|
| Chansons Enchantees Vol.3
- Livre De L'Eleve
(VONDERSCHER ARIELLE)
 En Français
Formation musicale - Solfège
Billaudot
Livre de l'élève. Par VONDERSCHER ARIELLE. Fruit de la collaboration entre une...(+)
Livre de l'élève. Par VONDERSCHER ARIELLE. Fruit de la collaboration entre une intervenante-musique en milieu scolaire, une institutrice et un professeur de formation musicale, cette serie s'adresse aussi bien aux enfants scolarises à l'ecole primaire qu'aux elèves de chant choral et de formation musicale. Plus qu'un chansonnier, chaque recueil propose des echauffements corporels et vocaux, et permet aux enfants de vivre des situations musicales s'ouvrant sur l‘ imaginaire à partir de chansons originales. Le CD audio, inclus dans le livre de l'elève comprend une version chantee et uneversion play-back pour chacune des chansons. Un repertoire de chansons inedites à utiliser à l'ecole et à l'ecole de musique ! Avec CD Cours Complets / Formation musicale / Solfège/Formation Musicale / Cours Complets
Délais: En Stock | | |
| Formation Musicale
Complete Par Le
Repertoire Vol.3
En Français
Formation musicale - Solfège
AB Editions Musicales
Cycle 1 Ouvrage complet incluant : Lecture de Notes, Lecture Chantée, Dictées...(+)
Cycle 1 Ouvrage complet incluant : Lecture de Notes, Lecture Chantée, Dictées à parties manquantes, Dictées Mélodico-Rythmiques, Dépistage de fautes, Lecture Rythmique. Tous les textes sont extraits du Répertoire Classique
Délais: En Stock | | |
| Teacher's Handbook:
Piano: Reference
Formation musicale - Solfège [Livre]
FJH
This Teacher's Handbook provides information on how to use Succeeding With The M...(+)
This Teacher's Handbook provides information on how to use Succeeding With The Masters & The Festival Collection together for a thorough and pedagogical approach to learning repertoire.The pieces in Succeeding with the Masters & The Festival Collection are selected for their superior artistic and pedagogical merit.The pieces are expertly leveled so that students can be successful at evey level of their development.The finest pieces from the 20th and 21st centuries appear together.Each book includes a reference guide to all of the pieces and a biography of the composers.Both series are expertly editedbecause they were recorded and edited at the same time.Each book has a corresponding performance demonstration CD to guide students with appropriate interpretation.Succeeding with the Masters has a Practice Strategy Workshop that can be used at home for extra reinforcement!The visual art in each book is another way to teach students artistic and musical concepts.All of the pieces have been extensively researched to ensure authenticity.Together these series create the Complete Library of Pedagogical Repertoire all students need.
| | |
| Grabowski E./louis H. -
Ma Boîte A Musiques
Vol.3
En Français
Formation musicale - Solfège
Billaudot
Ma Boîte à Musiques est un ouvrage complet pour une deuxième année d'enseign...(+)
Ma Boîte à Musiques est un ouvrage complet pour une deuxième année d'enseignement musical. Il aborde toutes les notions par l'apprentissage de chansons traditionnelles ou originales et la découverte d'un répertoire varié. Afin de permettre à l'enfant de s'immerger dans un contexte musical vivant et d'assimiler durablement les notions, tous les textes proposés ont un support audio. Les accompagnements des chansons sont disponibles sur l'espace éducation du site des Editions Billaudot et les musiques du répertoire sur la plateforme Deezer. L'ouvrage, en 20 leçons, comporte les rubriques suivantes: je chante/je danse, j'écoute, je lis et une partie à la maison pour le travail personnel. Le lien étroit entre chansons, ordonnances, reconnaissances et déchiffrages permet à l'enfant de conscientiser durablement les relations mélodiques. La lecture est abordée de manière relative dans les premières leçons.Les rythmes proposés se jouent avec un support sonore. Cette approche permet de rendre le rythme vivant, en lien avec une réalité musicale (phrasé, articulation, perception du mouvement sonore).
Délais: En Stock | | |
| Form. Musicale Complete
Par Le Repertoire Vol.1
En Français
Formation musicale - Solfège
28.80 EUR - vendu par Woodbrass
Délais: En Stock | | |
| Complete Method (BAY MEL)
Guitare
Mel Bay
Par BAY MEL. Mel Bay's own method for the classic guitar, featuring a thorough g...(+)
Par BAY MEL. Mel Bay's own method for the classic guitar, featuring a thorough grounding in the fundamentals of music and reading guitar notation, plus graded studies and pieces. This book presents classic guitar technique in a manner that anyone can easily follow. Musical and technical concepts are introduced gradually as needed throughout the text and driven home with ample musical illustrations. Information is provided on: basic right and left-hand techniques, reading standard notation, harmonics, and playing in various keys and positions. In addition to the many classical etudes included here by Aguado, Bach, Carcassi, Carulli, Diabelli, Giuliani, Sor, and others, Mel Bay has made a significant contribution to the student guitar repertoire by transcribing works by Bach, Brahms, Chopin, Mozart, Pleyel, Rubenstein, and others in the classical style. The pieces and exercises are arranged to progress systematically through various keys and playing positions. Written entirely in standard notation only. / Niveau : Tous Niveaux / Classic - Methods / Méthode / Guitare Classique
Délais: 2-5 jours - En Stock Fournisseur | | |
| Johann Sebastian Bach:
Complete Organ Works -
Volume 6: Organ:
Instrumental Work
Orgue
Breitkopf & Härtel
Clavierübung III/Schübler-Choräle/Canonische Veränderungen ü. Vom Himmel ho...(+)
Clavierübung III/Schübler-Choräle/Canonische Veränderungen ü. Vom Himmel hoch-Breitkopf Urtext edition of Johann Sebastian Bach's Complete Organ Works. Music text faithful to the sources and reflecting the current status of Bach research. Developed for musical practice through the cooperation of scholars and performers. Contains all of Bach's Keyboard works that require an independent pedal manual. Contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty. Features comprehensive introductions extensive source descriptions and text-critical notes. Featuressupplementary material illustrated synoptically on CD-ROM (in printable quality) Brochure in large format (32 x 25 cm) and compact music engraving clear easy to read with convenient page turns. With repertoire works musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the Organ works of Johann Sebastian Bach which are available today in various editions. Among them is that of Heinz Lohmann which Breitkopf & H?rtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status historically informed edited with performers in mind:More than 40 years later the demands made on a new Urtext edition of Bach's Organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study teaching and concert performance are in addition to the above-mentioned demands such external criteria as format paper convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition beginning in 2010 also contains all Keyboard works with pedal and the 'dubious works' that are hardly dubious anymore.This edition of Johann Sebastian Bach's Organ works wants to do justice to these demands. Next to the core contents of
| | |
| Johann Sebastian Bach:
Complete Organ Works -
Volume 7: Organ:
Instrumental Work
Orgue
Breitkopf & Härtel
Orgelbüchlein - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastian Bach's ...(+)
Orgelbüchlein - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastian Bach's Complete Organ Works. Music text faithful to the sources and reflecting the current status of Bach research. Developed for musical practice through the cooperation of scholars and performers. Contains all of Bach's Keyboard works that require an independent pedal manual. Contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty. Features comprehensive introductions extensive source descriptions and text-critical notes. Featuressupplementary material illustrated synoptically on CD-ROM (in printable quality) Brochure in large format (32 x 25 cm) and compact music engraving clear easy to read with convenient page turns. With repertoire works musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the Organ works of Johann Sebastian Bach which are available today in various editions. Among them is that of Heinz Lohmann which Breitkopf & H?rtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status historically informed edited with performers in mind:More than 40 years later the demands made on a new Urtext edition of Bach's Organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study teaching and concert performance are in addition to the above-mentioned demands such external criteria as format paper convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition beginning in 2010 also contains all Keyboard works with pedal and the 'dubious works' that are hardly dubious anymore.This edition of Johann Sebastian Bach's Organ works wants to do justice to these demands. Next to the core contents of
| | |
| Johann Sebastian Bach:
Complete Organ Works -
Volume 1: Organ:
Instrumental Work
Orgue
Breitkopf & Härtel
Präludien und Fugen I - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastian...(+)
Präludien und Fugen I - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastian Bach's Complete Organ Works. Music text faithful to the sources and reflecting the current status of Bach research. Developed for musical practice through the cooperation of scholars and performers. Contains all of Bach's Keyboard works that require an independent pedal manual. Contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty. Features comprehensive introductions extensive source descriptions and text-critical notes. Featuressupplementary material illustrated synoptically on CD-ROM (in printable quality) Brochure in large format (32 x 25 cm) and compact music engraving clear easy to read with convenient page turns. With repertoire works musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the Organ works of Johann Sebastian Bach which are available today in various editions. Among them is that of Heinz Lohmann which Breitkopf & H?rtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status historically informed edited with performers in mind:More than 40 years later the demands made on a new Urtext edition of Bach's Organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study teaching and concert performance are in addition to the above-mentioned demands such external criteria as format paper convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition beginning in 2010 also contains all Keyboard works with pedal and the 'dubious works' that are hardly dubious anymore.This edition of Johann Sebastian Bach's Organ works wants to do justice to these demands. Next to the core contents of
| | |
| Johann Sebastian Bach:
Complete Organ Works -
Volume 2: Organ:
Instrumental Work
Orgue
Breitkopf & Härtel
Präludien und Fugen II - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastia...(+)
Präludien und Fugen II - mit CD-ROM-Breitkopf Urtext edition of Johann Sebastian Bach's Complete Organ Works. Music text faithful to the sources and reflecting the current status of Bach research. Developed for musical practice through the cooperation of scholars and performers. Contains all of Bach's Keyboard works that require an independent pedal manual. Contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty. Features comprehensive introductions extensive source descriptions and text-critical notes. Featuressupplementary material illustrated synoptically on CD-ROM (in printable quality) Brochure in large format (32 x 25 cm) and compact music engraving clear easy to read with convenient page turns. With repertoire works musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the Organ works of Johann Sebastian Bach which are available today in various editions. Among them is that of Heinz Lohmann which Breitkopf & H?rtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext. Current Urtext status historically informed edited with performers in mind:More than 40 years later the demands made on a new Urtext edition of Bach's Organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study teaching and concert performance are in addition to the above-mentioned demands such external criteria as format paper convenient page turns and an easily legible layout that helps the user quickly grasp the musical context. The new edition beginning in 2010 also contains all Keyboard works with pedal and the 'dubious works' that are hardly dubious anymore.This edition of Johann Sebastian Bach's Organ works wants to do justice to these demands. Next to the core contents of
| | |
| Pumping Nylon: Complete
Guitare
Alfred Publishing
World-class classical guitarist and well-respected educator Scott Tennant presen...(+)
World-class classical guitarist and well-respected educator Scott Tennant presents the most comprehensive technique handbook available for classical guitarists. This complete edition combines all three volumes of Scott's best-selling Pumping Nylon series. In addition to technical information not available elsewhere, it includes classic etudes by Carcassi, Giuliani, Sor, and Tarrega - musical examples by Bach, Turina, and Rodrigo - and original compositions by Andrew York and Brian Head. Learn easy to advanced repertoire pieces that are selected and designed to work with the various techniques addressed, including arpeggios, tremolo, scale velocity, and more. The included DVD features Scott Tennant, and the MP3 CD features the playing of Scott Tennant and Adam del Monte. / Guitare
Délais: 2-5 jours - En Stock Fournisseur | | |
| The Saxophone Method
Vol.1
Saxophone
Schott
From best-selling author, John O'Neill, The Saxophone Method is a complete cours...(+)
From best-selling author, John O'Neill, The Saxophone Method is a complete course for the beginner to intermediate saxophonist. Start by mastering the essential foundation techniques of breathing, embouchure, tone production, and tonguing required to be a great player in any style. With a wide range of tunes from all over the world you will be exposed to a great variety of musical styles to motivate and inspire.The mp3 backing tracks, available as free downloads, feature top professional musicians and will give you the feeling of playing in a great band from the very beginning.The Saxophone Method is supplemented by two Repertoire Books to give you even more music to practice and enjoy, and perfectly complements the Jazz Method for Saxophone. By the end of the method you will be able to:understand the fundamentals of good playing techniquehave explored the full range of the instrumentbe familiar with the most common rhythmshave a solid grounding in music theoryhave the confidence to play with a real band in many different styles / Alto Saxophone
Délais: 2-5 jours - En Stock Fournisseur | | |
| Antonio Vivaldi: Complete
Sonatas For Cello: Cello:
Instrumental Work
Violoncelle
Wiener Urtext
The nine sonatas for Cello and Basso Continuo by Antonio Vivaldi are among the m...(+)
The nine sonatas for Cello and Basso Continuo by Antonio Vivaldi are among the most famous Cello works of the Baroque era. Thanks to their moderate technical demands the pieces are an integral part of music lessons as well as of private music-making. But even for the professional early music scene they form a focus of the Cello repertoire. The new edition of the Wiener Urtext Edition serves the needs and demands of all three target groups alike providing a reliable musical text which is no longer based on the unauthorized first Paris edition by Le Clerc & Boivin but on a copy from Naples revised by Vivaldi himself as well as on two othermanuscripts associated with the composer from the Bibliothèque Nationale in Paris and the music library of the Counts of Schönborn at Wiesentheid. Apart from the solo part the edition comprises a Piano (Harpsichord) score with realized Basso Continuo which should be very welcome to pupils and amateurs. An unrealized Basso Continuo part has been added for the professional Continuo player in which the figures of the first Paris edition has been included. Even if they do not trace back to Vivaldi himself they bear witness to the contemporary Basso Continuo practice and can serve as a guide for the execution of Vivaldi's unfigured Bass part. More detailed information on the performance practice is provided in the notes on interpretation by Gerhart Darmstadt which are based on contemporary sources.
| | |
| Mel Bay: Complete Method
For Classic Guitar:
Guitar: Instrumental
Tutor
Guitare notes et tablatures [Partition + Accès audio]
Mel Bay
Mel Bay's own method for the Classic Guitar featuring a thorough grounding in t...(+)
Mel Bay's own method for the Classic Guitar featuring a thorough grounding in the fundamentals of music and reading Guitar notation plus graded studies and pieces. This book presents Classic Guitar techniquein a manner that anyone can easily follow. Musical and technical concepts are introduced gradually as needed throughout the text and driven home with ample musical illustrations. Information is provided on: basic right andleft-hand techniques reading standard notation harmonics and playing in various keys and positions. In addition to the many classical etudes included here by Aguado Bach Carcassi Carulli Diabelli Giuliani Sor and others Mel Bay has made a significant contribution to the student Guitar repertoire by transcribing works by Bach Brahms Chopin Mozart Pleyel Rubenstein and others in the classical style. The pieces and exercises are arranged toprogress systematically through various keys and playing positions. Written entirely in standard notation only. Includes access to online audio.
