Decades of Dance - DVD

SKU: BT.AMP-453-140

English-German-French-Dutch.

Zodiac Dances was commissioned by the Izumiotsu City Band, Osaka, Japan to celebrate their 50th anniversary. Sparke had previously written the piece, Prelude to a Celebration for the band, and in composing a new piece for their 50th anniversary wanted to personalise it to reflect the band’s history. He chose to write a set of six dance-miniatures based on the decades following the band’s foundation and the equivalent signs from the Japanese ‘Junishi’. During the piece, all aspects of true musicianship come to the surface. Energetic playing, phrasing, melodic music making, technique and a spectacular finale make this work a perfect test or concertwork!

Zodiac Dances werd geschreven in opdracht van de Izumiotsu City Band uit Osaka, Japan, ter gelegenheid van het vijftigjarig bestaan van dit orkest. Eerder al heeft Sparke voor dit orkest Prelude to a Celebration gecomponeerd. Met dit nieuwe werk voor het vijftigjarig bestaan wilde hij de geschiedenis van het orkest weerspiegelen. Hij koos voor een set van zes dansminiaturen, gebaseerd op de decennia na de oprichting, in combinatie met de bijbehorende sterrenbeelden uit de Japanse Junishi. In dit werk komen alle aspecten van het ware muzikantschap naar voren. Levendig spel, frasering, melodisch spel, techniek en natuurlijk een spetterende finale maken diteen perfect wedstrijd- of concertstuk!

Zodiac Dances wurde von der Izumiotsu City Band aus Osaka (Japan) anlässlich ihres 50-jährigen Bestehens in Auftrag gegeben. Philip Sparke schuf eine Suite aus Miniaturtänzen, von denen jeder jeweils ein Jahrzehnt und das entsprechendejapanische Tierkreiszeichen symbolisiert. Das Werk ist energiegeladen und melodisch bis zum spektakulären Finale und damit ein perfektes Wettbewerbs- oder Konzertstück!

Zodiac Dances est une commande de l’Izumiotsu City Band d’Osaka, Japon, pour leur 50e anniversaire. Sparke avait déj composé l’œuvre Prelude to a Celebration pour cette formation auparavant, et il désirait personnaliser ce nouveau morceau pour refléter l’histoire de l’ensemble. Il a décidé d’écrire six danses miniatures basées sur les six décennies suivant la création de l’orchestre en les mettant en lien avec les signes équivalant ces années dans le « Junichi » japonais. Cette composition fera appel toutes vos connaissances musicales. Une interprétation énergique et mélodique, les phrasés, le côté technique et le final spectaculaire en font une œuvreidéale pour vos concours ou concerts !

Zodiac Dances è una commissione della Izumiotsu City Band di Osaka, in Giappone, per la celebrazione del suo cinquantesimo anniversario. Nel comporre un nuovo brano per la ricorrenza dell’anniversario ha voluto creare un’opera che si ispirasse alla storia di questa formazione. Ha scelto di scrivere un set di sei danze in miniatura ispirate ai decenni che hanno seguito la fondazione della banda e ai segni equivalenti del “Junishi” giapponese. L’energia dell’esecuzione, il fraseggio, la melodia, gli aspetti tecnici e un finale spettacolare rendono questo brano perfetto per un esame o un concerto!

SKU: HL.50600462

UPC: 888680602598. 8.25x11.75 inches.

It so happens, time and again, that composers have written one work or another with great élan and then withheld it for a while. This is rather an exception with Sofia Gubaidulina. Nonetheless, several decades passed before the striking “Tatar Dance” for bayan and two double basses - unusual simply in view of its instrumental combination - could now be published as a printed edition. The “Tatar” Dance was composed in 1992, and it is thanks to the bayan virtuoso Friedrich Lips that he continued to speak to the composer about this wonderful composition and motivated her to have it published. Lips has now edited the work which is full of magnificent new sounds, with the double basses forming a sonorous counterpoint to the bayan. The world premiere of the chamber work “Tatar Dance” was given on 25 July 1992 by the soloists Elsbeth Moser (bayan), Wolfgang Güttler and Alexander Suslin (both double bass) in Hitzacker. Sofia Gubaidulina dedicated this work to Viktor Suslin.

SKU: HL.102483

UPC: 884088672300. 6.75x10.5x0.157 inches.

