Matériel : Vocal Score
SKU: HF.FH-3053
ISBN 9790203430537. 8.3 x 11.7 inches.
1. Herzliche Begrussung; 2. Von der Rundheit der Wurst; 3. Von ihrer Weichheit; 4. Gesalzenes Wasser, 70deg Celsius; 5. Vom Ziehen Lassen der Wurst; 6. Vom Auftrennen der Haut; 7. Walzen und Schaben; 8. Susser Senf; 9. Bier und Bezln; 10. Guten Appetit.
SKU: BT.DHP-1115073-215
9x12 inches. English-German-French-Dut ch.
Fast food is especially popular with today’s youth, even though it is generally acknowledged to be quite unhealthy. Peter Kleine Schaars’ new composition, on the other hand, will provide some healthy food for the soul and mind. Fast Food features four courses: Pizza Pronto, presenting Italian delights, Crazy Kebab, Arabian delicacies, the American Cheese Burger, and an exciting Hot Dog Disco. Bon appetite! Vooral bij de jeugd zeer populair: fast food! Of het gezond is, laten we hier maar in het midden. Dat het goed klinkt, weten we wel zeker! Peter Kleine Schaars serveert maar liefst vier gangen: Pizza Pronto, in Italiaanse stijl geschreven,Crazy Kebab, lekker Arabisch gekruid, dan gevolgd door Cheese Burger en Hot Dog Disco in discostijl. Eet smakelijk!Fast Food ist bekanntlich besonders bei der Jugend sehr beliebt, auch wenn es nicht gerade gesund sein soll. Gesundheitlich völlig unbedenklich hingegen ist diese pfiffige Komposition von Peter Kleine Schaars, in dem das Blasorchester seinem Publikum nacheinander vier musikalische Gänge serviert: Pizza Pronto, im italienischen Stil geschrieben, Crazy Kebab, arabisch angehaucht, gefolgt von Cheese Burger und Hot Dog Disco im Disco-Stil. Guten Appetit!Fast Food est un terme bien connu des jeunes, même si le mode de restauration que désigne cette expression n’est pas toujours recommandable au niveau du bien-être alimentaire. Cette composition de Peter Kleine Schaars se veut cependant totalement inoffensive pour la santé de votre orchestre ou de votre public, et les quatre mets qu’elle propose Pizza Pronto, Crazy Kebab, Cheese Burger et Hot Dog Disco seront des plus digestes. Bon appétit! Fast Food è un termine particolarmente popolare tra i giovani, anche se non sempre sinonimo di qualit . Questa composizione di Peter Kleine Schaars è però un vero toccasana per il pubblico che apprezzer la “freschezza” dei quattro “piatti” proposti: Pizza Pronto, Crazy Kebab, Cheese Burger e Hot Dog Disco.
SKU: BT.DHP-1115073-015
SKU: BT.DHP-1125349-070
ISBN 9789043148955. 9x12 inches.
