Contents : Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras(Gardel). So muss Tango klingen! In den ersten Jahrzehnten in der Geschichte dieser Musik entstanden einige ihrer schönsten und bekanntesten Werke. Mit den Arrangements des Tangopianisten J. M. Solare wird es nun auch den im Tango unerfahrenen Spielernmöglich, sie absolut authentisch zum Klingen zu bringen.
Inhalt: Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras (Gardel).Cest ainsi que doit vibrer le tango ! Quelques-uns des plus beaux et des plus célèbres tangos sont rassemblés dans ce recueil. Ces arrangements, magnifiquement ciselés par le célèbre pianiste grand spécialiste du tango J. M. Solare, sont accessiblesmême aux débutants.
Sommaire : Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras(Gardel). Questo è il vero suono del tango! I primi decenni della storia di questa musica ci hanno regalato alcune delle canzoni più belle e pezzi famosi. Gli arrangiamenti del pianista di tango J.M. Solare aiutano i musicisti che non hanno familiarit con liltango, ad interpretare in modo autentico questa musica. Include tanghi di E. Arolas, C. Gardel, A. Greco, V. Greco, E. Ponzio, e A. Villoldo.
Indice: Por una cabeza (Gardel) • La viruta (Greco) • Mi Buenos Aires querido (Gardel) • Naipe marcado (Greco) • El Marne (Arolas) • Don Juan (Ponzio) • Volver (Gardel) • El porteñito (Villoldo) • La cachila (Arolas) • El dia que me quieras (Gardel)
SKU: HL.14013305
SKU: BT.ERBA-11276
SKU: HL.44010560
UPC: 884088481704. 9x12 inches. English-German-French-Dutch.
Marsyas ist ein Satyr aus den Metamorphosen des griechischen Dichters Ovid (43 v. Chr.-17 n. Chr.). Er findet eine von der Gottin Athene weggeworfene Flote und spielt bald so gut, dass ihn Apollo zu einem musikalischen Wettstreit zwischen Flote und Lyra herausfordert. Durch einen üblen Trick verliert Marsyas und erleidet eine grausame Strafe. Diese Sage bot eine ausgezeichnete Vorlage für ein spannendes Solowerk für Flote, in welchem auch die Harfe (Lyra) erklingt.Si les recits de metamorphoses furent tres populaires dans l'Antiquite greco-romaine, le recueil du poete latin Ovide [43 av. J.-C./17 apr. J.-C.] est de loin le plus celebre. Les quinze livres des Metamorphoses racontent la formation du monde et les transformations legendaires des dieux et des hommes en animaux, en plantes ou en objets. Parmi les nombreuses histoires de metamorphoses relatees par Ovide, on trouve celle de Marsyas, un satyre originaire de Celenes en Phrygie. Fils d'Hyagnis, considere comme l'inventeur de l'harmonie phrygienne, Marsyas excellait dans la musique. Un jour, Athena fit une flute double et en joua a un banquet des dieux. Tournee en derisionpar Hera et Aphrodite, et ayant constate elle-meme, en voyant le reflet de son visage dans l'eau, que l'instrument, quand elle en jouait, lui deformait les traits, elle jeta la flute en maudissant quiconque la ramasserait. Cette malediction frappa le satyre Marsyas qui la trouva et en joua magnifiquement, au grand plaisir des paysans des contrees phrygiennes qui l'ecoutaient et qui pretendirent que le dieu Apollon en personne n'aurait pu mieux faire avec sa lyre. Apollon entra dans une colere formidable et proposa a l'insolent satyre un concours musical dont le vainqueur pourrait faire subir au vaincu le chatiment de son choix. Les Muses et le roi Midas, choisis comme juges, ne reussirent pas a departager les concurrents. Alors, Apollon joua de la lyre a l'envers et demanda a Marsyas d'en faire autant avec son instrument. Cela etait impossible. Marsyas n'y parvint pas, et Apollon fut declare vainqueur. Il se vengea du satyre de la plus cruelle facon : il l'attacha a un pin et l'ecorcha vif.Certains racontent qu'Apollon, se repentant de sa vengeance, metamorphosa en fleuve le corps de Marsyas. D'autres pretendent que le sang de Marsyas ou les larmes versees par les nymphes et les satyres, prives des enchantements de sa flute, formerent le fleuve de Phrygie qui porte son nom. / Marsyas fut cree le 22 juillet 2005 a Bordes sur Arize en Ariege par le.
