Matériel : Partition + CD
Voir toutes les partitions de Leonard Bernstein
SKU: AP.1-ADV20000
UPC: 805095200003. English.
The arrangement was commissioned and recorded by Prisma (members of the Vienna Philharmonic and Vienna Symphonic Orchestras). Titles: Summertime * It Ain't Necessarily So * Bess You Is My Woman * Oh Lawd I'm on My Way.
SKU: BT.BHL5402539
The music from Leonard Bernstein's landmark Broadway musical West Side Story has become an important part of our musical heritage. With lyrics by Stephen Sondheim, these two songs create a powerful showcase for choral groups in schools and communities.Available for SATB, SAB, SSA, an Instrumental Pak (parts for Trumpet I & II, Tenor Sax, Trombone, Synthesizer, Guitar, Bass and Drums) for accompaniment. Die Musik aus Leonard Bernsteins weltberühmtem Musical West Side Story ist längst zu einem bedeutenden Teil des musikalischen Erbes Amerikas geworden. Diese beiden Lieder (Text: Stephen Sondheim) sind wundervolle Bühnenstücke für Laienchöre in Schulen und Gemeinden.Lieferbar sind Ausgaben für 3- oder 4-stimmigen gemischten Chor (SATB und SAB), für Frauenchor (SSA), sowie Instrumentalstimmen zur Begleitung (Trompete, Tenor-Saxophon, Posaune, Synthesizer, Gitarre, Kontrabass und Schlagzeug) und eine ShowTrax-CD.
SKU: BT.BHL5402540
The music from Leonard Bernstein's landmark Broadway musical West Side Story has become an important part of our musical heritage. With lyrics by Stephen Sondheim, these two songs create a powerful showcase for choral groups in schools and communities.Available for SATB, SAB, SSA, an Instrumental Pak (parts for Trumpet I and II, Tenor Sax, Trombone, Synthesizer, Guitar, Bass and Drums) for accompaniment. Die Musik aus Leonard Bernsteins weltberühmtem Musical West Side Story ist längst zu einem bedeutenden Teil des musikalischen Erbes Amerikas geworden. Diese beiden Lieder (Text: Stephen Sondheim) sind wundervolle Bühnenstück e für Laienchöre in Schulen und Gemeinden.Lieferbar sind Ausgaben für 3- oder 4-stimmigen gemischten Chor (SATB und SAB), für Frauenchor (SSA), sowie Instrumentalstimmen zur Begleitung (Trompete, Tenor-Saxophon, Posaune, Synthesizer, Gitarre, Kontrabass und Schlagzeug).
SKU: BT.BHL5402541
The music from Leonard Bernstein's landmark Broadway musical West Side Story has become an important part of our musical heritage. With lyrics by Stephen Sondheim, these two songs create a powerful showcase for choral groups in schools and communities.Available for SATB, SAB, SSA, an Instrumental Pak (parts for Trumpet I & II, Tenor Sax, Trombone, Synthesizer, Guitar, Bass and Drums) for accompaniment. Die Musik aus Leonard Bernsteins weltberühmtem Musical West Side Story ist längst zu einem bedeutenden Teil des musikalischen Erbes Amerikas geworden. Diese beiden Lieder (Text: Stephen Sondheim) sind wundervolle Bühnenstücke für Laienchöre in Schulen und Gemeinden.Lieferbar sind Ausgaben für 3- oder 4-stimmigen gemischten Chor (SATB und SAB), für Frauenchor (SSA), sowie Instrumentalstimmen zur Begleitung (Trompete, Tenor-Saxophon, Posaune, Synthesizer, Gitarre, Kontrabass und Schlagzeug).
SKU: BT.BHL7300132
English.
SKU: CF.CY305
ISBN 9780825898709. UPC: 798408098704.
When you are a prodigy, you should study with the best. For Lukas Foss (born Lukas Fuchs), this meant studying orchestration with Felix Wolfes, composition with Noel Gallon, and even flute with Louis Moyse. In 1937, his family moved to the United States, the family name became Foss, and young Lukas would attend the Curtis Institute of Music in Philadelphia, where he would meet fellow classmate Leonard Bernstein. This led to a lifelong friendship of mutual admiration-Bernstein would conduct the world premiere of Time Cycle, and Foss would conduct the premiere of Symphonic Dances from West Side Story. Time Cycle would garner the New York Music Critics Circle Award for 1961 and be hailed as a true masterpiece of American music. Sony Classical has included the premiere recording by Leonard Bernstein and the Columbia Symphony Orchestra with soloist Adele Addison in their remastered series Bernstein Century.
SKU: PR.466000470
UPC: 680160099405. 11 x 17 inches.
This is the second incarnation of a work I first composed in 1994 for symphonic wind ensemble. The earlier version was intended to be the summation of three-part suite, each part being named for a different national park in the Western United States. This orchestral version, commissioned in 1999 by the Utah Symphony and dedicated to the memory of Aaron Copland, is more than a re-scoring of the earlier piece; it is a re-thinking of all its elements. Zion is a place with unrivaled natural grandeur, being a sort of huge box canyon in which the traveler is constantly overwhelmed by towering rock walls on every side of him -- but it is also a place with a human history, having been inhabited by several tribes of native Americans before the arrival of the Mormon settlers in the mid-19th century. By the time the Mormons reached Utah, they had been driven all the way from New York State through Ohio and, with tragic losses, through Missouri. They saw Utah in general as a place nobody wanted, but they were nonetheless determined to keep it to themselves. Although Zion Canyon was never a Mormon Stronghold, the people who reached it and claimed it (and gave it its present name) had been through extreme trials. It is the religious fervor of these persecuted people that I was able to draw upon in creating Zion as a piece of music. There are two quoted hymns in the work: Zion's Walls (which Aaron Copland adapted to his own purposes in both his Old American Songs and the opera The Tender Land) and Zion's Security, which I found in the same volume in which Copland found Zion's Walls -- that inexhaustible storehouse of 19th-century hymnody called The Sacred Harp. My work opens with a three-verse setting of Zion's Security, a stern tune in F-sharp minor which is full of resolve. (The words of this hymn are resolute and strong, rallying the faithful to be firm, and describing the city of our God they hope to establish). This melody alternates with a fanfare tune, whose origins will be revealed in later music, until the second half of the piece begins: a driving rhythmic ostinato based on a 3/4-4/4 alternating meter scheme. This pauses at its height to restate Zion's Security one more time, in a rather obscure setting surrounded by freely shifting patterns in the flutes, clarinets, and percussion -- until the sun warms the ground sufficiently for the second hymn to appear. Zion's Walls is set in 7/8, unlike Copland's 9/8-6/8 meters (the original is quite strange, and doesn't really fit any constant meter), and is introduced by a warm horn solo. The two hymns vie for attention from here to the end of the piece, with the glowingly optimistic Zion's Walls finally achieving prominence. The work ends with a sense of triumph.
