Matériel : Conducteur et Parties séparées
SKU: BR.KM-2197
World premiere: Nice, February 6, 1986
ISBN 9790004501047. 9 x 12 inches.
Vertigo is a remarkable confrontation with oneself, and with ones own capacities. Sartre defines it not so much as the fear of falling into an abyss as the fear of throwing oneself into it. Similarly, A. Glucksmann defines it as the fear of that other Self, the self one would be a moment later. Moving from ones potential to other potential selves, plunging into the unknown, this was the experimental phase of my state of mind during the composition, and is reflected in the writing of diverse textures, the ordering of the dynamics and the frequent microtonal changes of intervals. This is perhaps made particularly clear in the structure of the works first half, called Successive Figures, from which I could not free myself, psychologically, until the composition was finished. In the thrill of vertigo, and in opposition to Glucksmanns reactionary book of the same name, this is an about-turn towards the following radical principle: action rather than vertigo!... (Nicolaus A. Huber)CDs: Ensemble Kaleidocollage CD ADDA 590 049 AD 184 Ensemble Aventure CD ars musici FMF AM 1224-2 ensemble avance, Andras Hamary (piano) CD Telos Music TLS 018 Ensemble EstEstEst! CD perc.pro 10052004Bibliography:Fric k, Paul Friedrich: Nicolaus A. Huber: La Force du Vertige (1985). Analyse, Universitat der Kunste Berlin, Diplomarbeit 2006.World premiere: Nice, February 6, 1986.
SKU: UM.21385
ISBN 9790224421385.
SKU: HL.49046001
0.262 inches.
Orquoy is inspired by the music of ancient Andean civilisations. The work evokes the atmosphere of fiestas and collective rites: bright colours, the movements of bodies, the ritual consumption of alcohol, a sense of vertigo, the shrill flutes and the power of percussion instruments - this all contributes to a permanent saturation of the senses. For the Quechuas, whose music is characterised by pre-Hispanic elements, the composer is a shaman, wandering between the sphere of the supernatural and the human world. He coaxes melodies out of the Gods - this is the meaning of the word 'orquoy'. Thierry Pecou.
SKU: FJ.B1541
UPC: 674398231133. English.
Experience musical vertigo like you've never experienced before! This whimsical work depicts the humorous movement of an inexperienced unicyclist, whose comical ride is captured through the clever use of chromaticism, dissonance, and whole tone passages. Steeped in pure fun, this imaginative and entertaining piece is sure to put a smile on everyone's face. Hold onto your seats - it's going to be one wild ride!
About FJH Concert Band
Desig ned for high school groups and upper-level middle school groups. Independence is encouraged, but many lines are cross-cued. Usually includes an expanded percussion section. Grades 3 - 3.5
SKU: BT.ESZ-01317400
SKU: SU.50034860
A Vortex in Continual Motion (The Vertigo of Flight).Copyright 1974. Published by: Seesaw Music.
SKU: HL.194637
ISBN 9781495073731. UPC: 888680641528. 7.0x10.0x1.071 inches. Andy Hill Music Pro Guides.
Today, musical composition for films is more popular than ever. In professional and academic spheres, media music study and practice are growing; undergraduate and postgraduate programs in media scoring are offered by dozens of major colleges and universities. And increasingly, pop and contemporary classical composers are expanding their reach into cinema and other forms of screen entertainment. Yet a search on Amazon reveals at least 50 titles under the category of film music, and, remarkably, only a meager few actually allow readers to see the music itself, while none of them examine landmark scores like Vertigo, To Kill a Mockingbird, Patton, The Untouchables, or The Matrix in the detail provided by Scoring the Screen: The Secret Language of Film Music. This is the first book since Roy M. Prendergast's 1977 benchmark, Film Music: A Neglected Art, to treat music for motion pictures as a compositional style worthy of serious study. Through extensive and unprecedented analyses of the original concert scores, it is the first to offer both aspiring composers and music educators with a view from the inside of the actual process of scoring-to-picture. The core thesis of Scoring the Screen is that music for motion pictures is indeed a language, developed by the masters of the craft out of a dramatic and commercial necessity to communicate ideas and emotions instantaneously to an audience. Like all languages, it exists primarily to convey meaning. To quote renowned orchestrator Conrad Pope (who has worked with John Williams, Howard Shore, and Alexandre Desplat, among others): “If you have any interest in what music 'means' in film, get this book. Andy Hill is among the handful of penetrating minds and ears engaged in film music today.”.
