Matériel : Set de Parties séparées
SKU: BT.DHP-1053848-010
English-German-French- Dutch.
Since the beginning of mankind people have realized that the warmth and the light of the sun were necessary to develop life on earth - by creating winds in the air, by generating rains through the evaporation of sea water and by allowing plants to grow. The sun creates the dynamism of the chain of life. This is the reason why ancient populations adored the sun as the god of cosmic order as opposed to the god of chaos or night, who generated fear and the necessity of defense. This piece is a tribute to the sun (Verso il Sole) as an existential symbol of life and energy.Sinds de mensheid bestaat, hebben mensen zich gerealiseerd dat de warmte en het licht van de zon nodig waren voor de ontwikkeling van het leven op aarde. De zon zorgt voor de dynamiek van de cirkel van het leven. Lorenzo Bocci schreefdit werk als een hulde aan de zon (Verso il Sole) - existentieel symbool van leven en energie.Seit Menschengedenken ist bekannt, dass die Wärme und das Licht der Sonne notwendig für alles Leben auf der Erde ist. Sie bildet den Antrieb des Kreislaufs des Lebens. Alte Völker verehrten die Sonne als Gott der Ordnung des Weltalls, als Gegenspieler des Gottes des Chaos und der Nacht. Verso il Sole - an die Sonne - ist ein Tribut des italienischen Komponisten Lorenzo Bocci an die Sonne als das existentielle Symbol des Lebens und der Energie. Lassen Sie die Sonne in Ihr Konzert!Dès les débuts de l’humanité, l’homme a pris conscience que la chaleur et la lumière du soleil étaient nécessaires au développement de la vie terrestre. Le soleil est le principe actif du cycle de vie. Ainsi, de nombreuses cultures et civilisations anciennes vénéraient le Soleil comme le dieu de l’ordre cosmique, par opposition aux forces du chaos ou de la nuit, qui suscitaient la crainte et un esprit de défense. Verso il Sole (“Vers le Soleil â€) est un hommage musical au Soleil en tant que symbole existentiel, source de vie et d’énergie.< br>Dagli inizi dell’umanit , l’uomo è stato cosciente del fatto che il calore e la luce del sole erano necessari allo sviluppo della vita terrestre. Il sole è il principio attivo del circolo della vita. Numerose culture e civilt antiche venerarono il Sole come il Dio dell’ordine cosmico, in contrapposizione a Dio del caos o della notte, che generava paura e necessit di difesa. Verso il Sole è un omaggio musicale al Sole come simbolo esistenziale, sorgente di vita ed energia.
SKU: BT.DHP-0970921-010
9x12 inches.
Jan de Haan took as a starting point for Music for a Solemnity an old custom from the Dutch town of Hoogeveen, by which the faithful are called to church with drums. It was also inspired by the music of John Williams. This unusual combination has resulted in a solemn work in which old traditional methods are united with modern rhythms and melodic lines. Voor Music for a Solemnity liet Jan de Haan zich enerzijds inspireren door de eeuwenoude traditie in de Drentse stad Hoogeveen om met trommels tot de kerkgang op te roepen en anderzijds door de muziek van de succesvolle Amerikaansecomponist John Williams. Deze bijzondere combinatie resulteerde in een feestelijk werk met ritmische patronen en melodische lijnen die getuigen van respect voor Williams’ oeuvre.Zu Music for a Solemnity ließ sich der Komponist einerseits vom alten Brauch der niederländischen Stadt Hoogeveen, mit Trommeln zum Kirchgang zu rufen, und andererseits von der Musik von John Williams inspirieren. Diese ungewöhnliche Kombination mündete in ein festliches Werk, in welchem sich alte Tradition in schönster Weise mit modernen Rhythmen und melodischen Linien vereinen. Il y a quatre siècles, l’église de la ville d’Hoogeveen aux Pays-Bas n’avait pas de carillon. Les fidèles décidèrent de se rassembler pour le culte dominical au son d’un tambour. Aujourd’hui, Hoogeveen possède plusieurs carillons mais continue d’honorer cette tradition ancienne. Music for a Solemnity (Musique pour une occasion solennelle) est une oeuvre festive en hommage au tambour d’Hoogeveen. Les lignes mélodiques et les motifs rythmiques sont inspirés de la musique du célèbre compositeur américain John Williams qui Jan de Haan voue une grande admiration.Una composizione che riprende le vicende del villaggio olandese di Hoogeveen nel XVII secolo. Dato che la chiesa non aveva un campanile, fu deciso di utilizzare un tamburino per chiamare i cittadini a messa. Benché oggi la cittadina sia ricca di campane, Hoogeveen onora questa antica tradizione del tamburino. Music for a Solemnity è un brano festivo ispirato dal tamburino da un lato, ma anche dalla musica di John Williams, le cui linee melodiche e la scrittura ritmica influenzano da sempre Jan de Haan.
