SKU: ST.H487
ISBN 9790220224485.
Woodwind players in particular have cause to thank Bryan Kelly for so many tuneful and finely crafted collections of pieces written for their enjoyment. There are eight sparkling additions to the flautist's repertoire in Songs and Dances for flute and piano. An easygoing combination of baroque movements - an Intrada, Sarabande and Hornpipe - with a lively Polka and Ragtime, a Venezuelan Dance, a Grand Waltz and a soothing Irish Lament, makes for an entirely characteristic blend of moods. The standard is intermediate, and the style laconic, engaging, soigne - pure Kelly!
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: HL.14042377
ISBN 9788759815038. English.
Per Nørgård's Maya Dances (-for her unborn son) for mixed chorus SATB (1979/1992) - English version.
Original Danish text by Ole Sarvig - from the opera Siddharta. English vocal version by Paula Hostrup-Jesse.The two melodies of MAYA DANCES was originally composed for children’s chorus and mixed choir with orchestra, respectively, as part of the opera SIDDHARTA (1974-79). The children’s song (bars 1-27) was later incorporated into the first movement of the choral work WIE EIN KIND for mixed chorus from 1979-80 (printed edition WH 29552). The presentchoral version for SATB from 1992, edited by Ivan Hansen and the composer, is a combination of the two above mentioned songs from the opera. In the opera the children’s singing game describes the sad Queen Maya’s longing for a child. She senses the coming of a new age and is enlivened by dancing a fertility dance for the unborn prince Siddharta. Two themes alternate: the straightforward song of the children, and the comment of Prajapati (Maya’s sister) on Queen Maya’s dance.
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: BT.9781408194430
ISBN 9781408194430. English.
Game-Songs With Prof Dogg's Troupe is a collection of action songs, dances, sound effect songs and songs to act out. They are all designed to develop literacy, social and communication skills, and build youngchildren's confidence. The songbook contains the music, words, piano accompaniments and play-along percussion ideas. The CD contains a recording of all the accompaniments to sing along with. No music reading is required.
SKU: HL.4008656
ISBN 9798350115079. UPC: 196288189855.
Folk dances are widespread throughout Greece. In this composition formed by three movements, Franco Cesarini elaborates some typicaldances of the Greek folk tradition by making use of three traditional folk songs, developing them freely. The first movement is a kalamatianos, a festive dance that has roots dating all the way back to antiquity and is considered the national dance of Greece. Its most distinctive feature is the irregular 7/8 rhythm. Depending on the occasion and the dancers’ level of skill, certain steps may be taken as jumps or squats. The second movement represents a zeibekiko. Contrary to most of the traditional Greek dances, the zeibekiko is not a dance performed in a group; it doesn't have any step to follow, only certain figures. The third movement, an hasapiko, is a traditional dance with roots from Constantinople. It serves as the inspiration for the “sirtaki†and progresses from a slow to a faster pace. The hasapiko is performed in a line or open circle formation, with each dancer placing his on the neighbour's shoulders.
SKU: HL.4008657
UPC: 196288189862.
SKU: BR.PB-5273
ISBN 9790004210079. 10 x 12.5 inches.
In his Slavonic Dances Op. 46, Dvorak did not draw on pre-existent music, but created something original and new, projecting his own compositional will into the creative process. What we hear are Dvoraks melodies,and that it is due to his creative will that he cast them as in Dance 3, for example in the form of a melodic four-tone model which is common to many folk songs and childrens songs. Finally, it is his rhythmic invention and shaping of the musical character of each dance that breathe life into the elements of Slavonic dance music.The Slavonic Dances Op. 46, which began to conquer the world's concert halls in 1878, made a major contribution to Dvorak's international breakthrough. The Urtext edition is based on the main sources, mainly on the autograph score and the first edition.
SKU: BT.DHP-1216326-070
ISBN 9789043162067. English-German-French-Dutch.
