SKU: HL.14017965
ISBN 9780711941632. English.
The castle is beautiful but draughty. The king is visited by double glazing salesmen who are offering two free cloaks along with their special window units. The king gladly gives them the work, not realising the effect the magic cloaks would have upon him and subsequently upon his family and the rest of his subjects. This all-year-round play with seven songs, optional improvised music, percussion and dance, has a strong moral - that attractive things are not always what they seem, and it is the simple things which bring joy and peace of mind. Script available in student book. If you need to license a school/youth theatre performance of this product, please use the online application form.
SKU: XC.HJE2301
The talented arranger Steve Parsons has paired an original melody with a funky Motown version of Jingle Bells to create the piece he calls Sleighin' It. This is definitely a fresh take on this carol and your band will have a terrific time with the Motown groove and all the clever ways Steve has incorporated the simple Jingle Bells melody.
SKU: XC.HJE2301FS
SKU: HL.50487284
ISBN 9790080127445. K/4 (23,5x31) inches. Italian. Istvan Lang.
SKU: HL.50487067
ISBN 9790080122013. 40,5 x 28,5 cm inches. Hungarian, English, German. Zoltan Jeney.
SKU: HL.50489691
ISBN 9790080088401. K/4 (23,5x31) inches.
SKU: HL.50487690
B/4 mx inches. Hungarian, English. Zoltan Jeney.
SKU: HL.14042699
ISBN 9788759828373. Danish.
Hugo Seligmann's biography about Carl Nielsen, published in 1931.
SKU: HL.14033404
ISBN 9788759874769. Danish.
The Wings Of Night for Trombone and String Quartet was composed by Bent Sorensen in 1998, as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet. Programme note: I do not yet know what to write about this short piece which I have just finished. But like my Piano Concerto LA NOTTE, it seems to take place at night-time - or perhaps it is only because I wrote the piece by night. In short, the title is from Shakespeare's 'Romeo and Juliet'.Juliet sings to the night - the night of love: 'Come, night, come Romeo, come, thou day in night, For thou wilt lie upon the wings of night, Whither than new snow upon a raven's back.THE WINGS OFNIGHT was composed as a commission from the Warsaw Autumn for Christian Lindberg and the Silesian String Quartet. (Bent Sorensen).
SKU: AP.26701S
UPC: 038081290386. English. Silesian Folk Song.
James D. Ployhar has transformed this hymn-tune into the march that it was originally intended to be. According to legend, this hymn was sung by German crusaders on their way to Jerusalem. Credited as a Silesian folk song, March of the Crusaders is an impressive addition to beginning band literature. This title is available in MakeMusic Cloud.
SKU: HF.FH-2451
ISBN 9790203424512. 8.3 x 11.7 inches.
1. 's Heilig-Obnd-Lied (Volsklied / Wagner); 2. O, selige Weihnachtszeit! (Gunther / Henschel); 3. Weihnachtsfried'n (Gunther / Salzmann); 4. Losst ons wieder Weihnachten feiern! (Gunther); 5. Seid friedlich, ihr Leit! (Gunther); 6. Ehrt da altn Leit! (Gunther / Salzmann).
SKU: BT.DHP-1012662-060
ISBN 9789043133715.
In composing Puszta, Jan Van der Roost wrote folk dances related to Slavonic folk music. Its character and sounds are comparable to the Hungarian and Slavonic dances by Brahms and Dvorak and to the Hungarian Rhapsodies by Liszt. All the melodies, however, are newly composed, not adapted from existing dances. Voor zijn werk Puszta schreef Jan Van der Roost volksdansen in de geest van de Slavische volksmuziek. Het karakter en de klank zijn vergelijkbaar met de Hongaarse en Slavische dansen van Brahms en Dvorák, en met de Hongaarserapsodieën van Liszt. De melodieën zijn echter nieuw gecomponeerd en dus geen arrangementen van bestaande dansen.Puszta von Jan Van der Roost, ist mit der slawischen Volksmusik verwandt. Klang und Charakter erinnern an die ungarischen und slawischen Tänze von Brahms und Dvorák, sowie die ungarischen Rhapsodien von Liszt. Die Melodien sind jedoch keine Bearbeitungen bestehender Tänze, sondern wurden neu komponiert. C’est en associant les caractéristiques de la musique traditionnelle slave son talent de compositeur que Jan Van der Roost a créé une suite de quatre danses originales tziganes pour Orchestre d'Harmonie. L’orchestration, fine et légère, est d’une grande richesse sonore. Myriam Mees a arrangé deux des quatre tableaux pour Orchestre d'Accordéons. Puszta est une œuvre dansante et expressive, empreinte d’une vivacité de caractère que l’on retrouve dans les Danses hongroises de Brahms, les Rhapsodies et Danses slaves de Dvorák ou encore les Rhapsodies hongroises de Liszt.