Marc Jeanbourquin serves a tasty musical meals to young players: Chicken Nuggets, Pizza and Ice Cream are the titles of the three movements of this delightful composition for a four-part variable wind ensemble with percussion. Part 1 Fl Ob Kl B/Es S-Sax TrpPart 2 Fl Cor Ang Kl B Alt-Kl A-Sax Trp HrnPart 3 Alt-Kl T-Sax Fg Hrn Pos EuphPart 4 B-Sax B-Kl Fg Pos Euph Tuba Marc Jeanbourguin serveert een smakelijk muzikaal menu voor variabel blazersensemble met slagwerk. Chicken Nuggets, Pizza en Ice Cream.Part 1 fluit hobo kl B b kl E b s-sax trpPart 2 fluit althobo kl B b alt-kl a-sax trp hrnPart 3 alt-kl t-sax fagot hrn tromb euphPart 4 b-sax bas-kl fagot tromb euph tuba Marc Jeanbourquin serviert ein schmackhaftes musikalisches Menü für variables Bläserensemble mit Schlagzeug aus den Zutaten (Sätzen) Chicken Nuggets, Pizza und Ice Cream.Part 1 Fl Ob Kl B/Es S-Sax TrpPart 2 Fl Cor Ang Kl B Alt-Kl A-Sax Trp HrnPart 3 Alt-Kl T-Sax Fg Hrn Pos EuphPart 4 B-Sax B-Kl Fg Pos Euph Tuba Bienvenue dans notre restaurant ! Aujourd'hui, notre chef vous propose des Chicken nuggets, une Pizza et un Ice Cream... Bon appétit ! Voix 1 Fl Htb Cl. Si b/Mi b Sax. S. TrpVoix 2 Fl Cor Angl. Cl. Si b Cl. Alto Sax. A. Trp CorVoix 3 Cl. B. Cl. Alto Sax. T. Basson Cor Trb Euph.Voix 4 Cl. B. Sax. B. Basson Trb Trb B. Euph. Tuba C. Cordes Marc Jeanbourquin serve un appetitoso menu musicale per ensemble a strumentazione variabile con percussioni. I titoli sono Chicken Niggets, Pizza e Ice Cream.Voce 1 Flauto Oboe Cl. Si b/Mi b Sax S. TrombaVoce 2 Flauto Cor. Ing Cl. Si b Cl. Alto Sax A. Tromba CornoVoce 3 Cl. Alto Sax T. Fg Corno Tbn Euf.Voce 4 Sax B. Cl. Bas Fg Tbn Euf. Tuba.
SKU: HL.49020895
ISBN 9783254002686. German.
Diese Buch stellt anschaulich alle gangigen Musikinstrumente der popularen Musik vor und macht Appetit auf das Erlernen eines Instruments! Geschichten aus Jazz und Popmusik und zahlreiche Abbildungen laden zum Schmokern ein. Die Tonbeispiele auf der beiliegenden CD demonstrieren die Besonderheiten und Vorzuge der verschiedenen Instrumente. Das Buch wendet sich an Kinder und Jugendliche und zeigt, dass auch in der Popmusik eine solide musikalische Ausbildung erforderlich ist, um spater in einer Band oder als Solist erfolgreich zu sein. Ein informativer Fuhrer durch die faszinierende Welt der Popinstrumente!
SKU: BT.DHP-1074204-030
Cole Porter was one of the great masters of Broadway musicals during the thirties, forties and fifties, with So in Love, from the musical Kiss Me Kate, being one of his best loved works. It has been recorded by many artists including Bing Crosby, Lulu, Shirley Bassey and Julie Andrews, however it is the Ella Fitzgerald version that is best known. This jazzy musical classic can now be enjoyed by your brass band with this excellent new arrangement.Cole Porter schrieb unvergessene, wundervolle Musicals und Lieder. Seine Musik wurde schon von vielen gro?en Künstlern interpretiert - von Jazzentertainern wie Ella Fitzgerald und Frank Sinatra über klassische Sängerinnen bis hin zu Popkünstlern wie U2 und Tom Waits. Mit Kazuhiro Moritas Bearbeitung des romantischen Songs So in Love aus dem Musical Kiss Me Kate können Sie sich nun in diese illustre Riege einreihen! L??auteur-compos iteur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune ge. Plus tard, il suit un cursus universitaire Yale puis Paris. Sa vie a suscité bien des commentaires. En 1918, il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris, Venise, New York et Hollywood où Cole Porter se consacre la composition de musiques de films. Le mariage est heureux en dépit de l??homosexualité notoire de Cole Porter. En 1937, il est victime d??un grave accident qui le laisse handicapé vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard, il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s??éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d??évoquer I??ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra, Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop, notamment U2 ou Tom Waits, ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).
SKU: FG.042-05857-2
ISBN 979-0-042-05857-2.