1. Emerald Isle, in this part, the musical spotlight focuses in on the green island of Ireland and its great wealth of traditional folk music. The piece opens with the air ‘My Lodging Is on the Cold Ground’, also known under the title ‘Believe Me, If All Those Endearing Young Charms’ (bars 5-24). Next, we hear another well-known air ‘The Minstrel Boy’ (bars 29-44). Finally, the air ‘The Groves of Blarney’, possibly better known as ‘The Last Rose of Summer’ (bars 53-68) is heard. Each air is heralded by a short introduction and brought to an end by a short conclusion. 2. Old Kentucky Memories, following an introduction of 14 bars all attention is claimed by the song ‘My Old Kentucky Home’. As the piece goes on, snippets of memories emerge, fleetingly, surfacing fast, but quickly disappearing again: this is musically featured by way of small motifs and themes from other songs. These can be heard briefly, and then they disappear, musing on Old Kentucky until the introduction returns to end the piece. 3. Uppland, is a province in Sweden that had a rich folk music culture, like the whole of Sweden, that boasts many songs and dances. A notable amount of these songs and dances have been composed in minor keys, three of which feature in this part. First, we hear ‘Svensk folkvisa’(bars 1-38), followed by the famous ‘Värmlandsvisan’ (bars 39-67) and then brought to an end by ‘Vexelsang’ (bars 68-end). 4. Ratatouille, in this part, no folk songs of just one country or one province are featured. This piece is a mishmash (or ratatouille), a hotchpotch of three folk songs with no significant relation at all. In succession, we hear a song from Russia (bars 1-30), one from Japan (bars 31-58) and one from Australia (bars 59-end). The composer of the Russian song titled ‘The Nightingale’ is Alexander Alyabyev (1787 1851), but the composers of the Japanese song titled ‘Sakura’ and the Australian ‘Waltzing Matilda’ are unknown.1. Emerald Isle, in dit deel zijn de muzikale schijnwerpers gericht op het groene eiland Ierland, op de grote rijkdom aan traditionele volksmuziek. Het werkje opent met de air ‘My Lodging Is on the Cold Ground’, ook bekend onder de titel ‘Believe Me, If All Those Endearing Young Charms’ (maat 5-24). Daarna volgt de bekende air ‘The Minstrel Boy’ (maat 29-44). En ten slotte horen we nog de air ‘The Groves of Blarney’, misschien beter bekend als ‘The Last Rose of Summer’ (maat 53-68). Elke air wordt voorafgegaan door een korte inleiding en beëindigd met een korte afsluiting. 2. Old Kentucky Memories, na een inleiding van 14 maten (deels ook als afsluiting van dit deel gebruikt) wordt alle aandacht opgeëist door de song ‘My Old Kentucky Home’. Al gauw doemen er echter flarden van herinneringen op, vluchtig, snel opkomend, maar ook weer snel verdwijnend: dit krijgt muzikaal gestalte door middel van motiefjes en thema’s uit andere songs. Deze zijn even hoorbaar en dan weer vlug verdwenen... Mijmeren over Old Kentucky dus... 3. Uppland, is een provincie in Zweden met een rijke muziekcultuur, zoals heel Zweden trouwens ruim bedeeld is met volksliederen en volksdansen. Opvallend veel van deze liederen en dansen zijn gecomponeerd in mineurtoonsoorten. Dit is ook het geval met de drie voor dit deel uitgekozen songs: als eerste ‘Svensk folkvisa’(maat 1-38), gevolgd door het bekende ‘Värmlandsvisan’ (maat 39-67) en tot besluit ‘Vexelsang’ (maat 68-slot). 4. Ratatouille, in dit deel worden geen volksliedjes van één land of één provincie belicht. Dit werkje is een ‘ratjetoe’ (ratatouille), een allegaartje van drie folksongs die onderling geen enkel verband met elkaar hebben: de enige overeenkomst is dat ze alle drie als volksmuziek bestempeld kunnen worden. Achtereenvolgens klinkt er een lied uit Rusland (maat 1-30), uit Japan (maat 31-58) en uit Australië (maat 59-slot). Van het Russische lied met de titel ‘De nachtegaal’ is de componist bekend: dat is Aleksandr Aljabjev (1787 1851). Van het Japanse lied ‘Sakura’ en de Australische song ‘Waltzing Matilda’ kennen we niet de componist niet.1. Emerald Isle, in diesem Abschnitt richtet sich die musikalische Aufmerksamkeit auf die grüne Insel Irland mit ihrem großen Reichtum an traditioneller Volksmusik. Das Stück beginnt mit der Melodie My Lodging Is on the Cold Ground“, auch bekannt unter dem Titel Believe Me, If All Those Endearing Young Charms“ (Takt 5-24). Anschließend erklingt die bekannte Melodie The Minstrel Boy“ (Takt 29-44). Schließlich ist The Groves of Blarney“, vielleicht bekannter unter dem Titel The Last Rose of Summer“ (Takt 53-68), zu hören. Jede Melodie wird durch eine kurze Einleitung angekündigt und mit einem kurzen Nachspiel beendet. 