SKU: HL.49002365
ISBN 9790220102363. UPC: 073999572469. 8.5x11.5x0.052 inches.
SKU: HL.48183388
UPC: 888680869328. 9.0x12.0x0.075 inches.
French pianist, arranger, composer and conductor, Jean-Michel Defaye (b. 1932) entered the Paris Conservatoire at the mere age of ten years old. His successful compositions and arrangements were mainly for brass, Two Dances, composed in 1954, and adapted for Bass Trombone and Piano by Donald Knaub, being no exception. With a typical performance lasting about eight minutes, Defaye's Two Dances are named Sacred Dance and Secular Dance. Defaye's understanding of the Trombone is clear throughout the work, with use of exciting techniques and contrasts. For all aspiring bass trombonists wishing to vary and expand their repertoire, Two Dances by Jean-Michel Defaye is essential..
SKU: HL.14021002
ISBN 9780711955103. 9.0x12.0x0.054 inches.
Two dances for flute and harp from Peter Maxwell Davies' ballet Caroline Mathilde. A new instrumentation restores this linked pair of dances from Davies's second full-length ballet, Caroline Mathilde based on the story of the eighteenth-century British princess sent in marriage to Denmark, to the eighteenth-century milieu of the work's setting and musical world. The period manners - a gavotte in the first dance, a gigue at the start of the second - are typically overlaid with the composer's Scottishness. In general the harp has an accompanying role, but it comes forward alone in the second movement, which ends with bravura from both instruments. These two dances were first performed in September 1993 at the Northlands Festival by David Nicholson and Eluned Pierce. Score and flute part. Duration c. 5mins. Harp part edited by Elune Pierce.
SKU: HL.50602096
ISBN 9781540062307. UPC: 888680961305.
The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, I attempted a reminiscence of that atmosphere of the provincial Hungarian Baroque.
SKU: BT.EMBZ14992
The composer wrote of his work as follows: In the music of Hungary, folk songs are manifestly of great importance, on the other hand our ancient airs and dances play a modest role. For this work I have been influenced by dances of the 17th century, written by unknown amateurs in a relatively simple style. Most of these dances were recorded between the 14th and 18th centuries under the usual form of tablature notation. My interest in this music was first captured in the 1940s. I was so fascinated that I decided to give these melodies new life. I fitted the little eight-bar dances together into ternary and rondo forms, and leaning on early Baroque harmony and counterpoint, Iattempted a reminiscence of that atmosphere of the provincial Hungarian Baroque. So schrieb der Komponist über sein Werk:
In der ungarischen Musik sind natürlich die Volkslieder sehr wichtig, doch die alten Melodien und Tänze spielen in unserer Musik eine geringere Rolle. Für dieses Werk habe ich mich von Tänzen des 17. Jahrhunderts anregen lassen, die von unbekannten Dilettanten, also ziemlich einfach, geschrieben worden waren. Die meisten waren in der zwischen dem 14. und 18. Jahrhundert geläufigen Tabulaturschrift notiert. In den vierziger Jahren begann ich mich erstmals für diese Musik zu interessieren. Ich war davon so fasziniert, dass ich mich entschloss, sie wieder zum Leben zu erwecken. Ich fügte die kleinen achttaktigen Tänze zu dreiteiligen undRondoformen zusammen. Ausgehend von der frühbarocken Harmonik und Kontrapunktik habe ich mich in einer Art ungarischen provinziellen Barocks versucht.“.