This is a spiced aperitif for speaker, baritone and male choir with duration of ca 11 minutes. The text is by the composer (in Swedish). In this work Bergman wanted to arouse the smells and tastes of various spices and sing the praises of those spices that give a tasty and delicate flavor to the various dishes that sweeten our life.
SKU: HL.49015466
ISBN 9783795740054. German. Rolf Rettich.
Dieses ungewohnliche Liederbuch wendet sich an alle, die am Singen und Musizieren Freude haben - an Kinder und Erwachsene, in der Familie, in der Schule und Musikschule.Jedes Instrument kann mitspielen - ob Flote oder Geige, Keyboard oder Cello, Klarinette, Kastagnetten oder Glockenspiel. Zu jedem Lied gibt es leichte Begleitstimmen fur verschiedenste Besetzungen.Ein Musizierbuch fur alle und auch besondere Tage, in dem sich neben bekannten viele neue Lieder finden, die in die heutige Zeit passen - ausgestattet mit zahlreichen anregenden und heiteren Bildern des bekannten Illustrators Rolf Rettich.Ausgezeichnet mit dem Deutschen Musikeditionspreis 1996.
SKU: M7.DOHR-95183
ISBN 9790202001837. German.
SKU: M7.VOGG-821
ISBN 9783802408212. German.
Die bunten Spaßröhren! Boomwhackers sind die idealen Instrumente für das Musizieren in der Gruppe. Im Kindergarten, in der Schule, mit Freunden, zuhause oder unterwegs: die bunten Klangröhren vermitteln einen intuitiven Zugang zur Musik, ganz gleich ob man ein Instrument spielt oder nicht. Im Gegenteil, sie machen Appetit auf mehr und eignen sich hervorragend für die musikalische Früherziehung. Musikalische Geburtstagsparties oder Gruppenspiele - mit vielen Vorschlägen und Beispielen lernen die Kinder in dieser Schule die faszinierende Welt der Musik kennen. Schnelle Erfolge erhalten die Freude am Musizieren und legen eine solide Grundlage für eine spätere Beschäftigung mit Musik.
SKU: BT.DHP-1074204-130
Cole Porter was one of the great masters of Broadway musicals during the thirties, forties and fifties, with So in Love, from the musical Kiss Me Kate, being one of his best loved works. It has been recorded by many artists including Bing Crosby, Lulu, Shirley Bassey and Julie Andrews, however it is the Ella Fitzgerald version that is best known. This jazzy musical classic can now be enjoyed by your brass band with this excellent new arrangement.Cole Porter schrieb unvergessene, wundervolle Musicals und Lieder. Seine Musik wurde schon von vielen großen Künstlern interpretiert - von Jazzentertainern wie Ella Fitzgerald und Frank Sinatra über klassische Sängerinnen bis hin zu Popkünstlern wie U2 und Tom Waits. Mit Kazuhiro Moritas Bearbeitung des romantischen Songs So in Love aus dem Musical Kiss Me Kate können Sie sich nun in diese illustre Riege einreihen! L’auteur-compos iteur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune ge. Plus tard, il suit un cursus universitaire Yale puis Paris. Sa vie a suscité bien des commentaires. En 1918, il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris, Venise, New York et Hollywood où Cole Porter se consacre la composition de musiques de films. Le mariage est heureux en dépit de l’homosexualité notoire de Cole Porter. En 1937, il est victime d’un grave accident qui le laisse handicapé vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard, il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s’éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d’évoquer I’ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra, Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop, notamment U2 ou Tom Waits, ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).
SKU: BT.DHP-1002212-140
SKU: BR.EB-8815
ISBN 9790004183557. 9 x 12 inches.