Délais: En Stock | | |
| Sämtliche Orgelwerke
Band 8 (BACH JOHANN
SEBASTIAN)
Orgue [Partition + CD]
Breitkopf & Härtel
Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Bo...(+)
Orgelchoräle Der Leipziger Handschrift. Par BACH JOHANN SEBASTIAN. Editorial Board: Werner Breig/ Pieter Dirksen/ Reinmar Emans
music text faithful to the sources and reflecting the current status of Bach research
developed for musical practice through the cooperation of scholars and performers
contains all of Bach's keyboard works that require an independent pedal manual
contains all authentic early versions and fragmentarily transmitted or dubious works that can be attributed to Bach with a fair amount of certainty
features comprehensive introductions, extensive source descriptions and text-critical notes
features supplementary material illustrated synoptically on CD-ROM (in printable quality)
brochure, in large format (32 x 25 cm) and compact music engraving, clear, easy to read, with convenient page turns
'The Breitkopf edition is obviously preferable if you're buying new copies. The series so far has been most impressive.' (Clifford Bartlett, Early Music Review)
Subscription Conditions
A subscription is only possible for the complete collection. The subscription price of the volumes is 20% lower than the final sales price. A subscription can begin at any time.
The subscription obliges the subscriber to purchase the entire collection.
The New Edition of Bach's Complete Organ Works
With repertoire works, musicians often have the choice between editions conceived for practical music-making and others that are more scholarly in concept. This also applies to the organ works of Johann Sebastian Bach, which are available today in various editions. Among them is that of Heinz Lohmann, which Breitkopf and Härtel began publishing in 1967 and whose concept strove for an amalgamation of practice and Urtext.
Current Urtext status, historically informed, edited with performers in mind:
More than 40 years later, the demands made on a new Urtext edition of Bach's organ works are as stringent as ever before. Next to the results of scholarly research on Bach and the sources, aspects of a historically informed performance practice are increasingly claiming our attention today. Also important for study, teaching and concert performance are, in addition to the above-mentioned demands, such external criteria as format, paper, convenient page turns and an easily legible layout that helps the user quickly grasp the musical context.
The new edition, beginning in 2010, also contains all keyboard works with pedal and the 'dubious works' that are hardly dubious anymore
The edition of Johann Sebastian Bach's organ works which Breitkopf and Härtel is beginning to publish in fall 2010 wants to do justice to these demands. Next to the core contents of the repertoire, it will also feature all of the master's 'clavier' works which require an independent pedal. Moreover, it will include all authentic early versions as well as the fragmentarily transmitted works. As to the dubious works, it will contain those which can be attributed to Bach today with considerable certainty.
It offers incerta, early, and alternative versions on CD-ROM
In this work group, the new edition uses for the first time the modern forms of editorial technique with which the synoptical depiction of various versions is made possible on CD-ROM. Thanks to the collaboration with the EDIROM project, which is a leader in the field of digital scientific editorial technique, the edition offers new types of solutions. Incerta, early, and alternative versions that cannot be included in the printed volumes for reasons of size or problems of authenticity, are published on CD-ROM, supplied with comments, and depicted synoptically. Thus, after comparing the versions, the player can decide upon a different version than the one printed in the volume, and can make a high-quality print-out of it. The texts and comments customary to the 'Breitkopf Urtext' editions comprehensive introductions, extensive source descriptions and text-critical observations can be found in the printed version of the volumes.
Edited by a competent team:
With Werner Breig (Erlangen), Pieter Dirksen (Culemborg/Netherlands) and Reinmar Emans (Bochum), a.o. we have brought together a team that guarantees the highest expertise in various domains. Further Bach experts such as Sven Hiemke (Hamburg), David Schulenberg (Boston) and Jean-Claude Zehnder (Basel) were also enlisted for the edition of single volumes.
Werner Breig (* 1932)
studied Evangelical church music in Berlin as well as musicology in Erlangen and Hamburg. He obtained his doctorate in 1962 and completed his habilitation (postdoctoral lecturing qualification) in 1973. He then devoted himself to musicology at the Universities of Freiburg i. Br, Karlsruhe, Wuppertal and Bochum. Since his retirement in 1997 he has been living in Erlangen. Between 1997 and 2007 Breig was appointed General Editor of the complete edition of Richard Wagners letters. He is the author of many publications and editions, particularly of early clavier and organ music by Heinrich Schütz and Johann Sebastian Bach, but also of Richard Wagner and Arnold Schoenberg. Furthermore he is the author of the Bach article in the dictionary Die Musik in Geschichte und Gegenwart (MGG, 2nd edition).
Pieter Dirksen (* 1961)
studied organ, harpsichord and musicology. His 1996 doctoral thesis on Sweelinck's keyboard music was awarded the Praemium Erasmianum. Dirksen has since published many studies on, and editions of, several masters of the 17th century (Sweelinck, Bull, Cornet, Scheidt, Scheidemann, Buxtehude, Luebeck, Johann Christoph Bach) as well as Johann Sebastian Bach. In collaboration with Harald Vogel, he edited Sweelinck's Complete Works for Keyboard Instrument (4 volumes, Breitkopf and Härtel). Dirksen is a member of the academic board of the Bach-Jahrbuch as well as a sought-after harpsichordist, organist and continuo player in international ensembles. Dirksen issued a number of much-acclaimed solo recordings (Sweelinck, Scheidemann, Boehm, Louis Couperin, Bach-Vivaldi, Bachs Art of Fugue and Goldberg Variations). Edison Winner 2003.
Reinmar Emans (* 1953)
studied musicology in Bonn and wrote his doctoral thesis on the cantatas and canzonettas of Giovanni Legrenzi in 1982. From 1983 to 2008 he was an academic staff member of the Johann-Sebastian-Bach-Institut Göttingen, and temporarily deputy of the managing director. He has taught in Bochum, Marburg, Detmold, Cologne and Hamburg, and has been a freelance contributor to various music periodicals. In 2000 he was responsible for the conception and direction of the Thuringian state exhibition 'Der junge Bach: Weil er nicht aufzuhalten' in Erfurt. He has conducted research and produced publications on opera and the cantata in 17th-century Italy, on stylistic development in the music of Johann Sebastian Bach, and on editorial philology./ Répertoire / Orgue
Délais: En Stock | | |
| Ludwig van Beethoven:
Symphony No. 5 In C Minor
Op.67: Orchestra: Study
Score
Orchestre
G. Henle
Opus 67-Beethoven is presumed to have completed his 5th Symphony in early 1808; ...(+)
Opus 67-Beethoven is presumed to have completed his 5th Symphony in early 1808; today it is one of the most famous works of classical music of all. Its nickname ?Fate Symphony? was given to it posthumously byBeethoven?s biographer Anton Schindler; a title which no longer plays a role in modern-day Beethoven scholarship.Based on the recently published musical text of the Beethoven Complete Edition andsupplied with a new preface by editor Jens Dufner one of the most vibrant and stimulating orchestral works of the standard repertoire is now available in a practical format for travel study or the concert hall.
| | |
| Leos Janacek: Taras
Bulba. Rhapsody for
Orchestra: Orchestra:
Study Score
Orchestre
Barenreiter
This study score is based on the Complete Critical Edition of the Works of Leo? ...(+)
This study score is based on the Complete Critical Edition of the Works of Leo? Janá ek. The principal source is the first edition but the editor has also consulted the handwritten sources and extant proofs. The edition opens with a new Foreword by Ji Zahrádka.- 20th century repertoire piece now available in study score.- Based on the Complete Critical Edition of the Works of Leo? Janá ek vol. D/7.- New Foreword by Ji Zahrádka (Cz/Eng/Ger).The Barenreiter Urtext study scores are a prime example of how Barenreiter takes a musical text and transfers it into a practical format.The Barenreiter Urtext Study Scores format 16.5 x 22.5cm areideal for musical analysis rehearsal purposes and even conducting. The Study Scores are distinguished by high quality paper and binding as well as an excellent layout.In this way masterworks of musical history are made available as compact sized scores at extremely affordable prices!
| | |
| Succeeding With The
Masters 2: Piano:
Instrumental Tutor
Piano seul [Partition + CD] - Intermédiaire
FJH
Compiled and edited by Helen Marlais Succeeding with the Masters is a series de...(+)
Compiled and edited by Helen Marlais Succeeding with the Masters is a series dedicated to the authentic keyboard works of Baroque Classical Romantic and 20th Century masters.This series provides a complete and easily accessible method for learning and performing the works of the masters. Each book presents the works in historical perspective for the student and provides the means and the motivation to play these pieces in the correct stylistic musical and technical manner. The easily understandable format of practice strategies and musical concepts make this series enjoyable for both students and teachers.To ensure authenticity all of these pieceshave been extensively researched. Teachers will find a wealth of excellent repertoire that can be used for recitals festivals competitions and state achievement testing. Many of these original compositions may be new to you while others will be familiar. This series brings together an essential and comprehensive library of the pedagogical repertoire of the great composers.Succeeding with the Masters: Classical Era - Volume Two is a groundbreaking collection of 23 graded repertoire pieces by Haydn Mozart and Beethoven.
Délais: En Stock | | |
| Succeeding With The
Masters: Romantic Era -
Vol.1: Piano:
Instrumental Tutor
Piano seul [Partition + CD] - Facile
FJH
Compiled and edited by Helen Marlais Succeeding with the Masters is a series de...(+)
Compiled and edited by Helen Marlais Succeeding with the Masters is a series dedicated to the authentic keyboard works of Baroque Classical Romantic and 20th Century masters.This series provides a complete and easily accessible method for learning and performing the works of the masters. Each book presents the works in historical perspective for the student and provides the means and the motivation to play these pieces in the correct stylistic musical and technical manner. The easily understandable format of practice strategies and musical concepts make this series enjoyable for both students and teachers.To ensure authenticity all of these pieceshave been extensively researched. Teachers will find a wealth of excellent repertoire that can be used for recitals festivals competitions and state achievement testing. Many of these original compositions may be new to you while others will be familiar. This series brings together an essential and comprehensive library of the pedagogical repertoire of the great composers.Succeeding with the Masters: Romantic Era - Volume One is a groundbreaking collection of 22 graded repertoire pieces by Schubert Schumann and Tchaikovsky.
| |
|
|
|
| Complete Method for Classic Guitar
Guitare
Guitare classique [Partition + Accès audio]
Mel Bay
Composed by Mel Bay. Wire-bound. Complete. Book and online audio. 144 pages. Pub...(+)
Composed by Mel Bay.
Wire-bound. Complete.
Book and online audio.
144 pages. Published by
Mel Bay Publications, Inc
(MB.93400M).
$24.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Gustave Vogt's Musical Album of Autographs
Cor anglais, Piano
Carl Fischer
Chamber Music English Horn, Oboe SKU: CF.WF229 15 Pieces for Oboe and ...(+)
Chamber Music English
Horn, Oboe SKU:
CF.WF229 15 Pieces
for Oboe and English
Horn. Composed by
Gustave Vogt. Edited by
Kristin Jean Leitterman.
Collection - Performance.
