SKU: HL.234540
9.0x12.0x0.09 inches. English.
'This set of miniatures is based on traditional dance songs of the Yupik Eskimo people of Western Alaska. In their original forms, these melodies would be sung in unison. The first, third and fifth songs would be accompanied by frame drums. The second and fourth are game songs, for jumping rope and juggling pebbles. Aside from the obvious difference in instrumentation, my settings of these songs differ from the Yup'ik originals in other respects. I have extended and varied the melodies, and added countermelodies, ostinato figurations, introductions, interludes and codas. The first four melodies are drawn from the collection Yup'ik Eskimo songs, compiled by Thomas F. Johnston, and Tupou L. Pulu, and published by the University Of Alaska. The fifth was 'loaned' to me by Yup'ik singer and dancer Chuna McIntyre, who learned it in his village of Eek, Alaska. The poems preceding each piece are rough translations of the words to the songs. These verses are often cryptic and enigmatic. Their obscurity is increased because some of the words or their meanings have been lost, over time.' - John Luther Adams.
SKU: BT.GOB-000734-030
During the eighteenth century a person called 'the Dance Master' made his appearance in Ireland. He was a travelling dance-teacher, who moved from one village to another to teach the people there how to dance. They were often flamboyant personalities, gorgeously dressed and holding a staff in one hand. In order to teach their pupils the difference between their right and left leg, the dance master used to tie a small bunch of straw or hay to their leg and then would order them to either lift their 'hay-leg' or their 'straw-leg'. The dancing masters used to stay in one particular village for about six weeks (if they were not claimed by a neighbouringvillage), after which they continued their journey. Having a famous dance master gave a village a certain distinction and did not seldom lead to boasting and pride. Also on account of the popularity of Celtic music in general at the moment, William Vean was inspired to writing 'The Irish Dance Master'. He 'teaches' you two dances, the Reel and the Jig. In between these two dances there is a short breathing space, during which a traditional Irish rhythm can be enjoyed. In de achttiende eeuw verscheen een persoon met de naam ‘The Dance Master' op het Ierse toneel. Hij was een rondreizende dansleraar die van het ene dorp naar het andere trok om er mensen te leren dansen. Dit werk bestaat uit twee dansen: een Reel en een Jig.
SKU: BT.GOB-000733-120
SKU: BT.GOB-000733-020
SKU: BT.GOB-000734-130
SKU: HL.233157
9.25x12.0x0.13 inches.
Includes two copies of the performance score These pieces are inspired by the music and spirit of the Athabascan people of Alaska's boreal forest. The first and third dances are based on songs by Joe Beetus, a Koyukon elder from the village of Huslia. The second dance is based on a short traditional song of the Dena'ing people of the Kenai Peninsula, as remembered by the late Peter Kalifornsky and transcribed by the late Thomas F. Johnston. In their original setting these melodies would be sung in unison, with no harmony or counterpoint. Working as a composer in the Western tradition, I have extended and transformed them in many ways. I have 'borrowed' and 'set' these melodies with permission and with the hope that my treatment of them conveys my profound respect for their origins. The second and third pieces are derived from my setting of poems by Adeline Peter Raboff written in the dialect of her Gwich'in people, who inhabit the country from Arctic Village to Old Crow. I offer this music as a gesture of respect to the first peoples of the Northern Interior and the Kenai Peninsula. - John Luther Adams.
SKU: JK.20030
Energetic doublebass solo with piano accompaniment of Three Aztec Dances.Includes three movements:1. Warriors2. Dance of the Cureloms3. Village DanceComposer: A. Laurence Lyon.
SKU: LO.9781429134941
ISBN 9781429134941.
A suite of original songs, instrumental ensembles, and dances that portray a day in an imaginary African village - sunrise, the village, working, singing, hunt, sunset, and celebration. They can be performed with or without dramatization; some individual pieces are suitable for performance.
SKU: BT.GOB-000732-010
During the eighteenth century a person called ‘The Dance Master' made his appearance in Ireland. He was a travelling dance-teacher, who moved from one village to another to teach the people there how to dance. The piece consists of two dances, Reel and the Jig. In de achttiende eeuw verscheen een persoon met de naam ‘The Dance Master' op het Ierse toneel. Hij was een rondreizende dansleraar die van het ene dorp naar het andere trok om er mensen te leren dansen. Dit werk bestaat uit twee dansen: een Reel en een Jig. Im 18. Jahrhundert gab es in Irland den so genannten Dance Master“. Dieser war ein reisender Tanzlehrer, der von einem Dorf zum anderen zog, um den Menschen dort das Tanzen beizubringen. Dieses Stück besteht aus zwei Tänzen: einem Reel und einer Jig. Au cours du 18ème siècle le maître danser (dance master) est apparu en Irlande. Il voyageait d’un village l’autre pour enseigner la danse aux habitants. Ce morceau contient deux danses, le reel et la jig (gigue). Nel XVIII secolo una persona chiamata ‘The Dance Master' (Maestro di ballo) fece la sua comparsa in Irlanda. Era un insegnante di ballo che si spostava da un villaggio all’altro per insegnare alla gente a danzare. Il brano consiste in due danze, la Reel e la Giga.