SKU: RM.GREC05041-BA
ISBN 9790231050417.
SKU: BT.DHP-1053830-010
English-German-French-Dutch.
Jacques Offenbach was born in 1819 in Cologne, Germany, but as a child he moved to Paris where he received a thorough musical education. In his operetta Orpheus in the Underworld, Offenbach parodies the famous Greek legend of Orpheus and Euridice. Indirectly, however, he criticises the complacency of many of his contemporaries. The overture was not written entirely by Offenbach, Carl Binder added various pieces to it for a Viennese production of this operetta in 1860 and since then, these pieces have remained part of the composition. This appealing transcription includes the famous Can Can which is sure to get your audience high kicking in the aisles!In de operette Orphée aux Enfers (Orpheus in de onderwereld) parodieert Offenbach het beroemde verhaal van Orpheus en Euridice uit de oude Griekse sagenwereld - indirect stelt hij echter de zelfgenoegzaamheid van veelvan zijn tijdgenoten aan de kaak. De ouverture is niet geheel van Offenbachs hand. Carl Binder heeft er diverse stukken aan toegevoegd voor een Weense productie in 1860, en die zijn er sindsdien in gebleven. Wil van der Beek maakteeen transcriptie voor harmonieorkest van de aanstekelijke ouverture - waarin natuurlijk de beroemde cancan is verwerkt.In seiner Operette Orpheus in der Unterwelt (Orphée aux Enfers) parodiert Offenbach die berühmte Erzählung von Orpheus und Eurydike aus der klassischen griechischen Sagenwelt. Indirekt kritisiert er darin jedoch die Selbstgefälligkeit vieler seiner Zeitgenossen. Die Ouvertüre schrieb Offenbach nicht ganz alleine; Carl Binder fügte einige Stücke für eine Wiener Produktion dieser Operette im Jahr 1860 hinzu. Diese Stücke blieben seither Teil der Ouvertüre. Wil van der Beek schuf eine Transkription für Blasorchester dieser reizvollen Ouvertüre, die auch den berühmten Cancan enthält.Jacques Offenbach (1819-1880) cultivait l’art d’ironiser sur la frivolité des moeurs parisiennes, sur l’amour, la vie politique et la vie militaire. Son opérette Orphée aux Enfers (1858) est une parodie du mythe grec d’Orphée et Eurydice, mais sous le masque de l’antiquité, il se livre une critique sévère de l’attitude suffisante de nombreux de ses contemporains. L’Ouverture telle que nous la connaissons aujourd’hui n’est pas la version originale d’Offenbach, mais une version complétée par Carl Binder pour une production Vienne en 1860. Wil van der Beek en a réalisé une transcription irrésistible qui contient le pétillant Cancan, l’une des pages les plus célèbres de lapartition. Jacques Offenbach (1819-1880) coltivava l’arte di ironizzare sulla frivolezza delle abitudini parigine, sull’amore, sulla vita politica e la vita militare. La sua operetta Orfeo agli Inferni (1858) è una parodia del mito greco di Orfeo ed Euridice, ma dietro la facciata dell’antichit , si abbandona ad una critica severa del comportamento di sufficienza di numerosi suoi contemporanei. L’Ouverture come noi la conosciamo oggi, non è la versione originale di Offenbach, ma una versione completata da Carl Binder per una produzione a Vienna nel 1860. Wil van der Beek ne ha realizzato una trascrizione irresistibile che contiene il brillante Cancan, una delle pagine più celebri dellospartito.
SKU: BT.ERBA-12576
SKU: RM.GREC05041-CO
SKU: FH.VA3
ISBN 978-1-55440-565-7.