32+8 pages. Carl Fischer
Music #WF229. Published
by Carl Fischer Music
(CF.WF229). ISBN
9781491153789. UPC:
680160911288. Intro
duction Gustave Vogt's
Musical Paris Gustave
Vogt (1781-1870) was born
into the Age of
Enlightenment, at the
apex of the
Enlightenment's outreach.
During his lifetime he
would observe its effect
on the world. Over the
course of his life he
lived through many
changes in musical style.
When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the grandfather of the
modern oboe and the
premier oboist of Europe.
Through his eighty-nine
years, Vogt would live
through what was perhaps
the most turbulent period
of French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
System Six Triebert oboe
(the instrument adopted
by Conservatoire
professor, Georges
Gillet, in 1882) was only
five years from being
developed. Vogt was born
March 18, 1781 in the
ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school's first
oboe professor,
Alexandre-Antoine
Sallantin (1775-1830).
Vogt's relationship with
the Conservatoire would
span over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed repetiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school's history. During
his tenure, he became the
most influential oboist
in France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799-1839), Apollon
Marie-Rose Barret
(1804-1879), Charles
Triebert (1810-1867),
Stanislas Verroust
(1814-1863), and Charles
Colin (1832-1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854-1920), and then to
Marcel Tabuteau
(1887-1966), the oboist
Americans lovingly
describe as the father of
American oboe playing.
Opera was an important
part of Vogt's life. His
first performing position
was with the
Theatre-Montansier while
he was still studying at
the Conservatoire.
Shortly after, he moved
to the Ambigu-Comique
and, in 1801 was
appointed as first oboist
with the Theatre-Italien
in Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opera-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opera, the
top orchestra in Paris at
the time. He played with
the Paris Opera until
1834, all the while
bringing in his current
and past students to fill
out the section. In this
position, he began to
make a name for himself;
so much so that specific
performances were
immortalized in memoirs
and letters. One comes
from a young Hector
Berlioz (1803-1865) after
having just arrived in
Paris in 1822 and
attended the Paris
Opera's performance of
Mehul's Stratonice and
Persuis' ballet Nina. It
was in response to the
song Quand le bien-amie
reviendra that Berlioz
wrote: I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt's instrument...
Shortly after this,
Berlioz gave up studying
medicine and focused on
music. Vogt frequently
made solo and chamber
appearances throughout
Europe. His busiest
period of solo work was
during the 1820s. In 1825
and 1828 he went to
London to perform as a
soloist with the London
Philharmonic Society.
Vogt also traveled to
Northern France in 1826
for concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini's (1760-1842)
Ave Maria, with soprano
Anna (Nanette) Schechner
(1806-1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opera. He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artot (1815-1845). This
ended his active career
as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having lost none of his
superiority over the
oboe.... It's always the
same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt's oboe.
Vogt was also active
performing in Paris as a
chamber and orchestral
musician. He was one of
the founding members of
the Societe des Concerts
du Conservatoire, a group
established in 1828 by
violinist and conductor
Francois-Antoine Habeneck
(1781-1849). The group
featured faculty and
students performing
alongside each other and
works such as Beethoven
symphonies, which had
never been heard in
France. He also premiered
the groundbreaking
woodwind quintets of
Antonin Reicha
(1770-1836). After his
retirement from the Opera
in 1834 and from the
Societe des Concerts du
Conservatoire in 1842,
Vogt began to slow down.
His final known
performance was of
Cherubini's Ave Maria on
English horn with tenor
Alexis Dupont (1796-1874)
in 1843. He then began to
reflect on his life and
the people he had known.
When he reached his 60s,
he began gathering
entries for his Musical
Album of Autographs.
Autograph Albums Vogt's
Musical Album of
Autographs is part of a
larger practice of
keeping autograph albums,
also commonly known as
Stammbuch or Album
Amicorum (meaning book of
friendship or friendship
book), which date back to
the time of the
Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death. As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492-1550), a collection
of 212 Latin emblem
poems. In 1558, the first
book conceived for the
purpose of the album
amicorum was published by
Lyon de Tournes
(1504-1564) called the
Thesaurus Amicorum. These
books continued to
evolve, and spread to
wider circles away from
universities. Albums
could be found being kept
by noblemen, physicians,
lawyers, teachers,
painters, musicians, and
artisans. The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbucher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music. This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his grand tour through
Europe in 1815 and of his
desire to carry an album
with entries from the
many artists he would
come across. He wrote in
his autobiography that
his most valuable
contribution came from
Beethoven in 1815.
Spohr's Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbucher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later. Vogt's Musical
Album of Autographs
Vogt's Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod's (1818-1893)
Faust, which premiered in
1859, was submitted.
Within this album we find
sixty-two entries from
musicians whom he must
have known very well
because they were
colleagues at the
Conservatoire, or
composers of opera whose
works he was performing
with the Paris Opera.
Other entries came from
performers with whom he
had performed and some
who were simply passing
through Paris, such as
Joseph Joachim
(1831-1907). Of the
sixty-three total
entries, some are
original, unpublished
works, while others came
from well-known existing
works. Nineteen of these
works are for solo piano,
sixteen utilize the oboe
or English horn, thirteen
feature the voice (in
many different
combinations, including
vocal solos with piano,
and small choral settings
up to one with double
choir), two feature
violin as a solo
instrument, and one even
features the now obscure
ophicleide. The
connections among the
sixty-two contributors to
Vogt's album are
virtually never-ending.
All were acquainted with
Vogt in some capacity,
from long-time
friendships to
relationships that were
created when Vogt
requested their entry.
Thus, while Vogt is the
person who is central to
each of these musicians,
the web can be greatly
expanded. In general, the
connections are centered
around the Conservatoire,
teacher lineages, the
Opera, and performing
circles. The
relationships between all
the contributors in the
album parallel the
current musical world, as
many of these kinds of
relationships still
exist, and permit us to
fantasize who might be
found in an album created
today by a musician of
the same standing. Also
important, is what sort
of entries the
contributors chose to
pen. The sixty-three
entries are varied, but
can be divided into
published and unpublished
works. Within the
published works, we find
opera excerpts, symphony
excerpts, mass excerpts,
and canons, while the
unpublished works include
music for solo piano,
oboe or English horn,
string instruments
(violin and cello), and
voice (voice with piano
and choral). The music
for oboe and English horn
works largely belong in
the unpublished works of
the album. These entries
were most likely written
to honor Vogt. Seven are
for oboe and piano and
were contributed by
Joseph Joachim, Pauline
Garcia Viardot
(1821-1910), Joseph
Artot, Anton Bohrer
(1783-1852), Georges
Onslow (1784-1853),
Desire Beaulieu
(1791-1863), and Narcisse
Girard (1797-1860). The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work, which he even
included in his
signature. Two composers
contributed pieces for
English horn and piano,
and like the previous
oboe entries, are simple
and repetitive. These
were written by Michele
Carafa (1787-1872) and
Louis Clapisson
(1808-1866). There are
two other entries that
were unpublished works
and are chamber music.
One is an oboe trio by
Jacques Halevy
(1799-1862) and the other
is for oboe and strings
(string trio) by J. B.
Cramer (1771-1858). There
are five published works
in the album for oboe and
English horn. There are
three from operas and the
other two from symphonic
works. Ambroise Thomas
(1811-1896) contributed
an excerpt from the
Entr'acte of his opera La
Guerillero, and was
likely chosen because the
oboe was featured at this
moment. Hippolyte Chelard
(1789-1861) also chose to
honor Vogt by writing for
English horn. His entry,
for English horn and
piano, is taken from his
biggest success, Macbeth.
The English horn part was
actually taken from Lady
Macbeth's solo in the
sleepwalking scene.
Vogt's own entry also
falls into this category,
as he entered an excerpt
from Donizetti's Maria di
Rohan. The excerpt he
chose is a duet between
soprano and English horn.
There are two entries
featuring oboe that are
excerpted from symphonic
repertoire. One is a
familiar oboe melody from
Beethoven's Pastoral
Symphony entered by his
first biographer, Anton
Schindler (1796-1864).
The other is an excerpt
from Berlioz's choral
symphony, Romeo et
Juliette. He entered an
oboe solo from the Grand
Fete section of the
piece. Pedagogical
benefit All of these
works are lovely, and fit
within the album
wonderfully, but these
works also are great oboe
and English horn music
for young students. The
common thread between
these entries is the
simplicity of the melody
and structure. Many are
repetitive, especially
Beaulieu's entry, which
features a two-note
ostinato throughout the
work in the piano. This
repetitive structure is
beneficial for young
students for searching
for a short solo to
present at a studio
recital, or simply to
learn. They also work
many technical issues a
young player may
encounter, such as
mastering the rolling
finger to uncover and
recover the half hole.
This is true of Bealieu's
Pensee as well as
Onslow's Andantino.
Berlioz's entry from
Romeo et Juliette
features very long
phrases, which helps with
endurance and helps keep
the air spinning through
the oboe. Some of the
pieces also use various
levels of ornamentation,
from trills to grace
notes, and short
cadenzas. This allows the
student to learn
appropriate ways to
phrase with these added
notes. The chamber music
is a valuable way to
start younger students
with chamber music,
especially the short
quartet by Cramer for
oboe and string trio. All
of these pieces will not
tax the student to learn
a work that is more
advanced, as well as give
them a full piece that
they can work on from
beginning to end in a
couple weeks, instead of
months. Editorial Policy
The works found in this
edition are based on the
manuscript housed at the
Morgan Library in New
York City (call number
Cary 348, V886. A3). When
possible, published
scores were consulted and
compared to clarify pitch
and text. The general
difficulties in creating
an edition of these works
stem from entries that
appear to be hastily
written, and thus omit
complete articulations
and dynamic indications
for all passages and
parts. The manuscript has
been modernized into a
performance edition. The
score order from the
manuscript has been
retained. If an entry
also exists in a
published work, and this
was not indicated on the
manuscript, appropriate
titles and subtitles have
been added tacitly. For
entries that were
untitled, the beginning
tempo marking or
expressive directive has
been added as its title
tacitly. Part names have
been changed from the
original language to
English. If no part name
was present, it was added
tacitly. All scores are
transposing where
applicable. Measure
numbers have been added
at the beginning of every
system. Written
directives have been
retained in the original
language and are placed
relative to where they
appear in the manuscript.
Tempo markings from the
manuscript have been
retained, even if they
were abbreviated, i.e.,
Andte. The barlines,
braces, brackets, and
clefs are modernized. The
beaming and stem
direction has been
modernized. Key
signatures have been
modernized as some of the
flats/sharps do not
appear on the correct
lines or spaces. Time
signatures have been
modernized. In a few
cases, when a time
signature was missing in
the manuscript, it has
been added tacitly.
Triplet and rhythmic
groupings have been
modernized. Slurs, ties,
and articulations
(staccato and accent)
have been modernized.
Slurs, ties, and
articulations have been
added to parallel
passages tacitly.
Courtesy accidentals
found in the manuscript
have been removed, unless
it appeared to be helpful
to the performer. Dynamic
indications from the
manuscript have been
retained, except where
noted. --Kristin
Leitterman.
Introducti
onGustave Vogt’s
Musical ParisGustave Vogt
(1781–1870) was born
into the “Age of
Enlightenment,” at the
apex of the
Enlightenment’s
outreach. During his
lifetime he would observe
its effect on the world.
Over the course of his
life he lived through
many changes in musical
style. When he was born,
composers such as Mozart
and Haydn were still
writing masterworks
revered today, and
eighty-nine years later,
as he departed the world,
the new realm of
Romanticism was beginning
to emerge with Mahler,
Richard Strauss and
Debussy, who were soon to
make their respective
marks on the musical
world. Vogt himself left
a huge mark on the
musical world, with
critics referring to him
as the “grandfather of
the modern oboe” and
the “premier oboist of
Europe.”Through his
eighty-nine years, Vogt
would live through what
was perhaps the most
turbulent period of
French history. He
witnessed the French
Revolution of 1789,
followed by the many
newly established
governments, only to die
just months before the
establishment of the
Third Republic in 1870,
which would be the
longest lasting
government since the
beginning of the
revolution. He also
witnessed the
transformation of the
French musical world from
one in which opera
reigned supreme, to one
in which virtuosi,
chamber music, and
symphonic music ruled.
Additionally, he
experienced the
development of the oboe
right before his eyes.
