Matériel : PartitionLangue : Français
La référence AL25516 de l'éditeur Leduc dont l'auteur célèbre est Level Pierre-Yves, qui a pour titre Mentor, a été écrite et composée pour Alto et plus particulièrement pour Alto Et Violoncelle. Cette partition musicale appartient à la catégorie Classique. / Alto Et Violoncelle / Partition
SKU: HL.48184176
UPC: 888680832735. 9.0x12.0x0.03 inches.
Pierre-Yves Level: Mentor II (Clarinets 2).
SKU: CF.BPS124F
ISBN 9781491156155. UPC: 680160914692. 9 x 12 inches.
Personal Note My high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in the Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music. Performance Notes The idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.Personal NoteMy high school band director, Clarence F. Wroblewski, died on November 24, 2018. In the 1950s, he was a pioneer in the field of public school instrumental music in the Baltimore City. He was my mentor and my dear friend. It was his guidance and encouragement that set my young life's course on the path of music.Performance NotesThe idea for this easy march is a parade with horses, hence the title Cadets' Cavalcade. It may be taught and performed in common time, but the feel is in 2 at the indicated tempo. Directors who wish to perform it a little faster or slower than 80 should feel free to do so. All cues are for endurance considerations. Bands that are capable of playing from beginning to end without rests may ignore the cues. When cymbals are just following the bass drum line, be certain that the player observes the proper balance.
SKU: CF.BPS124
ISBN 9781491156148. UPC: 680160914685. 9 x 12 inches.
SKU: HL.49047172
UPC: 196288143406.
When the 24-year-old Richard Strauss, assistant conductor in Munich, began the composition of his third tone poem in the summer of 1888, he saw himself close to the aspiration prescribed by his mentor Alexander Ritter: to become the successor of Richard Wagner as a musical dramatist. Strauss had already been working on the text of his first opera Guntram for a year and additionally devoted himself to programmatic orchestral works oriented to the musical language of Liszt and Wagner in order to prepare himself compositionally for his new task. With the aid of Strauss and other musicians including Ludwig Thuille and Friedrich Rösch who had been gathering for “Ritter's round table†in Munich between 1886 and 1889, RitterÂ’s intention was to achieve success on a broad front with the New German School following the death of its two protagonists Wagner and Liszt. We do not know whether Ritter and his supporters jointly planned Strauss's compositional path towards opera, determined the subjectsof his prospective tone poems and considered various strategies of their musical realization, but the influence of this group shouldnot be underestimated. It cannot be ruled out that the number of three tone poems was fixed, as was their sequence of composition, which would progressively achieve its zenith in an increasing orientation to Liszt and Wagner. The circle could possibly have also discussed initial links to literary subjects (Macbeth and Don Juan) and ultimately the abstention from this practice in the third and final tone poem. The subject of the work, or rather in StraussÂ’s formulation its “poetic modelâ€, has occasionally been interpreted from an autobiographical aspect. Strauss however did not experience serious illness until May 1891 and once more in June 1892, long after Tod und Verklärung had been composed. Even without an external reason, the material would have been only too attractive for an admirer of Wagner and Liszt like Strauss, not to mention for his mentor Alexander Ritter. The concept of 'death and transfiguration' had already played a central role in LisztÂ’s symphonic poems Tasso and Prometheus.
SKU: CY.CC3143
ISBN 9790530111116. 8.5 x 11 in inches.
Here is a description of this beautiful work by the composer: Reflection and Celebration for 8-part Trombone Ensemble is a musical homage to a man who was revered for his mentorship, musical intellect and delightful humor. The work opens with a somber melodic solo, capturing the noble spirit of this great mentor. Several repetitive 5-note ascending motives follow which is a symbolic reference to students learning and accomplishing under Conklin's mentorship. The bold fanfare style (in measure 32) is presented to capture the presence and tall stature of Conklin. Finally, Conklin's down-to-earth personality and his infectious humor is referenced (in measure 83). Even the fanfare theme returns in a faster tempo, thus highlighting the frivolity, lightheartedness, and wisdom of this adored music teacher. The music is about 6 1/2 minutes in length and is appropriate for moderately advanced performers.
SKU: HL.50605338
ISBN 9781705179826. UPC: 196288105725. 9.0x12.0 inches.
Zebra Crossing was commissioned by Creative Dialogue France. With special thanks to the Rolex Mentor and Protege Arts Initiative, Zebra Crossing received its World Premiere on August 26th 2021 at Chateau de Brissac in France, performed by the Zebra Trio.
SKU: CF.YPS212F
ISBN 9781491152997. UPC: 680160910496.
Takin g its title from a poem about grief and loss by Chrissie Pinney, Live On honors the life of band director Linda Mann, to whom the piece is dedicated. The piece begins with a pensive intro before shifting to a whimsical theme that brings about happy thoughts of a life well-lived. After a return to the poignant opening material, the music surges to a triumphant conclusion based on an augmented version of the whimsical theme.Live On was commissioned by Diplomat Middle School's staff, faculty and students, in Cape Coral, Florida, and is dedicated to the memory of their Director of Bands, Linda Mann. Director of Orchestras, Roland Forti, championed the commissioning of this piece to honor the life of Linda after her untimely passing in February of 2017. Linda Mann’s impact on the field of music education was profound and wide-reaching. She was a beloved member of the staff at Diplomat Middle School, as well as the music community of Cape Coral and the state of Florida. Linda was highly respected throughout the state, serving as recent past-president of the Florida Bandmasters Association.In discussing the type of piece the school wanted to honor Ms. Mann, they indicated the piece should “depict Linda’s personality: dynamic, sassy, yet thoughtful and almost mentor-like.†They wanted a piece that was upbeat, yet still had moments that were thoughtful, portraying the grief that the Diplomat Middle School community has suffered from the sudden loss of such a beloved teacher.After contemplating their thoughts, I did some research to find inspiration for the piece. This led me to poetry about grief and loss. In time, I stumbled upon a short, yet poignant poem that I felt perfectly depicted the sentiment that I wanted the piece to convey. That poem is entitled Live On by Chrissie Pinney.Live OnNow as I live onWithout youI hope to keepThe pieces of youThat I loved so dearlyYour mannerismsAnd compassionate characterAnd smiles through struggleSo that youMay live on too -Chrissie PinneyI reached out to Ms. Pinney, and she graciously agreed to allow me to quote her powerful poem in these notes. She expressed that she was deeply touched that her work would inspire me to write a piece in honor of Linda Mann.The piece begins with a poignant, pensive opening section. The use of the musical interval of a tritone between the first two openly voiced chords are used to represent the sadness we all feel from this type of loss. When I sat in front of my piano and started to work on this piece, my hands seemed to naturally and immediately play these first two chords, which set the process in motion of composing the piece.After the somber opening, the piece shifts to a whimsical theme that I hope brings about happy thoughts of Linda and her personality. It was also my intent, however, to include some musical dissonance in the theme that still reflected the bittersweet loss at the same time. The piece develops into a secondary theme that is a quasi inversion of the main fast theme. This section is followed by a return of the opening material, with snippets of the fast theme intertwined, before the piece builds to a triumphant, augmented presentation of the main theme in a lush form to complete the work.It is my hope that in some small way, this piece will bring comfort to those affected by the loss of Linda Mann, and that the music will allow her memory to Live On.–Larry ClarkLakeland, FL 2017.