SKU: BT.GOB-000732-140
SKU: BT.DHP-1043728-010
Everything started when two Frenchmen, Jacques Morali and Henri Belolo, after having sold over ten records with their band, the Ritchie Family, decided to try out something new. The basic idea was to form a new group inspired by the American male myths of the seventies: cowboys, Indians, men in leather clothes, soldiers and policemen. This is how the Village People were born.Their secret was their energy, cheerfulness and tongue in cheek humour combined with strong disco beat and an arresting visual presence. Even now a Village People song is guaranteed to fill the dance floor in any club or disco. The Best of Village People is a medley including the following pieces: In theNavy,Y.M.C.A. and Macho Man. Het begon allemaal toen twee Fransen, Jacques Morali en Henry Belolo, besloten iets nieuws te proberen, nadat zij meer dan tien miljoen platen hadden verkocht met hun groep The Ritchie Family. Het idee was een nieuwe groep te vormendie was ge nspireerd op de Amerikaanse machomythen van de jaren zeventig: cowboys, indianen, mannen in leer, soldaten en politieagenten. Zo kwamen de Village People in het leven. Hun geheim lag in het feit dat ze een pakkende discobeatcombineerden met een energiek, kleurrijk en humoristisch optreden. The Best of Village People is een medley die de volgende nummers bevat: In the Navy,Y.M.C.A. en Macho Man.Village People, die amerikanische Gruppe aus den 70-er Jahren haben längst Kultstatus erlangt. Ihr Erfolgsrezept bestand aus farbenfrohen Auftritten in Kostümen, die Cowboys, Indianer, Männer in Leder und Polizisten - die männlichen Mythen Amerikas - widerspiegelten und vor allem aber mitreißenden, fröhlichen Partyhits, die bis heute aus keiner Disco und von keinem Fest wegzudenken sind. Lorenzo Bocci schuf ein Medley für Blasorchester aus den drei größten Hits von Village People, das seine Wirkung garantiert nicht verfehlen wird.Formé en 1977 par deux auteurs et producteurs français (Jacques Morali et Henri Belolo), le groupe Village People se distingue par l’originalité presque politique de son concept artistique qui se voulait dénonciateur et parodique de la non-reconnaissance des minorités. Avec des chansons comme In the Navy,Y.M.C.A. et Macho Man, le groupe connaît un succès mondial et devient emblématique de la musique disco. En rassemblant ces trois tubes dans son medley pour Orchestre d’Harmonie, Lorenzo Bocci a parfaitement intégré le côté pétillant et excentrique qui fait l’originalité de ce groupe peu conventionnel.
SKU: BT.DHP-1043728-140
Everything started when two Frenchmen, Jacques Morali and Henri Belolo, after having sold over ten records with their band, the Ritchie Family, decided to try out something new. The basic idea was to form a new group inspired by the American male myths of the seventies: cowboys, Indians, men in leather clothes, soldiers and policemen. This is how the Village People were born.Their secret was their energy, cheerfulness and tongue in cheek humour combined with strong disco beat and an arresting visual presence. Even now a Village People song is guaranteed to fill the dance floor in any club or disco. The Best of Village People is a medley including the following pieces: In theNavy,Y.M.C.A. and Macho Man. Het begon allemaal toen twee Fransen, Jacques Morali en Henry Belolo, besloten iets nieuws te proberen, nadat zij meer dan tien miljoen platen hadden verkocht met hun groep The Ritchie Family. Het idee was een nieuwe groep te vormendie was ge nspireerd op de Amerikaanse machomythen van de jaren zeventig: cowboys, indianen, mannen in leer, soldaten en politieagenten. Zo kwamen de Village People in het leven. Hun geheim lag in het feit dat ze een pakkende discobeatcombineerden met een energiek, kleurrijk en humoristisch optreden. The Best of Village People is een medley die de volgende nummers bevat: In the Navy,Y.M.C.A. en Macho Man.Village People, die amerikanische Gruppe aus den 70-er Jahren haben längst Kultstatus erlangt. Ihr Erfolgsrezept bestand aus farbenfrohen Auftritten in Kostümen, die Cowboys, Indianer, Männer in Leder und Polizisten - die männlichen Mythen Amerikas - widerspiegelten und vor allem aber mitreiÃ?enden, fröhlichen Partyhits, die bis heute aus keiner Disco und von keinem Fest wegzudenken sind. Lorenzo Bocci schuf ein Medley für Blasorchester aus den drei gröÃ?ten Hits von Village People, das seine Wirkung garantiert nicht verfehlen wird.Formé en 1977 par deux auteurs et producteurs français (Jacques Morali et Henri Belolo), le groupe Village People se distingue par lâ??originalité presque politique de son concept artistique qui se voulait dénonciateur et parodique de la non-reconnaissance des minorités. Avec des chansons comme In the Navy,Y.M.C.A. et Macho Man, le groupe connaît un succès mondial et devient emblématique de la musique disco. En rassemblant ces trois tubes dans son medley pour Orchestre dâ??Harmonie, Lorenzo Bocci a parfaitement intégré le côté pétillant et excentrique qui fait lâ??originalité de ce groupe peu conventionnel.