2. Old Kentucky Memories, nach einer 14 Takte dauerndern Einleitung tritt das Lied My Old Kentucky Home“ in den Mittelpunkt. Im weiteren Verlauf des Stücks erscheinen bruchstückhafte Erinnerungen, die fast so schnell wieder verschwinden, wie sie auftauchen. Dies wird musikalisch durch kleine Motive und Themen aus anderen Liedern dargestellt. Diese sind kurz zu hören und verschwinden dann, während man über Old Kentucky nachdenkt, bis die Einleitung wieder erklingt, die zum Schluss des Stückes führt. 3. Uppland, ist eine schwedische Provinz, die wie ganz Schweden eine reiche Volksmusikkultur mit vielen Liedern und Tänzen hat. Eine große Anzahl der Lieder und Tänze, von denen drei in diesem Abschnitt enthalten sind, stehen in Moll-Tonarten. Zuerst hören wir Svensk folkvisa“ (Takt 1-38), darauf erklingt das berühmte Värmlandsvisan“ (Takt 39-67) und am Ende Vexelsang“ (Takt 68-end). 4. Ratatouille, in diesem Abschnitt werden nicht die Volkslieder eines einzigen Landes oder einer einzigen Provinz vorgestellt, sondern das Stück ist ein Mischung (oder Ratatouille“) aus drei Volksliedern, die keinerlei Beziehung zueinander haben. Zunächst erklingt ein Lied aus Russland (Takt 1-30), dann eines aus Japan (Takt 31-58) und zum Schluss eines aus Australien (Takt 59-Ende). Der Komponist des russischen Liedes mit dem Titel The Nightingale“ ist Alexander Alyabyev (1787 1851). Die Komponisten des japanischen Liedes Sakura“ und der australischen Melodie Waltzing Matilda“ sind unbekannt.1. Emerald Isle (Île d’émeraude), cette première partie met en vedette la verdoyante île d’Irlande et son riche patrimoine de musique folklorique traditionnelle. Elle s’ouvre avec « My Lodging Is on the Cold Ground », un air également connu sous le titre « Believe Me, If All Those Endearing Young Charms » (mesures 5-24). Vient ensuite un autre air célèbre, « The Minstrel Boy » (mesures 29-44), lui-même suivi de « The Groves of Blarney », peut être mieux connu sous le titre « The Last Rose of Summer » (mesures 53-68). Chaque air est annoncé par une courte introduction et s’achève avec une courte conclusion. 2. Old Kentucky Memories (Souvenirs du vieux Kentucky), après une introduction de 14 mesures, toute l’attention se porte sur la chanson « My Old Kentucky Home ». A fil de la pièce, des fragments de souvenirs fugaces émergent, disparaissant aussi vite qu’ils se présentent : cette impression est créée par le biais de courts motifs et thèmes empruntés d’autres chansons. On les entend brièvement puis ils s’estompent, comme de lointains souvenirs du vieux Kentucky, jusqu’ une reprise de l’introduction pour conclure la pièce. 3. Uppland, est une province suédoise aux riches traditions musicales, tout comme l’ensemble de la Suède, qui compte de nombreuses danses et chansons. Beaucoup sont en tonalité mineure, et cette partie en comprend trois. La première est « Svensk folkvisa » (mesures 1-38), qui est suivie de « ‘Värmlandsvisan » (mesures 39-67), et la pièce s’achève avec « Vexelsang » (mesure 68 jusqu’ la fin). 4. Ratatouille, cette dernière partie ne comprend pas d’air provenant d’un seul pays. C’est un méli-mélo, une « ratatouille » de trois chansons folkloriques sans aucun lien. Il y a d’abord une chanson russe, « Le Rossignol » (mesures 1-30), puis « Sakura », originaire du Japon (mesures 31-58) et, enfin, « Waltzing Matilda », venue d’Australie (mesure 59 jusqu’ la fin). La chanson russe est d’Alexander Alyabyev (1787-1851), mais nous ignorons les auteurs des deux autres chansons.