Dick Clark and American Bandstand chronicled over three decades of American Rock & Roll music and shaped pop culture history for generations of fans. This 18-minute medley highlights some of the greatest memories in a fast-paced retrospective that will appeal to every audience! In four sections, it is easily adaptable for a variety of performance options and includes choreography by John Jacobson. Songs include: Bandstand Boogie, Rock Around the Clock, That'll Be the Day, Smoke Gets in Your Eyes, La Bamba, The Twist, I Get Around, I CanÂ’t Help Myself (Sugar Pie, Honey Bunch), I'm a Believer, For Once in My Life, Bad, Bad Leroy Brown, ABC, Last Dance, Jump (For My Love), We Built This City, Auld Lang Syne.

ISBN 9781622776436.

Drawing from his five decades of success as a conductor and educator in the choral field, Will Kesling has compiled a comprehensive choral methods resource that addresses every necessary fundamental for achieving artistry in the choral art. Written in clear and conversational language, this resource covers: Building a healthy and beautiful choral sound Dealing with vocal issues Selecting repertoire and programming concerts Developing score study skills and interpretive insights Understanding the characteristics of musical periods and composers Planning, preparing for, and running rehearsals The Voices I Hear also explores important but often overlooked topics, including a discussion of performing sacred music in secular education settings, techniques for performing choral-orchestral works, choral versus orchestral conducting, and how to become a true “maestro.” Individual chapters also function as standalone topics of study. A valuable read for emerging and seasoned conductors alike, The Voices I Hear is an expert study of the aesthetic, intellectual, and practical aspects of the choral art. Dr. Will Kesling is Professor of Choral and Orchestral Conducting at the University of Florida, where he has taught for two decades. He has conducted hundreds of choral ensembles and nearly fifty of the world’s finest symphony orchestras. His ensembles have received international attention for their excellence and musical expression.   Thank you, Dr. Kesling, for the decade you gave of yourself to write the most complete and comprehensive writing on the topics of choral techniques, methods, and conducting I have seen. It is in-depth yet practical, to the point of being a valuable resource for both the young conductors entering the choral field to the well-established professionals. You have given us a solid foundation in all significant areas of the choral art, including, among many others, the production of beautiful vocal tone, detailed physical vocal production, textual and physical components of English diction, repertoire programming, appropriate style, interpretation and phrasing, and a pathway to successful conducting of combined choral and orchestral forces. Your enormous and highly successful career, with worldwide performances and numerous awards and honors, has enabled you to bring validity and integrity to the entire writing. —Donald Neuen     Distinguished Professor Emeritus, UCLA     Former member of the Robert Shaw Chorale     Mr. Shaw’s Assistant Conductor with the Atlanta Symphony Orchestra and Choruses For more than 50 years, Dr. Will Kesling has been and continues to be a prominent figure and voice in the International and American choral profession. His new book, The Voices I Hear, is the distillation of his long and distinguished career as a conductor and choral music educator. The driving and consuming passion throughout Kesling’s life is the preparation and performance of the world’s rich and diverse choral and orchestral repertoire and the education, development, and growth of those who perform and conduct it. This book is a summation of a lifetime immersed in the choral art and all its many aspects. It overflows with insights into the choral art that will not only instruct the beginning conductor but also will enlighten and entertain the seasoned professional conductor and educator. It is filled with wit, wisdom, and practical advice to all practitioners of the choral arts. I enthusiastically recommend Kesling’s enlightening new book as an important addition to the choral pedagogy bibliography and for use as an invaluable new text for choral practicum classes for both graduate and undergraduate students. Dr. Kesling has brought to the choral profession significant new insights to all lovers of the choral art. —Craig Jessop     Professor of Music, University of Utah     Former Music Director of the Tabernacle Choir and Orchestra at Temple Square     and the United States Air Force Singing Sergeants Will Kesling’s book, The Voices I Hear, is practical and philosophical, useful and inspirational, focused and comprehensive. The observations and advice are based on his vast personal experiences on the podium with choirs and orchestras, and the book is a monumental resource for both the young conductor and the veteran. Containing a broad spectrum of musical styles, composers, and topics, Kesling’s direct and practical writing connects immediately with today’s choral musician. Keep The Voices I Hear nearby as there will be many times down the road where the information and opinions in Dr. Kesling’s book will answer the questions you have, as well as the ones you didn’t even know to ask! —Jerry Blackstone     Professor Emeritus of Music (conducting) and Director of Choirs (retired)     School of Music, Theatre & Dance, University of Michigan This is the textbook I wish had been available when I was beginning my studies. It is comprehensive in scope, practical and helpful in its suggestions, and, perhaps most surprising in a book from an academic, superbly written in clear and powerful English. Kesling speaks with conviction, clarity, and polish, and he finds colorful and memorable ways of making his points and presents the material from the perspective of one who has done all these things for decades at a highly professional level. I give this volume the highest possible recommendation. —Daniel Gawthrop     Composer & Conductor.