When he began playing in
the late eighteenth
century, the standard
oboe had two keys (E and
Eb) and at the time of
his death in 1870, the
“System Six”
Triébert oboe (the
instrument adopted by
Conservatoire professor,
Georges Gillet, in 1882)
was only five years from
being developed.Vogt was
born March 18, 1781 in
the ancient town of
Strasbourg, part of the
Alsace region along the
German border. At the
time of his birth,
Strasbourg had been
annexed by Louis XIV, and
while heavily influenced
by Germanic culture, had
been loosely governed by
the French for a hundred
years. Although it is
unclear when Vogt began
studying the oboe and
when his family made its
move to the French
capital, the Vogts may
have fled Strasbourg in
1792 after much of the
city was destroyed during
the French Revolution. He
was without question
living in Paris by 1798,
as he enrolled on June 8
at the newly established
Conservatoire national de
Musique to study oboe
with the school’s first
oboe professor,
Alexandre-Antoine
Sallantin
(1775–1830).Vogt’s
relationship with the
Conservatoire would span
over half a century,
moving seamlessly from
the role of student to
professor. In 1799, just
a year after enrolling,
he was awarded the
premier prix, becoming
the fourth oboist to
achieve this award. By
1802 he had been
appointed répétiteur,
which involved teaching
the younger students and
filling in for Sallantin
in exchange for a free
education. He maintained
this rank until 1809,
when he was promoted to
professor adjoint and
finally to professor
titulaire in 1816 when
Sallantin retired. This
was a position he held
for thirty-seven years,
retiring in 1853, making
him the longest serving
oboe professor in the
school’s history.
During his tenure, he
became the most
influential oboist in
France, teaching
eighty-nine students,
plus sixteen he taught
while he was professor
adjoint and professor
titulaire. Many of these
students went on to be
famous in their own
right, such as Henri Brod
(1799–1839), Apollon
Marie-Rose Barret
(1804–1879), Charles
Triebert (1810–1867),
Stanislas Verroust
(1814–1863), and
Charles Colin
(1832–1881). His
influence stretches from
French to American oboe
playing in a direct line
from Charles Colin to
Georges Gillet
(1854–1920), and then
to Marcel Tabuteau
(1887–1966), the oboist
Americans lovingly
describe as the “father
of American oboe
playing.”Opera was an
important part of
Vogt’s life. His first
performing position was
with the
Théâtre-Montansier
while he was still
studying at the
Conservatoire. Shortly
after, he moved to the
Ambigu-Comique and, in
1801 was appointed as
first oboist with the
Théâtre-Italien in
Paris. He had been in
this position for only a
year, when he began
playing first oboe at the
Opéra-Comique. He
remained there until
1814, when he succeeded
his teacher,
Alexandre-Antoine
Sallantin, as soloist
with the Paris Opéra,
the top orchestra in
Paris at the time. He
played with the Paris
Opéra until 1834, all
the while bringing in his
current and past students
to fill out the section.
In this position, he
began to make a name for
himself; so much so that
specific performances
were immortalized in
memoirs and letters. One
comes from a young Hector
Berlioz (1803–1865)
after having just arrived
in Paris in 1822 and
attended the Paris
Opéra’s performance of
Mehul’s Stratonice and
Persuis’ ballet Nina.
It was in response to the
song Quand le bien-amié
reviendra that Berlioz
wrote: “I find it
difficult to believe that
that song as sung by her
could ever have made as
true and touching an
effect as the combination
of Vogt’s
instrument…” Shortly
after this, Berlioz gave
up studying medicine and
focused on music.Vogt
frequently made solo and
chamber appearances
throughout Europe. His
busiest period of solo
work was during the
1820s. In 1825 and 1828
he went to London to
perform as a soloist with
the London Philharmonic
Society. Vogt also
traveled to Northern
France in 1826 for
concerts, and then in
1830 traveled to Munich
and Stuttgart, visiting
his hometown of
Strasbourg on the way.
While on tour, Vogt
performed Luigi
Cherubini’s
(1760–1842) Ave Maria,
with soprano Anna
(Nanette) Schechner
(1806–1860), and a
Concertino, presumably
written by himself. As a
virtuoso performer in
pursuit of repertoire to
play, Vogt found himself
writing much of his own
music. His catalog
includes chamber music,
variation sets, vocal
music, concerted works,
religious music, wind
band arrangements, and
pedagogical material. He
most frequently performed
his variation sets, which
were largely based on
themes from popular
operas he had, presumably
played while he was at
the Opéra.He made his
final tour in 1839,
traveling to Tours and
Bordeaux. During this
tour he appeared with the
singer Caroline Naldi,
Countess de Sparre, and
the violinist Joseph
Artôt (1815–1845).
This ended his active
career as a soloist. His
performance was described
in the Revue et gazette
musicale de Paris as
having “lost none of
his superiority over the
oboe…. It’s always
the same grace, the same
sweetness. We made a trip
to Switzerland, just by
closing your eyes and
listening to Vogt’s
oboe.”Vogt was also
active performing in
Paris as a chamber and
orchestral musician. He
was one of the founding
members of the Société
des Concerts du
Conservatoire, a group
established in 1828 by
violinist and conductor
François-Antoine
Habeneck (1781–1849).
The group featured
faculty and students
performing alongside each
other and works such as
Beethoven symphonies,
which had never been
heard in France. He also
premiered the
groundbreaking woodwind
quintets of Antonin
Reicha
(1770–1836).After his
retirement from the
Opéra in 1834 and from
the Société des
Concerts du Conservatoire
in 1842, Vogt began to
slow down. His final
known performance was of
Cherubini’s Ave Maria
on English horn with
tenor Alexis Dupont
(1796–1874) in 1843. He
then began to reflect on
his life and the people
he had known. When he
reached his 60s, he began
gathering entries for his
Musical Album of
Autographs.Autograph
AlbumsVogt’s Musical
Album of Autographs is
part of a larger practice
of keeping autograph
albums, also commonly
known as Stammbuch or
Album Amicorum (meaning
book of friendship or
friendship book), which
date back to the time of
the Reformation and the
University of Wittenberg.
It was during the
mid-sixteenth century
that students at the
University of Wittenberg
began passing around
bibles for their fellow
students and professors
to sign, leaving messages
to remember them by as
they moved on to the next
part of their lives. The
things people wrote were
mottos, quotes, and even
drawings of their family
coat of arms or some
other scene that meant
something to the owner.
These albums became the
way these young students
remembered their school
family once they had
moved on to another
school or town. It was
also common for the
entrants to comment on
other entries and for the
owner to amend entries
when they learned of
important life details
such as marriage or
death.As the practice
continued, bibles were
set aside for emblem
books, which was a
popular book genre that
featured allegorical
illustrations (emblems)
in a tripartite form:
image, motto, epigram.
The first emblem book
used for autographs was
published in 1531 by
Andrea Alciato
(1492–1550), a
collection of 212 Latin
emblem poems. In 1558,
the first book conceived
for the purpose of the
album amicorum was
published by Lyon de
Tournes (1504–1564)
called the Thesaurus
Amicorum. These books
continued to evolve, and
spread to wider circles
away from universities.
Albums could be found
being kept by noblemen,
physicians, lawyers,
teachers, painters,
musicians, and
artisans.The albums
eventually became more
specialized, leading to
Musical Autograph Albums
(or Notestammbücher).
Before this
specialization, musicians
contributed in one form
or another, but our
knowledge of them in
these albums is mostly
limited to individual
people or events. Some
would simply sign their
name while others would
insert a fragment of
music, usually a canon
(titled fuga) with text
in Latin. Canons were
popular because they
displayed the
craftsmanship of the
composer in a limited
space. Composers
well-known today,
including J. S. Bach,
Telemann, Mozart,
Beethoven, Dowland, and
Brahms, all participated
in the practice, with
Beethoven being the first
to indicate an interest
in creating an album only
of music.This interest
came around 1815. In an
1845 letter from Johann
Friedrich Naue to
Heinrich Carl
Breidenstein, Naue
recalled an 1813 visit
with Beethoven, who
presented a book
suggesting Naue to
collect entries from
celebrated musicians as
he traveled. Shortly
after we find Louis Spohr
speaking about leaving on
his “grand tour”
through Europe in 1815
and of his desire to
carry an album with
entries from the many
artists he would come
across. He wrote in his
autobiography that his
“most valuable
contribution” came from
Beethoven in 1815.
Spohr’s Notenstammbuch,
comprised only of musical
entries, is
groundbreaking because it
was coupled with a
concert tour, allowing
him to reach beyond the
Germanic world, where the
creation of these books
had been nearly
exclusive. Spohr brought
the practice of
Notenstammbücher to
France, and in turn
indirectly inspired Vogt
to create a book of his
own some fifteen years
later.Vogt’s Musical
Album of
AutographsVogt’s
Musical Album of
Autographs acts as a form
of a memoir, displaying
mementos of musicians who
held special meaning in
his life as well as
showing those with whom
he was enamored from the
younger generation. The
anonymous Pie Jesu
submitted to Vogt in 1831
marks the beginning of an
album that would span
nearly three decades by
the time the final entry,
an excerpt from Charles
Gounod’s (1818–1893)
Faust, which premiered in
1859, was
submitted.Within this
album ... $16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Les Joies De La Premire Anne De Piano (Avec CD)
Piano seul
Editions Musicales Francaises
Piano (Piano) SKU: HL.14017326 Music Sales America. Tuition. Book and CD....(+)
Piano (Piano) SKU:
HL.14017326 Music
Sales America. Tuition.
Book and CD. 80 pages.
Editions Musicales
Francaises #EMF100903.
Published by Editions
Musicales Francaises
(HL.14017326).
French. Une
methode et un repertoire
pour le pianiste debutant
par Denes Agay, Les Joies
De La Premiere Annee De
Piano est un livre pour
les debutants de tous
ages. Son propos est de
fournir un repertoire
progressivement gradue de
morceaux attrayants a
travers lesquels le
pianiste debutant peut
acquerir les bases de la
lecture et de
l'interpretation de
maniere agreable et sans
effort. La succession de
ces petits morceaux est
planifee pour introduire
progressivement de
nouveaux concepts, pour
permettre de repeter
souvant les choses deja
apprises et pour fournir
toute information
complementaire pour
aborder la suite du
cours. Edition special
avec CD! 44 pieces
choisies tirees du livre.
Ecoutez la version
complete puis jouez avec
les playbacks! $23.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Pumping Nylon -- Complete
Guitare
Guitare classique [Partition + Accès audio]
Alfred Publishing
The Classical Guitarist's Technique Handbook. Composed by Scott Tennant. This ed...(+)
The Classical Guitarist's
Technique Handbook.
Composed by Scott
Tennant. This edition:
2nd. Book; Classical
Guitar Method or
Supplement; Digital
Download;
Method/Instruction;
Software. Pumping Nylon
Series. 272 pages.
Published by Alfred Music
$29.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Alfred's Group Piano for Adults: Popular Music Books 1 & 2
Piano seul
Alfred Publishing
Solo Repertoire and Lead Sheets from Movies, TV, Radio, and Stage. Edited by...(+)
Solo Repertoire and Lead
Sheets from Movies, TV,
Radio, and Stage. Edited
by
E. L. Lancaster and Kenon
D.
Renfrow.
Method/Instruction;
Promotional Packet.
Alfred's
Group Piano for Adults.
Pop.
Book. Alfred Music #00-
106941. Published by
Alfred
Music
$15.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| Lira Orfeo Vol. 15
Music Distribution Services
Orchester of plucked instruments - intermediate to advanced SKU: M7.GHE-915(+)
Orchester of plucked
instruments -
intermediate to advanced
SKU: M7.GHE-915
The Complete
Repertoire composed and
arranged for Lira
Orfeo. Edited by
Stefano Grondona.
Arranged by Miguel
Llobet. This edition:
Saddle-wire stitching.
Sheet music. 112 pages.
MDS (Music Distribution
Services) #GHE 915.
Published by MDS (Music
Distribution Services)
(M7.GHE-915). ISBN
9783890449159.
English. Miguel
Llobet's famous Catalan
plucked string orchestra
called the 'Lira Orfeo'
was active in Barcelona
from 1899-1906. Here we
present a new engraving
of all the surviving
original scores, set in
the same performing score
format in which they were
originally used 120 years
ago. The Lira Orfeo
quickly became an
important part of
Barcelona's cultural
scene; with Tárrega as
its honorary president
the Lira Orfeo society
was founded in 1898 and
an official inaugural
concert, shared between
Manuel Burgés (pno) and
Miguel Llobet (gtr) took
place in Barcelona in
1898. The aim of the
society was to offer a
full musical education,
both theoretical and
instrumental, for
guitarists and players of
other plucked instrument
family, with eventually
with a place in its
Catalan plucked
instrument orchestra of
the same name. The
teachers for guitar were
Miguel Llobet, Pedro
Lloret and Domingo Prat.
Prominent musicians such
as Manuel Burgés and
Baldomera Cateura were
also on the teaching
staff. Classes were given
three times a week, and
as the players were
mainly amateurs with day
jobs, these took place in
the evening and often
went on until 2 o'clock
in the morning. The debut
of the orchestra took
place in 1903 and it gave
regular concerts at top
venues right up to the
society's dissolution in
1907, mainly due to lack
of funding. For the
instruments used see the
list of works below. The
repertoire is varied,
selected, arranged by
Miguel Llobet it was
mainly drawn from
traditional and
impressionist Iberian
music, as well as the
German classics, it
includes a specially
commissioned work
Triomphe d'Orphée' by
the famous Catalán
pianist Manuel Burgés.
