Consort-serie 3

SKU: ST.MB101

ISBN 9790220224898.

Complementing their achievements as composers of Italianate vocal music represented elsewhere in the series, this volume brings together consort works by two English Catholics who left England for the continent. Philips belonged to a generation that focused on stylised dance rather than fantasia, and many of his five-part consort dances exist also as keyboard pieces. Dering was born a generation later. Whereas his five-part fantasias were core repertoire for early 17th-century viol players, interest in the stylised dance had by then begun to wane. Several of Dering's pavans and almaines survive in a single source only, and lack outer parts, which have been completed by the editor.

SKU: HL.49009566

ISBN 9790200210828. UPC: 884088075422. 5.25x7.5x0.174 inches.

With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.

SKU: BT.DHP-1084504-070

ISBN 9789043130035. 9x12 inches. English-German-French-Dutch.

Moonlight Serenade was composed in 1939, by Glenn Miller in his typically American big-band style. It was an immediate success and it even became the signature tune of Glenn Miller. The catchy melody has since been used in various films and television series. It has been performed in many styles, from romantic to swinging. The Flanders Recorder Quartet likes to play this work with a low recorder consort: tenor, F bass, C bass, great bass (each instrument then plays an octave lower). This gives the work a slightly “close harmony” feel. Of course the more usual line-up also does the music justice.

Moonlight Serenade is in 1939 gecomponeerd door Glenn Miller in zijn typisch Amerikaanse Bigbandstijl. De aanstekelijke melodie is in verschillende films en televisieseries gebruikt. In Frankrijk is de song populair gewordenonder de titel Dansez maintenant (1975) - in een uitvoering van Dave. Het Flanders Recorder Quartet speelt dii werk graag in laag blokfluitconsort: tenor, F-bas, C-bas, grootbas (elk instrument speelt dan een octaaf lager). Zo ontstaateen lichte close-harmonystijl. De muziek komt in de gebruikelijke bezetting natuurlijk ook uitstekend tot haar recht.

Moonlight Serenade wurde 1939 von Glenn Miller in dem ihm eigenen, typisch amerikanischen Big-Band-Stil komponiert. Es wurde schon in vielen Stilen - von romantisch bis Swing - interpretiert. Das Flanders Recorder Quartet aus Belgien, dessen Mitglied und Arrangeur Paul van Loey diese Bearbeitung schrieb, spielt das Stück gerne mit einem tiefen Blockflötenensemble: Tenor-, F-Bass-, C-Bass- und Großbassblockflöte (wobei jedes Instrument eine Oktave tiefer spielt). Dies verleiht dem Werk eine Art Close Harmony“-Gefühl. Aber auch die übliche Besetzung wird der Musik vollkommen gerecht.

Glenn Miller (1904-1944) fut l’un des plus grands chefs d’orchestre de swing américains de son temps. Le son mythique du prestigieux Glenn Miller Orchestra mêlant swing, jazz et improvisation est, aujourd’hui encore, célèbre dans le monde entier. Glenn Miller reste pour le public une véritable légende et ses airs les plus célèbres sont dans toutes les mémoires. En 1939, Glenn Miller composa Moonlight Serenade, une pièce dont l’idiome sonore est typique du style Big Band américain. Il présenta sa création pour la première fois sur la face B du disque Sunrise Serenade. Le succès fut immédiat. La mélodie fit l’objet de nombreuses reprises notamment au cinéma et latélévision.

Nel 1939, Glenn Miller compose Moonlight Serenade, un brano dal linguaggio sonoro tipico dello stile big band americano. Esistono oggi numerose varianti stilistiche di questo brano. Il quartetto di flauto dolce delle Fiandre privilegia suonarlo con strumenti che si sviluppano nei registri gravi: flauti dolci tenori, basso in Fa, basso in Do e un grande basso. Il brano rivela così una struttura in close harmony. E' anche possibile eseguire il brano con un ensemble strutturato in maniera più tradizionale.

SKU: PR.114412930

UPC: 680160571604. 8.5 x 11 inches. Text: Li Bai. Li Bai. Three poems by Li Bai (701 - 762).

