Didl didl didl

SKU: CA.3111911

ISBN 9790007048754. Key: C major. Language: German/English. Text: Goes, Albrecht. Text: Albrecht Goes.

Bach's first cantata for the election of the Leipzig town council, composed in August 1723, is one of his most splendidly scored work from his Leipzig period. The choice of opening, with the representative form of a French overture, was suited to a festive orchestral scoring. Two choral movements frame a middle section which consists of two arias and a recitativo accompagnato with a trumpet ritornello. The conclusion of this extended festive music takes a reflective turn in movements 8 and 9, when Bach allows a recitative to be followed by simple, prayer-like chorale movement. Score and part available separately - see item CA.3111900.

SKU: BT.9780713682960

ISBN 9780713682960. English.

This pack combines active listening with practical music making. It gives busy teachers a fingertip resource of recordings of music and related classroom activities, which will help children understand their own and otherpeople's music. The approach is involving, practical and accessible, requiring no music-reading ability.

There are twelve complete recordings of music from different times and places, chosen to demonstrate the elements:duration, dynamics, tempo, timbre, texture, pitch and structure. Photocopiable material is included along with supplementary recordings supporting the activities.

SKU: HL.4008306

ISBN 9781705197080. UPC: 196288145318.

Back on Track is a spectacular composition for Concert Band. Otto M. Schwarz composed an opening fanfare for the beginning, which can also be played as a short 'teaser' at festive events. A motif is treated through various rhythms and time signatures and leads to an epic finale, splendidly brought to life by the glorious timbres of the brass.

SKU: BT.EMBZ14690SET

9x12 inches.

This splendidly instrumented work successfully combines 20th-century musical language with the antique elements deriving from its theme - for example, in the first movement we immediately find an ancient Greek asymmetrical rhythm. The second movement takes us on an adventurous journey to those astonishing geological wonders, the Meteoras the third movement presents a picture of the Delphic dancers, in its title the fourth movement indicates the form used in it, which preserves the unity between the thousands-of-years-old building and its contrasting environment, echoing to the music of the bouzouki. In the suite the composer expertly exploits the possibilities of instrumentationoffered by the wind orchestra, this extremely effective work can be a rewarding concert piece for any ensemble. (Recorded by Mirasound on CD 'Salute from Hungary' wwm 500.009 for World Wind Music label - www.worldwindmusic.nl ).

Dieses Werk von István Bogár ist eines der ungarischen Stücke für Blasorchester, welches in den letzten Jahrzehnten international einen großen Erfolg erntete. Es entstand im Auftrag des Ungarischen Rundfunks, seine Erstaufführung fand 1982 statt. Das grossartig instrumentierte Werk vereint erfolgreich die musikalische Sprache des 20. Jahrhunderts mit den vom Thema vorgegebenen, antiken Elementen. Ein Beispiel hierzu ist gleich im ersten Satz ‚Thessaloniki' ein altgriechischer, asymmetrischer Rhythmus. Der zweite Satz führt uns zu einem verblüffenden geologischen Wunder, den Meteoren, im dritten Satz wird das Bild der Delphi-Tänzer gezeichnet. Im vierten Teil (‚Athen') wird diegebrauchte Form schon im Titel angekündigt: Diese verewigt die kontrastierende Einheit der mehrere Jahrtausend alten Akropolis und ihr von Bouzouki-Musik lautes Umfeld (‚Plaka'). Der Komponist nutzt in der Suite die vom Blasorchester vermittelten Instrumentierungsmöglichkeiten meisterhaft aus.

Thessaloniki (danse de Macédoine) • Meteora • Delphi (danse antique) • Athènes (Acropolis, le quartier Plaka) En composant son oeuvre Hellas, le compositeur hongrois, István Bogár, a renoué avec ses racines grecques. La superbe trame orchestrale combine le langage musical du XXe siècle avec des éléments de la musique grecque antique. Les quatre mouvements sont techniquement exigeants et exploitent toutes les possibilités d’une formation vent. Une oeuvre enrichissante !

Un brano dalla splendida strumentazione, composto anche per ricordare le origini in parte greche del compositore, che abbina al linguaggio musicale del XX° secolo elementi antichi. I quattro movimenti Thessaloniki (Danza proveniente dalla Macedonia), Meteora, Delphi (Antica danza) e Athens compongono insieme un brano da concerto esigente ma allo stesso tempo molto gratificante.

SKU: CA.338770

ISBN 9790007303297. Latin.