We at Guitar Heritage are
proud to present the
first publication of this
huge cultural
contribution to music in
its original form and
prepared from the source
manuscripts which were
the work of Miguel
Llobet. The edition has
many illustrations, rare
documents and photographs
as well as a
comprehensive critical
commentary by Stefano
Grondona - whose
knowledge of Miguel
Llobet, as well as of
Catalonian culture, has
made an edition of this
scope possible. These
arrangements are superb
and presented as they
originally were in the
same score form. The now
relatively rare
instruments called for
can be replaced by
suitable alternatives -
this is ideal and
interesting material for
adapting to guitar
orchestra/ensemble or
mandolin orchestra, or
similar. $53.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | | |
| The Complete Choral Warm-Up Sequences
GIA Publications
SKU: GI.G-9543 A Companion to the Choral Warm-Up. Composed by Jame...(+)
SKU: GI.G-9543
A Companion to the
Choral Warm-Up.
Composed by James Jordan
and Jesse Borower.
Evoking Sound. Music
Education. 168 pages. GIA
Publications #9543.
Published by GIA
Publications (GI.G-9543).
ISBN
9781622772568. The
Complete Choral Warm-Up
Sequences represents the
first truly pedagogically
sequenced collection of
choral warm-ups in print
and the culmination of
work begun three decades
ago by Frauke Haaseman
and James Jordan. The
goal of these twenty
sequenced choral warm-ups
is to build vocal
technique and enduring
musical skill in
ensembles, regardless of
age or experience. By
synthesizing the most
essential elements of the
best-selling book The
Choral Warm-Up, authors
James Jordan and Jesse
Borower assemble a
practical and easy-to-use
resource for conductors
and teachers. The warm-up
sequences provide a daily
“diet” of vocal
technique development
based onthe latest
research in voice science
coupled with exercises to
develop intonation and
audiation according to
the principles of Edwin
E. Gordon’s Music
Learning Theory. This
package includes a book
for conductors, a book
for accompanists, and
links to important online
audio and video
downloads. Written in an
easy-to-use format for
choral conductors, this
valuable resource is a
rich collection of
cutting-edge pedagogy and
the latest in voice
science. Features
include: An introduction
and concise overview of
choral and vocal pedagogy
Vocal exercises composed
within a harmonic
context, designed to
strengthen each
singer’s audiational
skill while training
legato, register
consistency, range
extension, and more
Concise descriptions of
what to listen for in
each exercise and
solutions to remedy
common vocal issues Aural
Immersion Exercises that
will quickly attune an
ensemble to the modality
needed for any repertoire
Chants that will heighten
both the essential
musicianship of each
singer and the
sensitivity of the
ensemble as a whole
Entire warm-up sequences
designed to prepare a
stylistically appropriate
sound for multiple genres
while developing real and
enduring vocal and
musical skill. $44.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | | |
| The Klezmer Fiddler - Complete (New Edition)
Violon et Piano [Partition + CD]
Boosey and Hawkes
(Violin and Piano). By Various. Edited by Edward Huws Jones. For Fiddle, Piano, ...(+)
(Violin and Piano). By
Various. Edited by Edward
Huws Jones. For Fiddle,
Piano, Violin. Boosey &
Hawkes Chamber Music.
Softcover with CD. Boosey
& Hawkes #M060124112.
Published by Boosey &
Hawkes
$29.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Klezmer Fiddler
Violon et Piano [Partition + Accès audio]
Boosey and Hawkes
Traditional Fiddle Music from Around the World Complete Edition. Composed by...(+)
Traditional Fiddle Music
from
Around the World Complete
Edition. Composed by
Edward
Huws Jones. Boosey &
Hawkes
Chamber Music. Folk,
Klezmer.
Softcover Audio Online.
104
pages. Boosey &
Hawkes
#M060138911. Published by
Boosey & Hawkes
$32.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Five States of Change
Fanfare - Intermédiaire/avancé
Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-342-020 Composed by Philip Sparke. Ang...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-342-020
Composed by Philip
Sparke. Anglo Music
Midway Series. Set (Score
& Parts). Composed 2012.
Anglo Music Press #AMP
342-020. Published by
Anglo Music Press
(BT.AMP-342-020). 9x12
inches.
English-German-French-Dut
ch. Five States
of Change was
commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing band
repertoire.The composer
writes: The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu
Xing*, which has no
exact translation but can
mean, for example,
five elements, five
phases or five
states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine andastrology,
and in simple terms tries
to create various cyclic
relationships between
five elements in all
walks of life.An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of
emotions:- Meditation -
Sorrow - Fear - Anger -
Joy - (Meditation) etc.
and thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So Five States
of Change has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
*in full Wu zhong liu
xing zhi chi or
the five types of chi
dominating at different
times
Five
States of Change is
geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum)te
Arnhem,als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
repertoire voor
blaasorkesten.De
componist schrijft: Het
idee voor het werk kwam
in mij op toen ik een
artikel las over een
takbinnen de Chinese
filosofie waarvan denaam
wordt afgekort tot Wu
Xing* - waar geen
exacte vertaling voor is,
maar wat zoveel betekent
als vijf elementen,
vijf fasen of vijf
stadia van verandering.
Het gaat om eenwezenlijk
onderdeel van alle
componenten binnen
hetChinese gedachtegoed,
inclusief de wetenschap,
filosofie, geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementendie
in ieders leven een rol
spelen.Een voorbeeld:
Aarde - Metaal - Water-
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal, metaal
verandert in vloeistof
(water) door verhitting,
water helpt bomen te
groeien, houtdat brandt
creëert vuur, en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf wasik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aandit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op. Five
States of
Changebestaat uit
vijf delen die betrekking
hebben op de emotionele
cyclus. Ik heb geprobeerd
de muziek op natuurlijke
wijzete laten ontstaan,
met zo weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van
hetvoorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het
werk.
Five
States of Change
wurde von Kunstfactor
für die vierte
Abteilung der
Holländischen Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem(Holland),
in Anerkennung derer
außerordentlichen
Bemühungen um die
Entwicklung des
Blasorchester-Repertoires
. Der Komponist
über sein Werk: Die
Idee zu diesem
Stück kam mir beim
Lesen eines Artikels
über eine Richtung
derchinesischen
Philosophie, die
abgekürzt Wu
Xing* heißt, was
nicht wörtlich
übersetzt werden
kann, aber so viel wie
fünf Elemente,
fünf Phasen
oder fünf
Stadien der
Verwandlung bedeutet.
DiesesPrinzip nimmt eine
zentrale Position im
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach
ausgedrückt, werden
damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen
zwischenfünf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthält die Erde
Metall, das sich bei
Erhitzung
verflüssigt
(Wasser); Wasser lässt
Bäume wachsen, deren
Holz verbrennt (Feuer)und
zu Asche wird (Erde),
womit der Kreislauf von
neuem beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen:Meditation
- Trauer - Angst - Ärger
- Freude - (Meditation)
usw.Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolleemotionale
Reise“ durch ein
Musikstück
darstellen könnte.
Folglich besteht Five
States of Change aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der
Gefühle grob
nachzeichnen. Ich habe
versucht, die Musik
organischwachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis. *Abkürzung
für Wu zhongliu
xing zhi chi oder
Die fünf Arten
von Chi, die zu
unterschiedlichen Zeiten
dominieren
Five States of Change
est une commande de
l’institut Kunstfactor
pour la 4e division des
Championnats néerlandais
de Brass Band en 2011.
Cette œuvre est
dédiée Jappie Dijkstra
et au Music Information
Centre (MUI) d’Arnhem,
aux Pays-Bas, en hommage
leur rôle exceptionnel
dans le développement du
répertoire pour
Orchestre Vent.Le
compositeur écrit :
L’idée de cette
composition m’est venue
alors que je lisais un
article sur un aspect de
la philosophie chinoise,
connu sous
l’abréviation de Wu
Xing*, qu’il est
impossible de traduire
littéralement mais qui
peut signifier, par
exemple, cinq
éléments, cinq
phases ou cinq
états de changement.
Toutechose dans
l’univers est le fruit
d’un cycle de création
(ou d’engendrement) et
de domination (ou
contrôle). Ce concept
est essentiel tous les
éléments de la pensée
chinoise, y compris les
sciences, la philosophie,
la médecine et
l’astrologie et, en
termes simples, il
représente les multiples
rapports cycliques qui
existent entre cinq
éléments liés
l’univers et toute
chose dans l’univers,
donc l’homme.Évoquons
le cycle de la création
: Terre - Métal - Eau -
Bois - Feu - (Terre) etc.
La terre contient des
minéraux, source de
métal, le métal peut
être fondu et se
liquéfie, l’eau arrose
et fait pousser les
arbres, le bois br le et
produit du feu, le feu
produit des cendres, une
sorte de terre, dans une
dynamique cyclique
perpétuelle.Parmi tous
les cycles existants,
celui des émotions
éveilla
particulièrement mon
intérêt : Méditation -
Chagrin - Peur - Colère
- Joie - (Méditation)
etc. et je me suis dit
que ce principe cyclique
pourrait être la source
d’un puissant et
émotionnel voyage
musical. Five States
of Change se compose
donc de cinq parties
égales qui reflètent
assez librement ce cycle
des émotions. J’ai
essayé de faire en sorte
que la musique se
développe de manière
fluide et naturelle, avec
un minimum de
répétitions. Chaque
mouvement s’ouvre
partir des éléments
musicaux qui parachèvent
le mouvement précédent,
tandis que
L’idea di
comporre questo brano è
venuta a Philip Sparke
leggendo un articolo
sulla filosofi a cinese
che si basa su cicli di
cinque elementi, fasi e
stadi di cambiamento. A
Sparke interessavano in
particolare il flusso dei
sentimenti come la
meditazione, il lutto, la
paura, la rabbia e la
gioia. A partire da
questi elementi ha
composto un
impressionante
“viaggio” musicale
suddiviso in cinque
sezioni, tematicamente
intrecciate tra loro,
quasi a voler formare un
cerchio. $241.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Five States of Change
Fanfare - Intermédiaire/avancé
Anglo Music
Fanfare Band - Grade 4 SKU: BT.AMP-342-120 Composed by Philip Sparke. Ang...(+)
Fanfare Band - Grade 4
SKU:
BT.AMP-342-120
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2012. 56 pages.
Anglo Music Press #AMP
342-120. Published by
Anglo Music Press
(BT.AMP-342-120). 9x12
inches.
English-German-French-Dut
ch. Five States
of Change was
commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing band
repertoire.The composer
writes: The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu
Xing*, which has no
exact translation but can
mean, for example,
five elements, five
phases or five
states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine andastrology,
and in simple terms tries
to create various cyclic
relationships between
five elements in all
walks of life.An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of
emotions:- Meditation -
Sorrow - Fear - Anger -
Joy - (Meditation) etc.
and thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So Five States
of Change has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
*in full Wu zhong liu
xing zhi chi or
the five types of chi
dominating at different
times
Five
States of Change is
geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum) te
Arnhem,als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
repertoire voor
blaasorkesten.De
componist schrijft: Het
idee voor het werk kwam
in mij op toen ik een
artikel las over een
takbinnen de Chinese
filosofie waarvan denaam
wordt afgekort tot Wu
Xing* - waar geen
exacte vertaling voor is,
maar wat zoveel betekent
als vijf elementen,
vijf fasen of vijf
stadia van verandering.
Het gaat om eenwezenlijk
onderdeel van alle
componenten binnen
hetChinese gedachtegoed,
inclusief de wetenschap,
filosofie, geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementendie
in ieders leven een rol
spelen.Een voorbeeld:
Aarde - Metaal - Water-
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal, metaal
verandert in vloeistof
(water) door verhitting,
water helpt bomen te
groeien, houtdat brandt
creëert vuur, en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf wasik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aandit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op. Five
States of
Changebestaat uit
vijf delen die betrekking
hebben op de emotionele
cyclus. Ik heb geprobeerd
de muziek op natuurlijke
wijzete laten ontstaan,
met zo weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van
hetvoorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het
werk.
Five
States of Change
wurde von Kunstfactor
für die vierte
Abteilung der
Holländischen Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem(Holland),
in Anerkennung derer
außerordentlichen
Bemühungen um die
Entwicklung des
Blasorchester-Repertoires
. Der Komponist
über sein Werk: Die
Idee zu diesem
Stück kam mir beim
Lesen eines Artikels
über eine Richtung
derchinesischen
Philosophie, die
abgekürzt Wu
Xing* heißt, was
nicht wörtlich
übersetzt werden
kann, aber so viel wie
fünf Elemente,
fünf Phasen
oder fünf
Stadien der
Verwandlung bedeutet.
DiesesPrinzip nimmt eine
zentrale Position im
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach
ausgedrückt, werden
damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen
zwischenfünf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthält die Erde
Metall, das sich bei
Erhitzung
verflüssigt
(Wasser); Wasser lässt
Bäume wachsen, deren
Holz verbrennt (Feuer)und
zu Asche wird (Erde),
womit der Kreislauf von
neuem beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen:Meditation
- Trauer - Angst - Ärger
- Freude - (Meditation)
usw.Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolleemotionale
Reise“ durch ein
Musikstück
darstellen könnte.