It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time. In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems. Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work. --Chen Yi.
It's a privilege to write a new work for my friend, the pipa master Ms. Wu Man to perform in the 05/06 concert season. Remembering the first time we worked together in 1991, Wu Man premiered my solo piece The Points on the age-old Chinese traditional instrument, with her adventurous virtuosity and sensibility in the piece with new musical concept and language, at the NewWorkOctober concert series at Columbia University in New York, presented by New Music Consort. I have been very happy to keep track with her new experiment and success in the new music field since then. Again, in 2001, I have composed a trio for her to play with Yo-Yo Ma and Young-Nam Kim, commissioned by the Chamber Music Society of Minnesota for the Hun Qiao project. Wu Man loved the piece so much that she commissioned me another new work to perform this time.In Chinese cultural tradition, in which I am deeply rooted, music is a part of an organic art form, along with poetry, calligraphy and painting. I am glad that Wu Man suggested to create our new work together with visual artist Catherine Owens. We are going to combine the art forms together in one. I got my inspiration from three ancient poems, which are drawn in Chinese calligraphy, with exaggerated dancing lines and shapes in layers of ink. The music would go with image projection in Chinese painting according to the poems.Written for Wu Man and commissioned by the Walton Arts Center, Fayetteville, AR, the duet Ancient Dances is written for pipa and a set of percussion instruments (including a pair of naobo, finger cymbals, and bongos; a Japanese high woodblock, a triangle, 3 Beijing Opera gongs in small, medium and large sizes, a suspended cymbal and a conga). It consists of three movements of music - Cheering, Longing, and Wondering, in which the music abstractly represents various expressions, in different textures and tempi, inspired by the text in the three Chinese poems by Li Bai from Tang Dynasty: 1) Riding on My Skiff; 2) Night Thoughts; 3) The Cataract of Mount Lu. The flying lines, as like mysterious and vivid ancient dances, bring the music, the calligraphy, and the painting all together in our work.—Chen Yi.

SKU: BT.AMP-293-140

9x12 inches. English-German-French-Dutch.

Bij dit winterverhaal staat het thema kerst eens n et centraal. Vandaar dat u A Winter’s Tale net zo goed rondom de kerstdagen als ook bij andere concerten in het winterseizoen kunt uitvoeren. De muziek geeft een beschrijvingvan een winters tafereel op het land: een zonsondergang, sprookjesachtig besneeuwde landerijen en bossen. In de verte klinken de bellen van een slee die langzaam maar zeker naderbij komt. Maar dan keert de rust weer terug, terugin het verstilde landschap…

A Winter’s Tale hat keinen direkten Bezug zum Thema Weihnachten, kann also ebenso zu (vor-) weihnachtlichen Anlässen wie auch bei anderen Konzerten im Winterhalbjahr aufgeführt werden. Die Musik beschreibt eine Winterszenerie auf dem Lande: Ein stiller Sonnenuntergang, tief verschneite Felder und Wälder, von ferne klingen die Glöckchen eines Schlittens, der sich als Dreigespann entpuppt, bevor zum Schluss des Werkes wieder Ruhe in die Szenerie einkehrt.

Philip Sparke a composé cette pièce pour le Western Plains Wind Consortium, placé sous la direction de son fondateur, Daniel Baldwin. La création fut assurée par l’Orchestre d’Harmonie de l’Université d’État de l’Oklahoma Panhandle (Dr. Matthew C. Saunders, direction), le 1er décembre 2009, au Centennial Theatre Goodwell en Oklahama (États-Unis). Les orchestres membres du Western Plains Wind Consortium qui ont contribué la commande de cette œuvre sont :Garden City High School Symphonic Band - Ryan Elliot & Daniel Baldwin, directionSouthwestern Oklahoma State University Wind Ensemble - James South, directionPanhandle State University Band - Matthew Saunders,direction Holton High School Band - Donald McDaniel, directionHolcomb High School Band - Paul White, directionBethel College Band - Timothy Shade, directionGarden City Community College Band - Daniel Baldwin, directionLa commande stipulait que l’œuvre devait synthétiser une ambiance hivernale sans référence au cycle de la Nativité. Philip Sparke a réalisé une scène d’hiver en pleine campagne. A Winter’s Tale s’ouvre avec une série d’accords soutenus, joués par les bois, et colorés par le timbre cristallin des cloches, tandis qu’un saxophone alto chante une complainte crépusculaire. Un passage orchestral court, mais dense, prélude l’exposition du thème principal. Les couleurs douces et vaporeuses enveloppent les champs et les forêts enneigés. L’orchestre reprend le thème tandis que l’on entend au loin un tintement de grelots annonçant le passage imminent d’une tro ka. Une fois passée, la musique s’apaise et le thème principal revient avant de laisser la place au motif d’ouverture qui vient conclure la trame musicale.

SKU: BR.KM-2231

Bach's flute music brought to a successful end

ISBN 9790004503119. 9 x 12 inches.

Perhaps Bach actually did allow himself to be swept away by Telemann's enthusiasm for the Flute traversiere, the Baroque transverse flute, for which he wrote a whole series of pieces, including the Trio Sonata in G major BWV 1039. With the Urtext edition of the sonata, which presumably is the arrangement of a lost first version for two violins and basso continuo, Breitkopf adds the finishing touches to the series of Bach's Complete Flute Works edited by the renowned flutist Barthold Kuijken. In the publication's textual segments, Kuijken takes a comprehensive look at the various sources and versions. Also very useful for performance practice are the unique characteristics found among musicians who are particularly knowledgeable in early music.The continuo has been realized by Ewald Demeyere, taking contemporary treatises into account.A clear, informative and utterly practical edition of this much loved and important trio sonata. The musical typeface here is extremely clear and of a sensible size. Slurs, additional ornaments and annotations are precise and non-invasive, page turns are practical and the separate bass also includes figures.(Lisa Beznosiuk, The Consort)

Bach's flute music brought to a successful end.