After ending his studies with Sechter, Bruckner wrote his Ave Maria in 1861. On October 3, 1861 he reported in a letter: I was, in the end, splendidly aplauded by my choir—twice. In this very sound-oriented arrangement, Bruckner divides the seven-voice choir into groups with various combinations of voices and already achieves the harmonic effects of his later works. Score available separately - see item CA.338700.

SKU: HL.354338

ISBN 9781705107669. UPC: 840126936964. 9.0x12.0x0.109 inches.

Richard Wilson was born in Cleveland on May 15, 1941. He studied piano with Roslyn Pettibone, Egbert Fischer, and Leonard Shure, andcello with Robert Ripley and Ernst Silberstein. After beginning composition studies with Roslyn Pettibone and Howard Whittaker, he went on in 1959 to Harvard, studying with Randall Thompson, G.W. Woodworth, and principally with Robert Moevs, and graduating in 1963 magna cum laude. Awarded the Frank Huntington Beebe Award for study abroad, he continued studying piano with Friedrich Wührer in Munich, and composition, again with Moevs, in Rome, where he also gave piano recitals. Wilson joined the faculty of Vassar College in 1966. He was appointed to the Mary Conover Mellon Professorship of Music there in 1988, and he has served three times as chairman of the Department of Music. Wilson has been commissioned by the San Francisco Symphony, the American Symphony, the New Juilliard Ensemble, the Koussevitzky Foundation, the Fromm Foundation, Chamber Music America, the Chicago Chamber Musicians, the Walter W. Naumburg Foundation, and the Library of Congress. His works have been heard in such American musical centers as New York, Philadelphia, Washington, Boston, Cleveland, and Los Angeles and at the Aspen Music Festival, but also in London, Berlin, Frankfurt, Zurich, Milan, Amsterdam, Graz, Leningrad, Stockholm, Tokyo, Bogota, and a number of Australian cities. The recipient in 1992 of a Guggenheim Fellowship, he was awarded the Elise L. Stoeger Prize of the Chamber Music Society of Lincoln Center in 1994, the Academy Award from the American Academy of Arts and Letters in 2004, and has served as composer in residence with the American Symphony Orchestra since 1992. Wilson has been praised by 21st Century Music as a “splendidly talented and highly accomplished composer whose music rewards seeking out” and by the New York Sun as “possessed of a hard-won idiom that has grown and developed over the years into a probing blend of wit, classic form, modern harmony, and impressionistic color.” Writing in the New Yorker, Andrew Porter called his String Quartet No. 3 a “richly wrought and unusual composition,” while the New York Times called it “a work of substance and expressivity ... [that] merits a place in the active repertory.”.

SKU: GI.G-9660

ISBN 9781622773572.

To learn from Alice is to come under a peculiar kind of enchantment . . . To hear her is to be spellbound by a melodic voice. — John Wykoff, from the Prelude The Melodic Voice presents a series of interviews with preeminent composer, conductor, and teacher Alice Parker that offers a fuller and more intimate view of her life and music than ever before. The conversations Cameron LaBarr and John Wykoff document in these pages perfectly capture the essence of Alice’s core philosophies on melody, arranging, singing, music teaching, conducting, and many other topics. During the course of the interviews, Alice discusses a wide range of topics: her childhood, her time as a student at Smith College and Juilliard, the death of her husband, her work with Robert Shaw, living in New York City, experiences with teaching, her compositional process, the importance of folk song, advice for students and teachers, and much more. In the accompanying video component, Alice speaks candidly and directly about many of her most popular and well-loved arrangements, including Hark, I Hear the Harps Eternal, Saints Bound for Heaven, What Shall We Do With a Drunken Sailor?, and John Saw Duh Numbuh, among others. Too few have had the privilege of attending one of Alice’s workshops or engaging with her in long conversations and round-the-table singing. But the conversational nature of this book gives everyone the chance to engage with her in a deeper way. Musicians and non-musicians alike are sure to be inspired by Alice’s words. Cameron LaBarr is Director of Choral Studies at Missouri State University. His choirs have performed extensively both at home and abroad, and he has worked as a guest conductor and clinician across the United States, Europe, South Africa, and Asia. John Wykoff is Associate Professor of Music Theory and Composition at Lee University. As an active composer, he writes for choir, orchestra, and chamber groups, and his music has been performed internationally by leading ensembles. Check out this clip below of Alice Parker discussing her beloved arrangement Hark, I Hear the Harps Eternal. This is just a small part of the over three hours of video interviews included in the purchase of this resource.