Folglich besteht Five
States of Change aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der
Gefühle grob
nachzeichnen. Ich habe
versucht, die Musik
organischwachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis. *Abkürzung
für Wu zhongliu
xing zhi chi oder
Die fünf Arten
von Chi, die zu
unterschiedlichen Zeiten
dominieren
Five States of Change
est une commande de
l’institut Kunstfactor
pour la 4e division des
Championnats néerlandais
de Brass Band en 2011.
Cette œuvre est
dédiée Jappie Dijkstra
et au Music Information
Centre (MUI) d’Arnhem,
aux Pays-Bas, en hommage
leur rôle exceptionnel
dans le développement du
répertoire pour
Orchestre Vent.Le
compositeur écrit :
L’idée de cette
composition m’est venue
alors que je lisais un
article sur un aspect de
la philosophie chinoise,
connu sous
l’abréviation de Wu
Xing*, qu’il est
impossible de traduire
littéralement mais qui
peut signifier, par
exemple, cinq
éléments, cinq
phases ou cinq
états de changement.
Toutechose dans
l’univers est le fruit
d’un cycle de création
(ou d’engendrement) et
de domination (ou
contrôle). Ce concept
est essentiel tous les
éléments de la pensée
chinoise, y compris les
sciences, la philosophie,
la médecine et
l’astrologie et, en
termes simples, il
représente les multiples
rapports cycliques qui
existent entre cinq
éléments liés
l’univers et toute
chose dans l’univers,
donc l’homme.Évoquons
le cycle de la création
: Terre - Métal - Eau -
Bois - Feu - (Terre) etc.
La terre contient des
minéraux, source de
métal, le métal peut
être fondu et se
liquéfie, l’eau arrose
et fait pousser les
arbres, le bois br le et
produit du feu, le feu
produit des cendres, une
sorte de terre, dans une
dynamique cyclique
perpétuelle.Parmi tous
les cycles existants,
celui des émotions
éveilla
particulièrement mon
intérêt : Méditation -
Chagrin - Peur - Colère
- Joie - (Méditation)
etc. et je me suis dit
que ce principe cyclique
pourrait être la source
d’un puissant et
émotionnel voyage
musical. Five States
of Change se compose
donc de cinq parties
égales qui reflètent
assez librement ce cycle
des émotions. J’ai
essayé de faire en sorte
que la musique se
développe de manière
fluide et naturelle, avec
un minimum de
répétitions. Chaque
mouvement s’ouvre
partir des éléments
musicaux qui parachèvent
le mouvement précédent,
tandis que
L’idea di
comporre questo brano è
venuta a Philip Sparke
leggendo un articolo
sulla filosofi a cinese
che si basa su cicli di
cinque elementi, fasi e
stadi di cambiamento. A
Sparke interessavano in
particolare il flusso dei
sentimenti come la
meditazione, il lutto, la
paura, la rabbia e la
gioia. A partire da
questi elementi ha
composto un
impressionante
“viaggio” musicale
suddiviso in cinque
sezioni, tematicamente
intrecciate tra loro,
quasi a voler formare un
cerchio. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Five States of Change
Orchestre d'harmonie - Intermédiaire/avancé
Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-342-010 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-342-010
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Set (Score &
Parts). Composed 2012.
Anglo Music Press #AMP
342-010. Published by
Anglo Music Press
(BT.AMP-342-010). 9x12
inches.
English-German-French-Dut
ch. Five States
of Change was
commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing band
repertoire.The composer
writes: The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu
Xing*, which has no
exact translation but can
mean, for example,
five elements, five
phases or five
states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine andastrology,
and in simple terms tries
to create various cyclic
relationships between
five elements in all
walks of life.An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of
emotions:- Meditation -
Sorrow - Fear - Anger -
Joy - (Meditation) etc.
and thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So Five States
of Change has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
*in full Wu zhong liu
xing zhi chi or
the five types of chi
dominating at different
times
Five
States of Change is
geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum)te
Arnhem,als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
repertoire voor
blaasorkesten.De
componist schrijft: Het
idee voor het werk kwam
in mij op toen ik een
artikel las over een
takbinnen de Chinese
filosofie waarvan denaam
wordt afgekort tot Wu
Xing* - waar geen
exacte vertaling voor is,
maar wat zoveel betekent
als vijf elementen,
vijf fasen of vijf
stadia van verandering.
Het gaat om eenwezenlijk
onderdeel van alle
componenten binnen
hetChinese gedachtegoed,
inclusief de wetenschap,
filosofie, geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementendie
in ieders leven een rol
spelen.Een voorbeeld:
Aarde - Metaal - Water-
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal, metaal
verandert in vloeistof
(water) door verhitting,
water helpt bomen te
groeien, houtdat brandt
creëert vuur, en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf wasik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aandit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op. Five
States of
Changebestaat uit
vijf delen die betrekking
hebben op de emotionele
cyclus. Ik heb geprobeerd
de muziek op natuurlijke
wijzete laten ontstaan,
met zo weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van
hetvoorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het
werk.
Five
States of Change
wurde von Kunstfactor
für die vierte
Abteilung der
Holländischen Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem(Holland),
in Anerkennung derer
außerordentlichen
Bemühungen um die
Entwicklung des
Blasorchester-Repertoires
. Der Komponist
über sein Werk: Die
Idee zu diesem
Stück kam mir beim
Lesen eines Artikels
über eine Richtung
derchinesischen
Philosophie, die
abgekürzt Wu
Xing* heißt, was
nicht wörtlich
übersetzt werden
kann, aber so viel wie
fünf Elemente,
fünf Phasen
oder fünf
Stadien der
Verwandlung bedeutet.
DiesesPrinzip nimmt eine
zentrale Position im
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach
ausgedrückt, werden
damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen
zwischenfünf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthält die Erde
Metall, das sich bei
Erhitzung
verflüssigt
(Wasser); Wasser lässt
Bäume wachsen, deren
Holz verbrennt (Feuer)und
zu Asche wird (Erde),
womit der Kreislauf von
neuem beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen:Meditation
- Trauer - Angst - Ärger
- Freude - (Meditation)
usw.Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolleemotionale
Reise“ durch ein
Musikstück
darstellen könnte.
Folglich besteht Five
States of Change aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der
Gefühle grob
nachzeichnen. Ich habe
versucht, die Musik
organischwachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis. *Abkürzung
für Wu zhongliu
xing zhi chi oder
Die fünf Arten
von Chi, die zu
unterschiedlichen Zeiten
dominieren
Five States of Change
est une commande de
l’institut Kunstfactor
pour la 4e division des
Championnats néerlandais
de Brass Band en 2011.
Cette œuvre est
dédiée Jappie Dijkstra
et au Music Information
Centre (MUI) d’Arnhem,
aux Pays-Bas, en hommage
leur rôle exceptionnel
dans le développement du
répertoire pour
Orchestre Vent.Le
compositeur écrit :
L’idée de cette
composition m’est venue
alors que je lisais un
article sur un aspect de
la philosophie chinoise,
connu sous
l’abréviation de Wu
Xing*, qu’il est
impossible de traduire
littéralement mais qui
peut signifier, par
exemple, cinq
éléments, cinq
phases ou cinq
états de changement.
Toutechose dans
l’univers est le fruit
d’un cycle de création
(ou d’engendrement) et
de domination (ou
contrôle). Ce concept
est essentiel tous les
éléments de la pensée
chinoise, y compris les
sciences, la philosophie,
la médecine et
l’astrologie et, en
termes simples, il
représente les multiples
rapports cycliques qui
existent entre cinq
éléments liés
l’univers et toute
chose dans l’univers,
donc l’homme.Évoquons
le cycle de la création
: Terre - Métal - Eau -
Bois - Feu - (Terre) etc.
La terre contient des
minéraux, source de
métal, le métal peut
être fondu et se
liquéfie, l’eau arrose
et fait pousser les
arbres, le bois br le et
produit du feu, le feu
produit des cendres, une
sorte de terre, dans une
dynamique cyclique
perpétuelle.Parmi tous
les cycles existants,
celui des émotions
éveilla
particulièrement mon
intérêt : Méditation -
Chagrin - Peur - Colère
- Joie - (Méditation)
etc. et je me suis dit
que ce principe cyclique
pourrait être la source
d’un puissant et
émotionnel voyage
musical. Five States
of Change se compose
donc de cinq parties
égales qui reflètent
assez librement ce cycle
des émotions. J’ai
essayé de faire en sorte
que la musique se
développe de manière
fluide et naturelle, avec
un minimum de
répétitions. Chaque
mouvement s’ouvre
partir des éléments
musicaux qui parachèvent
le mouvement précédent,
tandis que
L’idea di
comporre questo brano è
venuta a Philip Sparke
leggendo un articolo
sulla filosofi a cinese
che si basa su cicli di
cinque elementi, fasi e
stadi di cambiamento. A
Sparke interessavano in
particolare il flusso dei
sentimenti come la
meditazione, il lutto, la
paura, la rabbia e la
gioia. A partire da
questi elementi ha
composto un
impressionante
“viaggio” musicale
suddiviso in cinque
sezioni, tematicamente
intrecciate tra loro,
quasi a voler formare un
cerchio. $241.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Five States of Change
Orchestre d'harmonie - Intermédiaire/avancé
Anglo Music
Concert Band/Harmonie - Grade 4 SKU: BT.AMP-342-140 Composed by Philip Sp...(+)
Concert Band/Harmonie -
Grade 4 SKU:
BT.AMP-342-140
Composed by Philip
Sparke. Anglo Music
Midway Series. Concert
Piece. Score Only.
Composed 2012. 61 pages.
Anglo Music Press #AMP
342-140. Published by
Anglo Music Press
(BT.AMP-342-140). 9x12
inches.
English-German-French-Dut
ch. Five States
of Change was
commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing band
repertoire.The composer
writes: The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu
Xing*, which has no
exact translation but can
mean, for example,
five elements, five
phases or five
states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine andastrology,
and in simple terms tries
to create various cyclic
relationships between
five elements in all
walks of life.An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of
emotions:- Meditation -
Sorrow - Fear - Anger -
Joy - (Meditation) etc.
and thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So Five States
of Change has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
*in full Wu zhong liu
xing zhi chi or
the five types of chi
dominating at different
times
Five
States of Change is
geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum)te
Arnhem,als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
repertoire voor
blaasorkesten.De
componist schrijft: Het
idee voor het werk kwam
in mij op toen ik een
artikel las over een
takbinnen de Chinese
filosofie waarvan denaam
wordt afgekort tot Wu
Xing* - waar geen
exacte vertaling voor is,
maar wat zoveel betekent
als vijf elementen,
vijf fasen of vijf
stadia van verandering.
Het gaat om eenwezenlijk
onderdeel van alle
componenten binnen
hetChinese gedachtegoed,
inclusief de wetenschap,
filosofie, geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementendie
in ieders leven een rol
spelen.Een voorbeeld:
Aarde - Metaal - Water-
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal, metaal
verandert in vloeistof
(water) door verhitting,
water helpt bomen te
groeien, houtdat brandt
creëert vuur, en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf wasik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aandit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op. Five
States of
Changebestaat uit
vijf delen die betrekking
hebben op de emotionele
cyclus. Ik heb geprobeerd
de muziek op natuurlijke
wijzete laten ontstaan,
met zo weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van
hetvoorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het
werk.
Five
States of Change
wurde von Kunstfactor
für die vierte
Abteilung der
Holländischen Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem(Holland),
in Anerkennung derer
außerordentlichen
Bemühungen um die
Entwicklung des
Blasorchester-Repertoires
. Der Komponist
über sein Werk: Die
Idee zu diesem
Stück kam mir beim
Lesen eines Artikels
über eine Richtung
derchinesischen
Philosophie, die
abgekürzt Wu
Xing* heißt, was
nicht wörtlich
übersetzt werden
kann, aber so viel wie
fünf Elemente,
fünf Phasen
oder fünf
Stadien der
Verwandlung bedeutet.
DiesesPrinzip nimmt eine
zentrale Position im
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach
ausgedrückt, werden
damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen
zwischenfünf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthält die Erde
Metall, das sich bei
Erhitzung
verflüssigt
(Wasser); Wasser lässt
Bäume wachsen, deren
Holz verbrennt (Feuer)und
zu Asche wird (Erde),
womit der Kreislauf von
neuem beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen:Meditation
- Trauer - Angst - Ärger
- Freude - (Meditation)
usw.Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolleemotionale
Reise“ durch ein
Musikstück
darstellen könnte.
Folglich besteht Five
States of Change aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der
Gefühle grob
nachzeichnen. Ich habe
versucht, die Musik
organischwachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis. *Abkürzung
für Wu zhongliu
xing zhi chi oder
Die fünf Arten
von Chi, die zu
unterschiedlichen Zeiten
dominieren
Five States of Change
est une commande de
l’institut Kunstfactor
pour la 4e division des
Championnats néerlandais
de Brass Band en 2011.
