a very complex pattern, which seems unpredictable. But of course when using it in music the whole thing is somewhat different, but even then it gives an idea of my preoccupation. What also intrigues me is that the relations are very hard to use in a musical way, and that is also quire a challenge.' Finally I have to say that I enjoyed very much writing for Poing, as these crazy guys are capable of doing almost anything you want in an nearly literal sense. - Karsten Fundal summer 2004.
SKU: MB.20819M
ISBN 9780786687039. 8.75 x 11.75 inches.
Finally, a great method which will show you how to play the acoustic jazz guitar in the style of players like Django Reinhardt, Oscar Alleman and Eddie Lang - their style is characterized by a powerful rhythm guitar and a vital swinging single-note solo line. Due to the fact that it can be very hard to master the original transcriptions, this book simplifies this style without losing the essence of the original sound. Written in standard notation and TAB, the material can be played by students and players that master the easy to intermediate level on plectrum style jazz guitar. All titles are included on the audio download available online, as well as some play along tracks which offer a great possibility to improvise on typical gypsy chord changes and rhythms.
SKU: BT.DHP-1165716-010
The Police was one of the most prominent bands during the 80’s, dominating the charts with numerous hits. The Norwegian Richard Johnsen has been around the block as an arranger in the pop and jazz band genre and is well known for making colourful orchestrations and arrangements that stay very close to the original song. Enjoy one of the biggest hits from The Police - Every Little Thing She Does Is Magic! The Police was een van de belangrijkste bands van de jaren tachtig; de groep domineerde de hitlijsten met talloze nummers. De Noorse arrangeur Richard Johnsen, die al een tijdje actief is in het pop- en jazzgenre, staat bekend om zijn kleurrijke instrumentaties en arrangementen die dicht bij de originele song blijven. Dat wordt genieten geblazen met een van de grootste hits van The Police: Every Little Thing She Does Is Magic! The Police war eine der erfolgreichsten Bands in den 1980er-Jahren, die die Charts mit zahlreichen Hits eroberte. Der Norweger Richard Johnson ist als Arrangeur im Bereich der Pop- und Jazzmusik bekannt für seine lebendigen Orchestrierungen und Arrangements, die sehr nah am Original bleiben. Genießen Sie einen der größten Hits von The Police: Every Little Thing She Does Is Magic! The Police est l’un des groupes les plus célèbres des années 1980, dominant au hit-parade avec ses nombreux tubes. Le norvégien Richard Johnsen, arrangeur qui se concentre sur les genres pop et jazz band, est connu pour ses orchestrations colorées et ses arrangements fidèles la chanson originale. Amusez-vous avec l’un des plus grands tubes de The Police Every Little Thing She Does Is Magic ! I Police sono stati una delle band più importanti degli anni ’80 e hanno dominato le classifiche con numerose hit. Richard Johnsen è un arrangiatore norvegese che ha all’attivo numerose collaborazioni nel panorama musicale pop e jazz ed è particolarmente apprezzato per le sue orchestrazioni ricche di colore e per gli arrangiamenti particolarmente fedeli all’originale. Godetevi quindi una delle più grandi hit dei Police: Every Little Thing She Does Is Magic!
SKU: BT.DHP-1165716-140