SKU: PR.115402010
ISBN 9781491102220. UPC: 680160582723. 9 x 12 inches.
Chen's dynamic work for two pianos has now been scored for wind ensemble! Chen uses folk music of western China as her foundation, as indicated by the movement titles: I. Introduction, II. Meng Songs, III. Zan Songs, and IV. Miao Dances. Commissioned by the Metropolitan Wind Symphony (Lawrence Isaacson, Music Director), and premiered in May 2008 at National Heritage Museum, Lexington, MA (Lewis J. Buckley, Conductor).
SKU: BR.OB-5273-15
ISBN 9790004332498. 10 x 12.5 inches.
In his Slavonic Dances Op. 46, Dvorak did not draw on pre-existent music, but created something original and new, projecting his own compositional will into the creative process. What we hear are Dvoraks melodies,and that it is due to his creative will that he cast them as in Dance 3, for example in the form of a melodic four-tone model which is common to many folk songs and childrens songs. Finally, it is his rhythmic invention and shaping of the musical character of each dance that breathe life into the elements of Slavonic dance music.
SKU: BR.OB-5273-30
ISBN 9790004332542. 10 x 12.5 inches.
SKU: BR.OB-5273-19
ISBN 9790004332511. 10 x 12.5 inches.
SKU: BR.OB-5273-23
ISBN 9790004332528. 10 x 12.5 inches.
SKU: BR.OB-5273-27
ISBN 9790004332535. 10 x 12.5 inches.
SKU: CA.337810
ISBN 9790007247409. Language: English.
Score available separately - see item CA.337800.
SKU: BR.OB-5273-16
ISBN 9790004332504. 10 x 12.5 inches.
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.“.
SKU: BT.EMBZ14992SET
English-Hungarian.
SKU: HL.50602108
ISBN 9781540064202. UPC: 888680964627.
SKU: FG.042-07982-9
ISBN 979-0-042-07982-9.
Songs of Dances and Death arranged for bass voice and orchestra by Kalevi Aho. This orchestral adaptation of Mussorgsky's brilliant song cycle was made in 1984 for the late Martti Talvela. The songs represent variations on the same storyline: Death arrives to take a life before its normal course has run. In all four Aho uses the instrumentation to highlight the movement towards Death's triumph and emphasise the cycle's dark psychological character.
SKU: HL.14011558
Traditional Irish songs and dances performed by some of Ireland's most eminent musicians. Traditional songs from Sean Ac Donncha and John Reilly and dance music from John Kelly, Michael Tubridy, Paddy O'Brien, Sean Keane and Pat Mitchell. All the singers and musicians on this CD represent different strands in the tapestry of traditional in Ireland. They come different backgrounds and different areas but they are united here by the spirit of the music that is captured on this CD, music that is alive and thriving in a true folk tradition.