Cette œuvre est
dédiée Jappie Dijkstra
et au Music Information
Centre (MUI) d’Arnhem,
aux Pays-Bas, en hommage
leur rôle exceptionnel
dans le développement du
répertoire pour
Orchestre Vent.Le
compositeur écrit :
L’idée de cette
composition m’est venue
alors que je lisais un
article sur un aspect de
la philosophie chinoise,
connu sous
l’abréviation de Wu
Xing*, qu’il est
impossible de traduire
littéralement mais qui
peut signifier, par
exemple, cinq
éléments, cinq
phases ou cinq
états de changement.
Toutechose dans
l’univers est le fruit
d’un cycle de création
(ou d’engendrement) et
de domination (ou
contrôle). Ce concept
est essentiel tous les
éléments de la pensée
chinoise, y compris les
sciences, la philosophie,
la médecine et
l’astrologie et, en
termes simples, il
représente les multiples
rapports cycliques qui
existent entre cinq
éléments liés
l’univers et toute
chose dans l’univers,
donc l’homme.Évoquons
le cycle de la création
: Terre - Métal - Eau -
Bois - Feu - (Terre) etc.
La terre contient des
minéraux, source de
métal, le métal peut
être fondu et se
liquéfie, l’eau arrose
et fait pousser les
arbres, le bois br le et
produit du feu, le feu
produit des cendres, une
sorte de terre, dans une
dynamique cyclique
perpétuelle.Parmi tous
les cycles existants,
celui des émotions
éveilla
particulièrement mon
intérêt : Méditation -
Chagrin - Peur - Colère
- Joie - (Méditation)
etc. et je me suis dit
que ce principe cyclique
pourrait être la source
d’un puissant et
émotionnel voyage
musical. Five States
of Change se compose
donc de cinq parties
égales qui reflètent
assez librement ce cycle
des émotions. J’ai
essayé de faire en sorte
que la musique se
développe de manière
fluide et naturelle, avec
un minimum de
répétitions. Chaque
mouvement s’ouvre
partir des éléments
musicaux qui parachèvent
le mouvement précédent,
tandis que
L’idea di
comporre questo brano è
venuta a Philip Sparke
leggendo un articolo
sulla filosofi a cinese
che si basa su cicli di
cinque elementi, fasi e
stadi di cambiamento. A
Sparke interessavano in
particolare il flusso dei
sentimenti come la
meditazione, il lutto, la
paura, la rabbia e la
gioia. A partire da
questi elementi ha
composto un
impressionante
“viaggio” musicale
suddiviso in cinque
sezioni, tematicamente
intrecciate tra loro,
quasi a voler formare un
cerchio. $52.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Evolution: Five States of Change
Orchestre d'harmonie - Avancé
Anglo Music
Brass Band - Grade 5 SKU: HL.44010989 Brass Band - Score Only. Com...(+)
Brass Band - Grade 5
SKU: HL.44010989
Brass Band - Score
Only. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Score
Only. Composed 2011.
Anglo Music Press
#AMP338130. Published by
Anglo Music Press
(HL.44010989). UPC:
884088637446. 9x12
inches.
English-German-French-Dut
ch. Evolution was commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing brass band
repertoire. The composer
writes:-The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu Xing,
which has no exact
translation but can mean,
for example, five
elements, five phases or
five states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine and astrology,
and in simpleterms tries
to create various cyclic
relationships between
five elements in all
walks of life. An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of emotions:
Meditation - Sorrow -
Fear - Anger - Joy -
(Meditation) etc. and
thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So
Evolution has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
Evolution
is geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum) te
Arnhem, als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
brassbandrepertoire.De
componist schrijft:Het
idee voor
Evolution kwam in mij
op toen ik een artikel
las over een tak binnen
de Chinese filosofie
waarvan de naam wordt
afgekort tot Wu Xing -
waar geen exacte
vertaling voor is, maar
wat zoveel betekent als
vijf elementen, vijf
fasen of vijf stadia van
verandering. Het gaat om
een wezenlijk onderdeel
van allecomponenten
binnen het Chinese
gedachtegoed, inclusief
de wetenschap, filosofie,
geneeskunst en
astrologie. Simpel gezegd
draait het om het creeren
van diverse cyclische
verbanden tussen vijf
elementen die in ieders
leven een rol spelen. Een
voorbeeld: Aarde - Metaal
- Water - Hout - Vuur -
(Aarde) enz. In deze
cyclus bevat aarde
metaal; metaal verandert
in vloeistof (water) door
verhitting; water helpt
bomen te groeien; hout
dat brandt creeert vuur;
en vuur produceert as
(aarde). Zo blijft de
cyclus voortgaan. Zelf
was ik vooral
geinteresseerd in de
cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aan dit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op.
Evolution bestaat
uit vijf delen die
betrekking hebben op de
emotionele cyclus. Ik heb
geprobeerd de muziek op
natuurlijke wijze te
laten ontstaan, met zo
weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van het
voorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het werk,
waarmee de cyclus wordt
afgerond.
Evolution
wurde von Kunstfactor fur
die vierte Abteilung der
Hollandischen Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem
(Holland), in Anerkennung
ihrer ausserordentlichen
Bemuhungen um die
Entwicklung des
Brass-Band-Repertoires.De
r Komponist uber sein
Werk:Die Idee zu diesem
Stuck kam mir beim Lesen
eines Artikels uber eine
Richtung der chinesischen
Philosophie, die
abgekurzt Wu Xing heisst,
was nicht wortlich
ubersetzt werden kann,
aber so viel wie funf
Elemente, funf Phasen
oder funf Stadien der
Verwandlung bedeutet.
Dieses Prinzip nimmt eine
zentrale Positionim
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach ausgedruckt,
werden damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen zwischen funf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthalt die Erde
Metall, das sich bei
Erhitzung verflussigt
(Wasser); Wasser lasst
Baume wachsen, deren Holz
verbrennt (Feuer) und zu
Asche wird (Erde), womit
der Kreislauf von neuem
beginnt.Mich
interessierte besonders
der Kreislauf von
Gefuhlen: Meditation -
Trauer - Angst - Arger -
Freude - (Meditation)
usw. Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolle emotionale
Reise durch ein
Musikstuck darstellen
konnte. Folglich besteht
Evolution aus funf
gleichen Abschnitten, die
diesen Kreislauf der
Gefuhle grob
nachzeichnen. Ich habe
versucht, die Musik
organisch wachsen zu
lassen mit moglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eroffnung vollendet am
Schluss des Werkes den
Kreis.
Evolution
est une commande de
l'institut Kunstfactor
pour la 4e division des
Championnats neerlandais
de Brass Band en 2011.
Cette oeuvre est dediee a
Jappie Dijkstra et au
Music Information Centre
(MUI) d'Arnhem, aux
Pays-Bas, en hommage a
leur role exceptionnel
dans le developpement du
repertoire pour Brass
Band. Le compositeur
ecrit :L'idee de cette
composition m'est venue
alors que je lisais un
article sur un aspect de
la philosophie chinoise,
connu sous l'abreviation
de Wu Xing, qu'il est
impossible de traduire
litteralement mais qui
peut signifier, par
exemple, cinq elements,
cinq phases ou cinq etats
de changement. Toute
chose dans l'univers est
le fruitd'un cycle de
creation (ou
d'engendrement) et de
domination (ou controle).
Ce concept est essentiel
a tous les elements de la
pensee chinoise, y
compris les sciences, la
philosophie, la medecine
et l'astrologie et, en
termes simples, il
represente les multiples
rapports cycliques qui
existent entre cinq
elements lies a l'univers
et a toute chose dans
l'univers, donc a
l'homme.Evoquons le cycle
de la creation : Terre -
Metal - Eau - Bois - Feu
- (Terre) etc. la terre
contient des mineraux,
source de metal, le metal
peut etre fondu et se
liquefie, l'eau arrose et
fait pousser les arbres,
le bois brule et produit
du feu, le feu produit
des cendres, une sorte de
terre, dans une dynamique
cyclique
perpetuelle.Parmi tous
les cycles existants,
celui des emotions
eveilla particulierement
mon interet : Meditation
- Chagrin - Peur - Colere
- Joie - (Meditation)
etc. et je me suis dit
que ce principe cyclique
pourrait etre a la source
d'un puissant et
emotionnel voyage
musical. Evolution
se compose donc de cinq
parties egales qui
refletent assez librement
ce cycle des emotions.
J'ai essaye de faire en
sorte que la musique se
developpe de maniere
fluide et naturelle, avec
un minimum de
repetitions. Chaque
mouvement s'ouvre a
partir des elements
musicaux qui parachevent
le mouvement precedent,
tandis que le motif
premier reapparait. $49.00 - Voir plus => AcheterDélais: 24 hours - In Stock | | | |
| Evolution: Five States of Change
Orchestre d'harmonie - Avancé
Anglo Music
Brass Band - Grade 5 SKU: HL.44010988 Brass Band - Score and Parts...(+)
Brass Band - Grade 5
SKU: HL.44010988
Brass Band - Score and
Parts. Composed by
Philip Sparke. Anglo
Music Concert Band.
Concert Piece. Set (Score
& Parts). Composed 2011.
Anglo Music Press
#AMP338030. Published by
Anglo Music Press
(HL.44010988). UPC:
884088637439. 9x12
inches.
English-German-French-Dut
ch. Evolution was commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing brass band
repertoire. The composer
writes:-The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu Xing,
which has no exact
translation but can mean,
for example, five
elements, five phases or
five states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine and astrology,
and in simpleterms tries
to create various cyclic
relationships between
five elements in all
walks of life. An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of emotions:
Meditation - Sorrow -
Fear - Anger - Joy -
(Meditation) etc. and
thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So
Evolution has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
Evolution
is geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum) te
Arnhem, als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
brassbandrepertoire.De
componist schrijft:Het
idee voor
Evolution kwam in mij
op toen ik een artikel
las over een tak binnen
de Chinese filosofie
waarvan de naam wordt
afgekort tot Wu Xing -
waar geen exacte
vertaling voor is, maar
wat zoveel betekent als
vijf elementen, vijf
fasen of vijf stadia van
verandering. Het gaat om
een wezenlijk onderdeel
van allecomponenten
binnen het Chinese
gedachtegoed, inclusief
de wetenschap, filosofie,
geneeskunst en
astrologie. Simpel gezegd
draait het om het creeren
van diverse cyclische
verbanden tussen vijf
elementen die in ieders
leven een rol spelen. Een
voorbeeld: Aarde - Metaal
- Water - Hout - Vuur -
(Aarde) enz. In deze
cyclus bevat aarde
metaal; metaal verandert
in vloeistof (water) door
verhitting; water helpt
bomen te groeien; hout
dat brandt creeert vuur;
en vuur produceert as
(aarde). Zo blijft de
cyclus voortgaan. Zelf
was ik vooral
geinteresseerd in de
cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aan dit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op.
Evolution bestaat
uit vijf delen die
betrekking hebben op de
emotionele cyclus. Ik heb
geprobeerd de muziek op
natuurlijke wijze te
laten ontstaan, met zo
weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van het
voorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het werk,
waarmee de cyclus wordt
afgerond.
Evolution
wurde von Kunstfactor fur
die vierte Abteilung der
Hollandischen Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem
(Holland), in Anerkennung
ihrer ausserordentlichen
Bemuhungen um die
Entwicklung des
Brass-Band-Repertoires.De
r Komponist uber sein
Werk:Die Idee zu diesem
Stuck kam mir beim Lesen
eines Artikels uber eine
Richtung der chinesischen
Philosophie, die
abgekurzt Wu Xing heisst,
was nicht wortlich
ubersetzt werden kann,
aber so viel wie funf
Elemente, funf Phasen
oder funf Stadien der
Verwandlung bedeutet.
Dieses Prinzip nimmt eine
zentrale Positionim
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach ausgedruckt,
werden damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen zwischen funf
Elementen hergestellt.Zum
Beispiel: Erde - Metall -
Wasser - Holz - Feuer -
(Erde) - usw. In diesem
Zyklus enthalt die Erde
Metall, das sich bei
Erhitzung verflussigt
(Wasser); Wasser lasst
Baume wachsen, deren Holz
verbrennt (Feuer) und zu
Asche wird (Erde), womit
der Kreislauf von neuem
beginnt.Mich
interessierte besonders
der Kreislauf von
Gefuhlen: Meditation -
Trauer - Angst - Arger -
Freude - (Meditation)
usw. Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolle emotionale
Reise durch ein
Musikstuck darstellen
konnte. Folglich besteht
Evolution aus funf
gleichen Abschnitten, die
diesen Kreislauf der
Gefuhle grob
nachzeichnen. Ich habe
versucht, die Musik
organisch wachsen zu
lassen mit moglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eroffnung vollendet am
Schluss des Werkes den
Kreis.
Evolution
est une commande de
l'institut Kunstfactor
pour la 4e division des
Championnats neerlandais
de Brass Band en 2011.
