/ Trompette Et Orgue
SKU: BA.BA04032
ISBN 9790006443390. 33 x 25.8 cm inches.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
SKU: BA.BA04028
ISBN 9790006443321. 33 x 25.6 cm inches.
SKU: HL.48023758
UPC: 888680607999. 10.5x14.0x0.113 inches.
All-Night Vigil (Vespers) is a setting of music for a night-long service on the eves of Russian Orthodox holy days, and became one of Rachmaninoff's favorite compositions. Basing the 15 movements of his choral setting on a combination of traditional Russian Orthodox chants, Latin hymns, and original chants by the composer, the work was completed in less than two weeks in 1915. This arrangement utilizes the 1st, 2nd, 7th, 10th, and 12th movements, along with the traditional Amens at the beginning of Movements 1 and 2. Unlike other settings of choral works for wind ensemble, this arrangement is constructed as a complete suite that is intended to allow the performers and audience to experience the power and beauty of the complete Vespers. Dur: c. 16:00 (Recorded by the Florida State University Wind Orchestra - Rick Clary, conductor).
SKU: HL.49019380
ISBN 9783795744960. UPC: 841886018808. 9.0x12.0x0.285 inches. German.
This volume contains original compositions from the Renaissance, Baroque and modern eras. It is aimed at recorder players who possess profound basic knowledge. As material to be used in lessons, the pieces train the player's sense of style and the interpretation of music from different epochs. In addition, they deal with all aspects of duet playing, such as confidence in leading one's own part, performance for a balanced sound, intonation and improvement of the player's physical condition. These original pieces are also perfect for concerts, auditions, and competitions.
SKU: HL.44011072
UPC: 884088646097. 9x12 inches. English-German-French-Dutch.
Diese Suite in c-Moll zollt einem berühmten klassischen Blaserwerk Tribut - der Ersten Suite in Es-Dur von Gustav Holst von 1909 - und erscheint zu deren 100-jahrigem Jubilaum. Die viersatzige Suite erinnert an die Stilistik von Holst, enthalt aber auch charakteristische Klangidiome sowie Strukturmerkmale von Jacob de Haan. Eine erfrischende originale Komposition, inspiriert von einem durchaus nicht angestaubten Klassiker. En 1909, Gustav Holst composa une œuvre audacieuse et novatrice, la Premiere Suite en Mib Majeur, op. 28 ndeg1 (First Suite in Eb major, Op. 28, No. 1), une suite exclusivement ecrite pour instruments a vent. A l'occasion du centenaire de cette piece, devenue un classique du repertoire pour Orchestre d'Harmonie, Jacob de Haan a compose la Memorial Suite en Ut mineur. Cette composition en quatre mouvements fait reference aux qualites stylistiques de l'œuvre de Holst, tout en s'appuyant sur le langage sonore et l'ecriture caracteristiques du style de Jacob de Haan. Le resultat est original.Comme Gustav Holst, Jacob de Haan a choisi d'ouvrir sasuite avec une chaconne, une forme de variation contrapuntique (a l'origine une danse espagnole a trois temps) dans laquelle un theme revient de facon recurrente accompagne a chaque fois par un nouveau contre-chant. Ce theme ostinato est utilise de differentes manieres tout au long des quatre mouvements, assurant ainsi l'unite de l'œuvre. Le second mouvement est un scherzo. Par sa progression et son caractere, il s'apparente a l'intermezzo central de la suite de Holst. Le troisieme mouvement, Song Without Words (Chanson sans paroles), porte le meme titre que le second mouvement de la Deuxieme Suite en Fa, op. 28 ndeg 2 (Second Suite in F, Op. 28, No. 1) composee par Holst en 1911. A mi-chemin de ce mouvement tres expressif apparait un solo de saxophone alto. Jacob de Haan conclut son œuvre par une Marche comme le fit jadis Gustav Holst.