SKU: HL.4008004

How often has something been justified by, declared to be, or blessed as “in the name of” some cause or other? How can it be that opposing armies and the use of weapons are ever “in the name of”...? This is a common thread in the history of different faiths. Good was created but evil was committed and all “in the name of...” This thread is also found in the history of the Premonstratensian Abbey at Wadgassen. The abbey was built in the 12th century on unfertile, desolate moorland, which later evolved into the most powerful religious community in the Saarland. The history of the abbey records quite astounding achievements under the motto desertum florebit quasi lilium (“the desert will bloom like a lily”); but also the harsh treatment of delinquents. The order had its own school, in which children were taught the seven liberal arts (which included music as well as geography and astronomy), but the poor were left to starve outside the abbey walls and were only allowed to eat from the members' on feast days. The medieval witch trials demanded their pound of flesh, and one group that fell victim were ecstatic dancers who moved wildly to music--which was interpreted as the devil's work. The result: a show trial that sentenced the dancers to death by fire. All in the name of... The year is 1789: Abbot Bordier is in the tenth year of his command. He does not yet know that he is to be the last abbot of an almost 700-year-tradition. Not far from the abbey is the French border, which has long been making itself felt with the sound of gunfire, and the brothers continue to keep a nervous eye on it. The first portents of the French Revolution loom, but no one wants to believe it--that is, until the French pound the door down, storm the abbey and come right into the brothers' chambers. In a blind fury, all the pipes of the abbey organ are torn out, icons beheaded with swords and brothers beaten death while numerous buildings are set on fire. The abbey church is in flames. A frantic and desperate escape begins. Abbot Bordier and a handful of brothers make their getaway via the River Saar, adjacent to the abbey, to the neighbouring village of Bous. They survive, but their life--the Premonstratensian abbey--is destroyed. While they flee towards Prague and the sanctuary of the Strahov Monastery, the abbey at Wadgassen is razed to the ground and becomes a stone quarry. The desert blooms once more, however. A few short decades later, a glasswork arises from the foundations of the abbey. As peace returns to the region, it brings jobs and a new vision for its people.

ISBN 9781622776795.

Music education belongs on a somatic foundation because musicians move for a living, like dancers and athletes, except that musicians’ movement is even more refined, precise, and rapid. —Barbara Conable This primer for all musicians provides a reliable base for a lifetime of playing and singing. The principles in these pages are the elemental foundation of music education, and will protect a musician from injury, promote the physical freedom and sensitivity needed for technical mastery, and secure the embodied intelligence that grounds musical power and subtlety. Musicians teaching from these principles will see their students thrive. Students studying and restudying these pages will delight in their enhanced performance. This book also serves as the text of a six-hour course on Body Mapping for musicians developed by Barbara Conable. What’s New in the Revised Edition? Created with the input of experienced Licensed Body Mapping Educators, and led by Body Mapping expert Bridget Jankowski, this revision includes: Updated and enlarged images—big enough for coloring. Streamlined and clarified content based on new science. An updated format that follows the associated Body Mapping course more closely. Additional room for notes at the end of each section. Knowledge from the scientific community continues to inform the work of the Association for Body Mapping Education. The book’s associated Body Mapping course of the same name has evolved over the past two decades, and an updated text for the course will be a valuable resource for novice and seasoned Body Mapping Educators alike. Bridget Jankowski was the first person to become a Licensed Body Mapping Educator after training with noted Body Mapping pioneer Barbara Conable in the late 1990s. Since then, Jankowski has been an active member of the Association for Body Mapping Education and has taught numerous Body Mapping courses and workshops across the United States and internationally.