Cette oeuvre est dediee a
Jappie Dijkstra et au
Music Information Centre
(MUI) d'Arnhem, aux
Pays-Bas, en hommage a
leur role exceptionnel
dans le developpement du
repertoire pour Brass
Band. Le compositeur
ecrit :L'idee de cette
composition m'est venue
alors que je lisais un
article sur un aspect de
la philosophie chinoise,
connu sous l'abreviation
de Wu Xing, qu'il est
impossible de traduire
litteralement mais qui
peut signifier, par
exemple, cinq elements,
cinq phases ou cinq etats
de changement. Toute
chose dans l'univers est
le fruitd'un cycle de
creation (ou
d'engendrement) et de
domination (ou controle).
Ce concept est essentiel
a tous les elements de la
pensee chinoise, y
compris les sciences, la
philosophie, la medecine
et l'astrologie et, en
termes simples, il
represente les multiples
rapports cycliques qui
existent entre cinq
elements lies a l'univers
et a toute chose dans
l'univers, donc a
l'homme.Evoquons le cycle
de la creation : Terre -
Metal - Eau - Bois - Feu
- (Terre) etc. la terre
contient des mineraux,
source de metal, le metal
peut etre fondu et se
liquefie, l'eau arrose et
fait pousser les arbres,
le bois brule et produit
du feu, le feu produit
des cendres, une sorte de
terre, dans une dynamique
cyclique
perpetuelle.Parmi tous
les cycles existants,
celui des emotions
eveilla particulierement
mon interet : Meditation
- Chagrin - Peur - Colere
- Joie - (Meditation)
etc. et je me suis dit
que ce principe cyclique
pourrait etre a la source
d'un puissant et
emotionnel voyage
musical. Evolution
se compose donc de cinq
parties egales qui
refletent assez librement
ce cycle des emotions.
J'ai essaye de faire en
sorte que la musique se
developpe de maniere
fluide et naturelle, avec
un minimum de
repetitions. Chaque
mouvement s'ouvre a
partir des elements
musicaux qui parachevent
le mouvement precedent,
tandis que le motif
premier reapparait. $123.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| Evolution
Ensemble de cuivres - Intermédiaire/avancé
Anglo Music
Brass Band - Grade 4 SKU: BT.AMP-338-030 Five States of Change. Co...(+)
Brass Band - Grade 4
SKU:
BT.AMP-338-030
Five States of
Change. Composed by
Philip Sparke. Anglo
Music Midway Series.
Concert Piece. Set (Score
& Parts). Composed 2011.
Anglo Music Press #AMP
338-030. Published by
Anglo Music Press
(BT.AMP-338-030). 9x12
inches.
English-German-French-Dut
ch. Evolution was commissioned by
Kunstfactor for the 4th
section of the Dutch
National Brass Band
Championships (NBK) 2011.
It is dedicated to Jappie
Dijkstra and the Music
Information Centre (MUI),
Arnhem, Holland, in
acknowledgement of their
outstanding work in
developing brass band
repertoire. The composer
writes:-The idea for the
piece came when I was
reading an article about
a branch of Chinese
philosophy which is
abbreviated as Wu Xing,
which has no exact
translation but can mean,
for example, five
elements, five phases or
five states of change. It
is central to all
elements of Chinese
thought, including
science, philosophy,
medicine and astrology,
and in simpleterms tries
to create various cyclic
relationships between
five elements in all
walks of life. An example
is: Earth - Metal - Water
- Wood - Fire - (Earth)
etc. where (in one cycle)
earth bears metal, metal
changes to liquid (water)
when heated, water helps
trees grow, wood burns to
create fire, fire
produces ash (earth) and
the cycle continues.I was
particularly interested
in the cycle of emotions:
Meditation - Sorrow -
Fear - Anger - Joy -
(Meditation) etc. and
thought this cyclic
principle would provide
an effective emotional
journey for a piece of
music. So
Evolution has five
equal sections which
loosely characterise this
emotional cycle. I have
tried to make the music
grow organically, with
minimal repetition, and
each movement evolves
from the musical elements
at the end of the
previous one, with the
opening material
appearing, transformed,
at the end of the piece
to complete the cycle.
Evolution
is geschreven in opdracht
van Kunstfactor voor de
4e divisie van de NBK
(Nederlandse Brassband
Kampioenschappen) 2011.
Het werk is opgedragen
aan Jappie Dijkstra en
het MUI (Muziekuitleen-
en Informatiecentrum) te
Arnhem, als waardering
voor hun inspanningen met
betrekking tot de
ontwikkeling van het
brassbandrepertoire.De
componist schrijft:Het
idee voor
Evolution kwam in mij
op toen ik een artikel
las over een tak binnen
de Chinese filosofie
waarvan de naam wordt
afgekort tot Wu Xing -
waar geen exacte
vertaling voor is, maar
wat zoveel betekent als
vijf elementen, vijf
fasen of vijf stadia van
verandering. Het gaat om
een wezenlijk onderdeel
van allecomponenten
binnen het Chinese
gedachtegoed, inclusief
de wetenschap, filosofie,
geneeskunst en
astrologie. Simpel gezegd
draait het om het
creëren van diverse
cyclische verbanden
tussen vijf elementen die
in ieders leven een rol
spelen. Een voorbeeld:
Aarde - Metaal - Water -
Hout - Vuur - (Aarde)
enz. In deze cyclus bevat
aarde metaal; metaal
verandert in vloeistof
(water) door verhitting;
water helpt bomen te
groeien; hout dat brandt
creëert vuur; en vuur
produceert as (aarde). Zo
blijft de cyclus
voortgaan. Zelf was ik
vooral ge nteresseerd in
de cyclus van emoties:
Meditatie - Verdriet -
Angst - Boosheid -
Vreugde - (Meditatie)
enz. De gedachte aan dit
cyclische principe
leverde een reis door een
muzikale wereld van
emoties op.
Evolution bestaat
uit vijf delen die
betrekking hebben op de
emotionele cyclus. Ik heb
geprobeerd de muziek op
natuurlijke wijze te
laten ontstaan, met zo
weinig mogelijk
herhalingen. Elk deel
vloeit voort uit de
muzikale elementen uit
het slot van het
voorgaande deel. Het
openingsmateriaal komt,
in getransformeerde
gedaante, terug aan het
einde van het werk,
waarmee de cyclus wordt
afgerond.
Evolution
wurde von Kunstfactor
für die vierte Abteilung
der Holländischen
Nationalen
Brass-Band-Meisterschaft
(NBK) 2011 in Auftrag
gegeben. Die Widmung gilt
Jappie Dijkstra und dem
Musik-Informationszentrum
(MUI) in Arnhem
(Holland), in Anerkennung
ihrer außerordentlichen
Bemühungen um die
Entwicklung des
Brass-Band-Repertoires.De
r Komponist über sein
Werk:Die Idee zu diesem
Stück kam mir beim Lesen
eines Artikels über eine
Richtung der chinesischen
Philosophie, die
abgekürzt Wu Xing
heißt, was nicht
wörtlich übersetzt
werden kann, aber so viel
wie fünf Elemente, fünf
Phasen oder fünf Stadien
der Verwandlung bedeutet.
Dieses Prinzip nimmt eine
zentrale Positionim
gesamten chinesischen
Gedankengut ein, sei es
in der Wissenschaft,
Medizin oder Astrologie.
Einfach ausgedrückt,
werden damit in allen
Lebensbereichen
verschiedene zyklische
Beziehungen zwischen
fünf Elementen
hergestellt.Zum Beispiel:
Erde - Metall - Wasser -
Holz - Feuer - (Erde) -
usw. In diesem Zyklus
enthält die Erde Metall,
das sich bei Erhitzung
verflüssigt (Wasser);
Wasser lässt Bäume
wachsen, deren Holz
verbrennt (Feuer) und zu
Asche wird (Erde), womit
der Kreislauf von neuem
beginnt.Mich
interessierte besonders
der Kreislauf von
Gefühlen: Meditation -
Trauer - Angst - Ärger -
Freude - (Meditation)
usw. Ich dachte mir, dass
dieser Kreislauf eine
wirkungsvolle emotionale
Reise“ durch ein
Musikstück darstellen
könnte. Folglich besteht
Evolution aus
fünf gleichen
Abschnitten, die diesen
Kreislauf der Gefühle
grob nachzeichnen. Ich
habe versucht, die Musik
organisch wachsen zu
lassen mit möglichst
wenig Wiederholungen.
Jeder Satz entwickelt
sich aus den Elementen
vom Ende des
vorhergehenden Satzes und
das Material der
Eröffnung vollendet am
Schluss des Werkes den
Kreis.
Evolution
est une commande de
l’institut Kunstfactor
pour la 4e division des
Championnats néerlandais
de Brass Band en 2011.
Cette oeuvre est dédiée
Jappie Dijkstra et au
Music Information Centre
(MUI) d’Arnhem, aux
Pays-Bas, en hommage leur
rôle exceptionnel dans
le développement du
répertoire pour Brass
Band. Le compositeur
écrit :L’idée de
cette composition m’est
venue alors que je lisais
un article sur un aspect
de la philosophie
chinoise, connu sous
l’abréviation de Wu
Xing, qu’il est
impossible de traduire
littéralement mais qui
peut signifier, par
exemple, cinq éléments,
cinq phases ou cinq
états de changement.
Toute chose dans
l’univers est le
fruitd’un cycle de
création (ou
d’engendrement) et de
domination (ou
contrôle). Ce concept
est essentiel tous les
éléments de la pensée
chinoise, y compris les
sciences, la philosophie,
la médecine et
l’astrologie et, en
termes simples, il
représente les multiples
rapports cycliques qui
existent entre cinq
éléments liés
l’univers et toute
chose dans l’univers,
donc l’homme.Évoquons
le cycle de la création
: Terre - Métal - Eau -
Bois - Feu - (Terre) etc.
la terre contient des
minéraux, source de
métal, le métal peut
être fondu et se
liquéfie, l’eau arrose
et fait pousser les
arbres, le bois br le et
produit du feu, le feu
produit des cendres, une
sorte de terre, dans une
dynamique cyclique
perpétuelle.Parmi tous
les cycles existants,
celui des émotions
éveilla
particulièrement mon
intérêt : Méditation -
Chagrin - Peur - Colère
- Joie - (Méditation)
etc. et je me suis dit
que ce principe cyclique
pourrait être la source
d’un puissant et
émotionnel voyage
musical. Evolution
se compose donc de cinq
parties égales qui
reflètent assez
librement ce cycle des
émotions. J’ai essayé
de faire en sorte que la
musique se développe de
manière fluide et
naturelle, avec un
minimum de répétitions.
Chaque mouvement
s’ouvre partir des
éléments musicaux qui
parachèvent le mouvement
précédent, tandis que
le motif premier
réapparaît. $140.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | | |
| St. Paul (Paulus)
Chorale SATB - Intermédiaire
Barenreiter
SATB choir (Mixed choir (SATB)) - Level 3 SKU: BA.BA09071-91 Composed by ...(+)
SATB choir (Mixed choir
(SATB)) - Level 3 SKU:
BA.BA09071-91
Composed by Felix
Bartholdy Mendelssohn.
Edited by John Michael
Cooper. This edition:
urtext edition.
Paperback. Barenreiter
Urtext. Choral score.
Opus 36. Baerenreiter
Verlag #BA09071_91.
Published by Baerenreiter
Verlag (BA.BA09071-91).
ISBN 9790006565467. 27
x 19 cm inches. Text
Language: German,
English. Felix
Mendelssohn Bartholdy
completed his first
oratorio - St. Paul , op.
36 - in 1836, at the age
of
twenty-seven.
The
first version, which was
premiered on 22 May 1836,
was then extensively
revised by the composer.
This second version,
which at the same time
served as the basis for
the published version,
was premiered as early as
October that year in
Birmingham . The acclaim
with which the oratorio
was received was
exceptional. Within
eighteen months of
completing the score,
Mendelssohn was able to
list fifty performances
of the work. Robert
Schumann praised the work
effusively and even
Richard Wagner, who later
denigrated Mendelssohn,
was full of admiration.
Today, St. Paul belongs
to the core repertoire of
sacred choral
music.
This Urtext
edition of the oratorio,
edited by the
internationally-recognise
d Mendelssohn scholar
Michael Cooper is based
on all critical sources.
As well as the principal
version of the work, the
score also includes for
the first time numbers
which were composed for
the first version and
subsequently removed.
This gives not only an
insight into the history
of the composition of the
work, but also, with the
complete performing
material, into the
performance of the
original version. The
appendices (first
version) which appear in
the full score and vocal
score are not contained
in this choral
score.
The full
score and vocal score
include the German and
English texts of the
oratorio.
The
vocal score is by
Mendelssohn.
-
Urtext edition,
representing the latest
musicological
research
- Vocal texts
in German and
English
- Supplements
the already existing
material available to
this work
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND
- A
reliable musical text
based on all available
sources
- A
description of the
sources
-
Information on the
genesis and history of
the work
- Valuable
notes on performance
practice
- Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL
-
Page-turns, fold-out
pages, and cues where you
need them
- A
well-presented layout and
a user-friendly
format
- Excellent
print quality
-
Superior paper and
binding
$15.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
|
|