SKU: BT.EMBZ20085
English-Hungarian.
Bartók's Mikrokosmos has been one of the milestones in pedagogical piano repertoire for 80 years - and yet it is also far more than a classical piano primer. These 153 piano pieces, organized in ascending order of difficulty, engage not only with technical aspects of piano playing but also with the fundamentals of composition - from Imitation and Inversion, Ostinato, and Free Variations, concerning compositional technique, to mood pieces and pieces with programmatic ideas such as Notturno, Boating, From the Diary of a Fly, or the famous Six Dances in Bulgarian Rhythm. Mikrokosmos first appeared in 1940 in six volumes. Based on volume 40 of the Bartók CompleteEdition published in 2020(Z. 15040), the present Urtext edition offers the series gathered in three volumes. This edition includes Bartók's preface, exercises, and notes written for the first edition. Furthermore, it also features a preface and comments by the editor, which not only discuss the genesis and the compositional sources but also provide performers, teachers and pupils alike, with authentic and detailed information about Bartók's notation and the specific performing problems of Mikrokosmos.
SKU: FT.FM628
ISBN 9790570485277.
‘P lateau of Dances with a Scottish Flavour’ Plateau of Dances with a Scottish Flavour was composed in autumn 2016, Eastbourne, and is inspired by my childhood in Doune, Perthshire; as well as the Ceilidhs and Fèis (cultural festival in the Highlands) my daughter, Clara, and I were immersed in when we lived in the picturesque village of Kingussie, Badenoch and Strathspey. The four dances are a celebration of my love and nostalgia for Scotland, and an expression of my family’s Scottish memories. Each dance comes with a quote from my favourite poet, Robert Burns, whose insightful and sensitive observations are a poignant appreciation of everyday life. Why the reference to Scottish food? Because this piece is dedicated to my father, Papou, who appreciates a merry supper. The 1st Movement, 'To the Mighty Haggis', is a Strathspey with its characteristic Scotch snap -a short-long rhythm, as if saying the word ‘haggis’; which is fitting as the Scottish bard’s quote comes from his poem Address to a Haggis, traditionally said on Burns’ Night. The 2nd Movement, 'The Humble Shortbread', is a Reel; as is usually the case in Scottish dances. It should be played with a slightly ‘snappy’, swung rhythm. 'What though on homely fare we dine, [...] A man is a man for all that' comes from my favourite Burns’ poem: A Man's a Man for A' That. And who doesn’t enjoy the humble shortbread? There is a more reflective, nostalgic mood to the 3rd Movement, 'Ode to the Homely (salty) Porridge'. The Air is a reminiscence of the quiet evenings Clara and I would spend in Kingussie, with our view of the beautifully haunting mountains. 'What will I get to my supper, [...] Ye'se get a panfu' o' plumpin parridge' comes from Burns’ The Shepherd’s Wife who tries to entice her husband back home with the promise of porridge (the Scottish way: with salt). Finally, the 4th Movement, 'Too Many Drams of Whisky', is a cheerful and lively Jig. It’s the convivial merriness of being with friends and family, maybe at a Ceilidh, with a wink to Scotland’s ‘water of life’. 'We'll tak a cup o' kindness yet, For auld lang syne' comes from Burns’ famous Auld Lang Syne: a fitting end to our musical and culinary tour of Scotland.
SKU: BT.EMBZ60
English-German-Hungari an.
'Bartók wrote the first dance around the time of the Romanian movements of the 'Seven Sketches', after his first trip collecting Romanian folk music in July-August 1909. The second dance is the fruit of March the following year, and it was only after some time he decided they should be published as a pair. From the beginning, audiences were impressed by the first dance, in the composer's peculiar performance, with its initial drumming, and its driving rhythms. If less popular, compositionally the second dance is more original. He parades and varies his material in a chain form, and this too is reminiscent of the dances heard in the playing of Romanian Transylvanian villagemusicians, which in his scholarly work Bartók called 'motive dances.' (HCD 32525 Bartók New Series Vol. 25, László Somfai).
SKU: BT.EMBZ20083