SKU: HL.14042045
Composed for the 20th anniversary of the Silesian String Quartet. ca. 3 minutes.
SKU: PR.411411630
ISBN 9781491137635. UPC: 680160691081. English. Intimate Apparel by Lynn Nottage.
Originally an award-winning play, Lynn Nottage’s INTIMATE APPAREL was inspired by her great-grandmother’s life in New York in the early 20th century. The Pulitzer-laureate also created the libretto for Ricky Ian Gordon’s grand-yet-intimate opera whose complete instrumentation is two pianos. The story follows the life of a young, single seamstress who has recently emigrated from Barbados, the fascinating cast of characters in her life, and her socially-unacceptable feelings of affection for a Jewish fabric salesman. The premiere production of this 2½-hour drama was televised nationally from Lincoln Center on PBS’s “Great Performances.”.Intimate Apparel began with an old photograph that I found haphazardly wedged between the pages of a Family Circle magazine. I was helping my grandmother, who’d developed debilitating senile dementia, move from her longtime home in Crown Heights, Brooklyn. In the midst of a pile of weathered magazines I discovered a black and white passport photograph of my grandmother Waple and her younger sister Eurita sitting on their mother’s lap. It was the first time I’d ever seen an image of my great-grandmother Ethel, a striking woman with high West African cheekbones and a gentle intensity. She had been a seamstress from Barbados, who at the age of 18 arrived alone in New York City at the dawn of the Twentieth Century. The image invited a thousand questions, none that could be answered by the living, and it led me on a journey to piece together the history of my great-grandmother Ethel, a woman who was basically a stranger to me. The only clue that I had about Ethel, was a story that my grandmother had once told me about her mother corresponding with a man laboring on the Panama Canal, who would eventually become her husband. I was fascinated by this story, which served as the inspiration for INTIMATE APPAREL.As I began my research for INTIMATE APPAREL at the New York Public Library, I discovered that lives of Black working women in the early 1900s were woefully absent from the archive. So, I found myself perusing help wanted listings, boarding house and clothing advertisements, looking for any sign of women like my great-grandmother on the printed page. As I was doing so, I began to find the characters that would populate the world of INTIMATE APPAREL; Esther the lonely seamstress, Mrs. Dickson the proprietress of the boardinghouse for Black women, Mr. Marks the Jewish fabric salesman on the Lower Eastside, Mrs. Van Buren the wealthy white socialite on the Upper Eastside, Mayme the sex worker in the tenderloin, and George the laborer toiling on the Panama Canal. As I was conjuring the characters, I realized that I was interested in the unexpected intersections between class, race, and gender at the turn of the Twentieth Century, and what happens when people across cultural and economic divides are thrust into spaces of intimacy.INTIMATE APPAREL began its life as a popular play, but it was the brilliant composer Ricky Ian Gordon who invited me to consider adapting it into an opera. He saw something epic and expansive in the life of Esther that he felt demanded to be sung, and with his loving guidance I was able to write my first libretto. It took me several tries to figure out how to wrestle my play into a form that was new to me. As a playwright, I kept wanting to maintain absolute control of the narrative. But, it was Ricky’s words that freed me creatively to find my way into the libretto. He said, “You’re not trusting my music as a narrative tool; I can say “I love you” without any words, with just music. So, allow me to be your collaborator on the storytelling.” And once he said that, we found INTIMATE APPAREL the opera together.