SKU: HL.49045561
ISBN 9783901974045.
Stra uss's first tone poem distinguishes itself from all other subsequent orchestral compositions in its existence in three different versions. Even among the operas and other compositions in his hand there is no other work with a comparable history of origin and publication. What is more, the final version of Macbeth is the only valid form of the work and the only variant with further sources (cf. Critical Report) in addition to the autograph score. In contrast, the second version has only been preserved in an autograph score and autograph piano reduction (the orchestral parts which must have existed have obviously not survived). This was never printed and was replaced by the published third version. The two surviving versions should therefore not be considered to be of equal status. Unlike the case of Ariadne auf Naxos in which the earlier version was for a time the sole valid alternative and was yet never completely displaced by the soon dominating later version of the opera, only the final third version of Macbeth is considered as valid. Right from the outset, it was a matter of course for the editors of the present volume to include the second version as a first publication (in addition to the above-mentioned surviving pages of the first version), albeit in different forms. The surviving pages of the first version are reproduced in facsimile and the second version, as a subordinate form of the work, appears alongside Strauss's piano reduction in a modified source edition, i.e. without intervention on the part of the editors. The ultimate third version is published as a full edition (please refer to the Critical Report for further details). In order to facilitate a comparative study of the second and third versions, the relevant page numbers of the score are placed opposite one another (the autograph piano reduction of the second version is included at the end of the music section of the volume). The editors hope that this synoptic representation will prompt interest in further studies on Strauss's art of orchestration: a field of research which has still remained insufficiently examined. A study of Macbeth namely illuminates as clearly as could be wished how much significance Strauss allotted to sound alongside form. The subjects were not merely intended to generate an individual figure, but also specific tonal colours, and the instrumentation was simultaneously designed to provide an optimal communication of thematic-motivic texture to the audience. The 'new path' threw up consequences which caused Strauss a considerable amount of difficulty. He was however a fast learner and had already swum free with Don Juan and all the more with Tod und Verklarung.
SKU: CA.2708219
ISBN 9790007242992. Language: Latin.
Jan Dismas Zelenka's Missa Sancti Josephi occupies a key position among his circa twenty large masses. In this mass, probably composed in 1732 for a feast of a Saint (thus, without a Credo), for the first time the composer took up the operatic style of Johann Adolf Hasse - the latter had first performed his opera Cleofide in Dresden in 1731. Zelenka's unmistakable individuality created a completely independent work with great technical demands which in many details presages the important masses among his late works. The sole source for the first edition of this mass, published here for the first time, is a considerably damaged autograph score which. It is preserved in the Sachsische Landes- und Universitatsbibliothek Dresden. For the Carus edition the experienced Zelenka scholar Wolfgang Horn has expertly reconstructed the missing passages. Score and parts available separately - see item CA.2708200.
SKU: BT.DHP-1216343-010
This short but solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gérard (the present conductor), who each have been conducting theensemble for many years. Under their leadership, the band has developed and improved remarkably. The very first musical theme, presented during the introduction of this little overture, is based on the letters hidden in the namesJean-Paul and Gérard Frisch (in which h is considered b as it is in German), thus aiming the spotlight on both key figures in the history of Harmonie Hautcharage. After the rather stately intro, the allegro is more joyful andlighthearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic: it radiates positivity and belief in the future.Deze korte maar plechtige ouverture is geschreven ter gelegenheid van het 110-jarig bestaan van Harmonie Hautcharage uit Luxemburg. Het stuk is een eerbetoon aan Jean-Paul Frisch en diens zoon Gérard (de huidige dirigent), die hetensemble ieder vele jaren lang hebben gedirigeerd. Onder hun leiding heeft het orkest zich enorm ontwikkeld en verbeterd. Het eerste muzikale thema, ge ntroduceerd in de inleiding van deze kleine ouverture, is gebaseerd op deletters die verborgen zitten in de namen Jean-Paul en Gérard Frisch (waarbij de h als b wordt beschouwd zoals in Duitsland het geval is). Hiermee worden beide