Der uberwaltigende Erfolg der Schule BlockflotenSpiel macht Appetit auf mehr. Das neue Heft Kraut & Ruben stillt den Hunger nach neuem Spielmaterial. Es bietet ein reiche Auswahl an Stucken fur den Unterricht und zum Vorspielen: Volks- und Kinderlieder, Kanons und Spielstucke aus aller Welt, Geburtstags- und Osterlieder. Naturlich ist auch der Titelsong dabei, den die Lehrer vielleicht aus Bachs Goldberg-Variationen kennen. Uber das einstimmige Spiel hinaus fuhren die Begleitsatze mit anderen Instrumenten (2. Blockflote, Klavier, Gitarre, Trommel). Eine Klavierstimme ist beigelegt, didaktische Hinweise gibt es auch. Da bleibt dann hochstens noch der Wunsch nach einem Fortsetzungsheft offen.
SKU: BT.DHP-1002212-010
SKU: PR.114420410
UPC: 680160687015.
In one of the dedicatory poems to his verse play The Shadowy Waters (1906), William Butler Yeats asks: Is Eden far away...? Do our woods and winds and verponds cover more quiet woods, More shining winds, more star-glimmering ponds? Is Eden out of time and out of space? How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And - what is most painful to admit - that it is closed to us in the form in which we live and breathe, even if at times we do have intimations..., Yeats is telling us that this paradise, this Eden we yearn for is here - present even if invisible, palpable even if intangible. In his Second Symphony, Mahler meets an angel who tells him he can't get into heaven, he's locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden. Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes -because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs. I have turned Yeats' question Is Eden out of time and out of space? into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us. I wrote this music the way I did to shut out -with quietness and otherworldliness - the clamor and clang of the raucous Garish Day, to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.In one of the dedicatory poems to his verse play “The Shadowy Waters” (1906), William Butler Yeats asks:“Is Eden far away…?Do our woods and windsand verponds cover morequiet woods,More shining winds,more star-glimmeringponds?Is Eden out of timeand out of space?”How do you answer such questions? We have only the vague elusive promptings of our own mysterious, troubled hearts to tell us that the Eden we long for is there, somewhere beyond the physical world which frames our existence, in another realm of different dimensions. And – what is most painful to admit – that it is closed to us in the form in which we live and breathe, even if at times we do have intimations…, Yeats is telling us that this paradise, this Eden we yearn for is here – present even if invisible, palpable even if intangible.In his Second Symphony, Mahler meets an angel who tells him he can’t get into heaven, he’s locked out. The news is shattering. What follows is an inconsolable sorrowing, the same sorrowing that comes when we wake to the realization that we too are locked out of Eden.Eden is the heaven of our longing and desire for release from pain and suffering. Eden is the image in our restive minds that reflects the reconciled, resolved, quiescent state of soul we hunger for. But Eden eludes –because it is not a place. It is a state of soul which answers none of the illusory, hampering conditions that shape and bind us to the real world of our bodies, our appetites, our passions, and our beliefs.I have turned Yeats’ question “Is Eden out of time and out of space?” into its own answering. However near we may sense its presence at times, Eden remains unreachable, ungraspable, unknowable, unthinkable. It forever eludes us.I wrote this music the way I did to shut out –with quietness and otherworldliness – the clamor and clang of the raucous “Garish Day,” to turn away its tumult and noise, to negate its stridency and chaos. Perhaps in the cleansing stillness and blessing of this emptied-out state of soul, Eden, through still hidden, may not be so far way; though still unreachable, may be close enough almost to touch.
SKU: PR.11442041L
UPC: 680160687039.
SKU: PR.11442041S
UPC: 680160687022.
SKU: HL.50601101
ISBN 9781540005540. UPC: 888680711443. 11x14 inches.
Composer note: The idea for a piano concerto for the Boston Symphony was instigated by Robert Levin, the great Mozart scholar and pianist. The idea was evidently embraced by BSO Artistic Administrator Tony Fogg and supported by Music Director James Levine. Much of the concerto was composed during the summer of 2004 at the American Academy in Rome in a secluded studio hidden within the Academy walls. While much of the composing took place far from home, the concerto comes out as a particularly “American” piece, shot through with vernacular elements. As in many of my compositions, simple, familiar musical ideas are the starting point. A shape, a melodic fragment, a rhythm, a chord, a texture, or a sonority may ignite the appetite for exploration. How such simple insignificant things can be altered, elaborated, extended, and combined becomes the exciting challenge of composition. I also want the finished work to breathe in a natural way, to progress spontaneously, organically, moving toward a transformation of the musical substance in ways unimaginable to me when I began the journey. Transformation is the goal, with the intention of achieving an altered state of perception and exposure that I am otherwise unable to achieve. “Chiavi in mano” – the title of the concerto – is the mantra used by automobile salesmen and realtors in Italy: Buy the house or the car and the keys are yours. But the more pertinent reason for the title is the fact that the piano writing is designed to fall “under the hand” and no matter how difficult it may be, it remains physically comfortable and devoid of stress. In other words: “Keys in hand.” –Yehudi Wyner, December 13, 2004.
SKU: M7.SAE-32-04
ISBN 9790707651612.
This is an overflowing arrangement for Pan Flute and String Quintet, that preserve the beauty of the original work, worldwide well known as a high virtuosity masterpiece, carefully written to suit the technical needs of the instruments. At the same time, differ in the essence, due to the creative and inovative flavour who was introduced in the arrangement of this work. A pleasure for the performers who have an appetite for unique and interesting arrangements, with which they will surely delight the audience.
SKU: SU.50600030
Commissioned by the Colonial Symphony, Paul Hostetter, Music Director and Conductor First performed in 2006 Published by: Dunsinane Music Composer's Note: My inspiration for Smiling Dennis is the great bass clarinet virtuoso Dennis Smylie. I have had the pleasure of getting to know Dennis over the past several years owing to our mutual affiliation at Montclair State University. We would meet unintentionally in the halls and begin conversations regarding all manners of topics: from the colorful history of the bass clarinet—and bass clarinetists—to the furious appetite of the New Jersey groundhog. Dennis inevitably finds the humor in things—he revels in discovering the comic story that can often be found, just underneath the topic. When Maestro Hostetter asked me to compose a new piece during his initial season with the Colonial Symphony, and mentioned the possibility of a work related to humor, I immediately thought of the Dennis. When I spoke with Maestro Hostetter the following day, I had already conceived of the title (very unusual for me—I’m much more a musical/visual thinker than a verbal one) as well as the overall musical narrative. Smiling Dennis is a concerto in one movement for one bass clarinetist and twenty string players. Somewhat unusually, each performer has a unique musical assignment—that is, the string players are not aligned into their typical alliances of first violins, second violins and so forth. This permits a more complex string texture, allowing each performer to assert his or her individuality. Indeed, the notion of individuality is essential to this concerto, as it often is in concerti. For example, Smiling Dennis begins with the bass clarinet not quite obeying the conventions of tuning to the orchestra. Rather than simply take the A offered by the Concertmaster, the soloist playfully performs a gently descending series of notes. Offered another A, the soloist repeats this gesture (though with a different descending series). This exchange occurs four times. In the final one, members of the string orchestra join the soloist in the first significant statement of one of the central melodies. The bass clarinet completes this introductory section alone, playing all the way down to a low A, a third below the lowest note in the celli. Following the introduction, Smiling Dennis consists of six sections, somewhat along the lines of a dance suite: an energetic Allegro, a lyric Arioso, a forward Piú mosso, a light-hearted and syncopated dance, a even more energetic passage for strings alone, and finally a modified return to the introduction. In the return, the string ensemble is no longer at all oppositional to the soloist. Rather, in response to the soloist’s gentle cajoling and supportive commentary, the strings accompany—with pleasure, you might say—the quiet, individual playfulness of the bass clarinet. The work ends with a return to the soloist’s substratum A, accompanied quietly by the strings.