sleutelfiguren uit de geschiedenis van Harmonie Hautcharage in deschijnwerpers gezet. Na de vrij statige opening klinkt het allegro vreugdevoller en luchtiger, waarmee het optimisme van de vele jonge spelers uit het orkest wordt weerspiegeld. Het meeslepende en energieke slot ademt positiviteiten geloof in de toekomst.Diese kurze, aber feierliche Ouvertüre wurde anlässlich des 110-jährigen Jubiläums der Harmonie Hautcharage aus Luxemburg geschrieben. Es ist eine Hommage an Jean-Paul Frisch und seinen Sohn Gérard (den derzeitigen Dirigenten),die das Ensemble seit vielen Jahren leiten. Unter ihrer Leitung hat sich das Blasorchester auf bemerkenswerte Art und Weise weiterentwickelt und verbessert. Das allererste musikalische Thema, das in der Einleitung dieser kleinenOuvertüre vorgestellt wird, basiert auf den Buchstaben, die in den Namen Jean-Paul und Gérard Frisch enthalten sind. Damit rückt es die beiden Schlüsselfiguren in der Geschichte der Harmonie Hautcharage in den Vordergrund. Auf diemajestätische Einleitung folgt ein fröhliches und unbeschwertes Allegro, das den Optimismus der vielen jungen Mitspieler des Blasorchesters widerspiegelt. Der Schluss ist spannend, energiegeladen und strahlt eine positiveEinstellung Courte mais solennelle, cette ouverture a été écrite l’occasion du 110e anniversaire de l’harmonie luxembourgeoise Hautcharage. Il s’agit d’un hommage Jean-Paul Frische et son fils, Gérard (le chef actuel de l’harmonie), quidirigent tous deux l’ensemble depuis de nombreuses années. Sous leur direction, l’orchestre s’est remarquablement développé et amélioré. Le tout premier thème, exposé dès l’introduction de cette petite ouverture, est fondé surcertaines lettres des noms Jean-Paul en Gérard Frisch (où le « h » représente un « Si », comme dans la notation allemande), mettant ainsi en avant les deux personnages clés de l’histoire de l’harmonie Hautcharage. Après uneintroduction quelque peu majestueuse, l’allegro est plus léger et enjoué, reflétant ainsi l’optimisme des nombreux jeunes musiciens de l’orchestre. La conclusion est énergique et exubérante, rayonnant de positivité et de confianceen l’avenir.
SKU: HL.44005480
UPC: 073999288391.
In 1918 componeerde Puccini Gianni Schicchi: de derde opera van Il trittico (een trilogie). 'O mio babbino caro' is een beroemde arietta, gezongen door Gianni Schicchi's dochter Lauretta. Het lied is melodieus en deharmonisatie is prachtig. Bij een incomplete bezetting biedt dit arrangement alternatieven voor verschillende partijen. Het werk is geschikt als oefenstuk (met het accent op de toonvorming), maar zeker ook als toegift.O Mio Babbino Caro ist eine der beruhmtesten Opernarien Puccinis uberhaupt. Sie stammt aus der Oper Gianni Schicchi, dem dritten Teil einer Opern-Trilogie. Die Harfe, die im Original eine zentrale Rolle spielt, integrierte Tohru Takahashi in seiner Bearbeitung fur Blasorchester in die Vibraphonstimme. Das ausgezeichnete Arrangement des Japaners, das viele Besetzungsmoglichkeiten bietet, ist eine ideale Zugabenummer! En 1918, Giacomo Puccini compose l'opera Gianni Schicchi. O mio babbino caro est le superbe air chante par Lauretta, fille de Gianni Schicchi, personnage central de l'opera. L'orchestration est splendide, la melodie est empreinte d'un lyrisme poignant. Ideale pour developper le sens du phrase, la justesse et l'equilibre entre les differents pupitres, O mio babbino caro devoile la richesse et la finesse de la palette sonore de l'Orchestre d'Harmonie.
SKU: HL.4007143
UPC: 840126965407.
This solemn overture was written on the occasion of the 110th jubilee of Harmonie Hautcharage, Luxembourg. It is an homage to Jean-Paul Frisch and his son Gérard, both of whom have conducted the ensemble for many years. Therefore, the first musical theme is based on the letters hidden within their names. After the stately intro, the allegro is more joyful and light-hearted, thus depicting the optimism of the many young players of the band. The end is exciting and energetic, radiating positivity and belief in the future.
SKU: BA.BA04893-65
ISBN 9790006459629. 32.5 x 25.5 cm inches.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composerâ€℠s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: CA.4005809
ISBN 9790007083915. Language: Latin.
Contents: Dixit Dominus (Ps 109) in C major Confitebor (Ps 110) in E minor Beatus vir (Ps 111) in B flat major Laudate pueri (Ps 112) in F major Laudate Dominum (Ps 116) in A major Magnificat in C major (all pieces also available seperately). Score and parts available separately - see item CA.4005800.
SKU: CA.5034819
ISBN 9790007145507. Key: C major. Language: Latin.
Contents: Dixit Dominus (Ps 109, C major) Confitebor (Ps 110, E flat major) Beatus vir (Ps 111, G major) Laudate pueri (Ps 112, B flat major) Laudate Dominum (Ps 116, F major) Magnificat (Vespercanticum, C major). Score and parts available separately - see item CA.5034800.
SKU: CA.5034809
ISBN 9790007081508. Key: C major. Language: Latin.
SKU: BA.BA04893-75
ISBN 9790006459650. 32.5 x 25.5 cm inches.