This groundbreaking series for viola offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring virtuoso. Representing all major style periods and a variety of genres, Viola Series, 2013 Edition offers all the music and tools needed to support a comprehensive course of study from the beginner to advanced levels. A rich and varied selection of music in each of these nine progressive volumes of repertoire appeals to violists of all ages. From the Preparatory Level through Level 8, students will be exposed to quality selections originally written for viola, fun arrangements of traditional fiddle and folk tunes, as well as contemporary pieces by notable composers such as Violet Archer, Carey Cheney, and Fritz Kriesler.Concertinos, Airs Varies, and Divertimentos:Divertimento in D Major - Haydn, Franz Joseph arr. Gregor Piatigorsky- Third MovementAir varie (Air with Variations), op 23, no. 3 - Rieding, OskarConcertino NO. 5 in D Major -Breval, Jean-Baptiste arr. Pierre Ruyssen- First MovementSonatas:Sonata in D Minor, op. 5, no. 8 - Corelli, Arcangelo arr. Jason Noble- First Movement: Prelude- Second Movement: AllemandaSonata in A Major, TWV 41:E1 - Telemann, Georg Philipp arr. Kathleen Wood- First Movement- Fourth MovementConcert Repertoire:Three Miniatures (complete) - Miller, MichaelWaltz, op. 12, no. 2 - Grieg, EdvardToy Soldiers' March - Kreisler, FritzAbracadabra - Duke, DavidMusette and Air de ballet - Gluck, Christoph Willibald arr. Kathleen WoodBoston Fancy - American folk dance arr. Harold BirstonAve Verum Corpus, K 618 - Mozart, Wolfgang Amadeus arr. Jason GrayConte serieux (Solemn Story), op. 62, no. 6 - Mendelssohn, LudwigAlla Greco - Baxter, Timothy.
SKU: HL.48188339
French.
The Moon is dead is a piece for SATB containing the score for Mixed voices or Equal voices, on music by Georges Liferman. With lyrics by Jacques Mareuil, this lyrical piece is quite melancholy: ?Cry Pierrots, Poets and Black cats, the Moon is dead? being the main recurrent sentence. The chorus is sung by all voices, while the verses lyrics are only sung by the Tenor and the Bass accompanied by a melody of ?o? by the two other voices. Georges Liferman is a French composer and writer. His work includes French songs and French musicals mainly, with very famous interpretations in France by artists such as France Gall, Juliette Greco and Yves Montant..
SKU: UT.LB-27
ISBN 9788881094974. 5.51 x 8.26 inches.
La pubblicazione di questo doppio carteggio trova la sua ragion d’essere nel voler rappresentare il grande interesse di Mario Castelnuovo-Tedesco verso il mondo della chitarra, così come si presentava negli anni ’50 e ’60 del secolo scorso.Esso si articola in due sezioni: la prima comprende nove lettere a Mario Gangi e la seconda altrettante a Carlo Carfagna, integrate dalla riedizione della serie di scritti commemorativi apparsi su Chitarra e Musica (supplemento mensile della rivista Strumenti e Musica) subito dopo la morte del Maestro, avvenuta il 16 marzo 1968.L’arco temporale di tale corrispondenza copre quattordici anni; dall’aprile 1954 al luglio 1965 quella di Mario Gangi e dal luglio 1964 al gennaio 1968 quella di Carlo Carfagna. La maggior parte delle lettere sono spedite dalla residenza statunitense di Castelnuovo-Tedesco a Beverly Hills, due dalla sua casa fiorentina di via dei Bardi.Dagli scritti di Castelnuovo-Tedesco emerge l’aspetto professionale, mai autocelebrativo, in cui egli elenca affettuosamente la quasi totalità delle sue opere per chitarra. Contemporaneamente, ci fornisce uno spaccato del mondo musicale e chitarristico di quel periodo, senza risparmiare maliziose osservazioni su Stravinsky e Segovia. D’altro canto ne fanno da contrappunto gli aspetti umani e personali, dove addirittura egli si lascia andare all’autoironia e alla manifestazione delle proprie intime emozioni.Fa parte del carteggio con il giovane Carfagna anche la celebre prefazione al Profilo Storico della Chitarra, in cui il Maestro fiorentino ha lasciato intendere gran parte della propria poetica chitarristica.Brevi ma esaurienti annotazioni accompagnano il lettore.
SKU: HL.50584623
SKU: HL.132203
UPC: 884088970376.
SKU: BT.DHP-1053830-140
SKU: HL.50605220
ISBN 9781705168783. UPC: 196288081777.
A virtuoso guitar solo in 7 movements: Mystery, Fire, Ocean, Hillbilly, Flight, Thriller, Home, at last. A mouth-watering collection to taste with fingers and ears.
SKU: BT.ERBA-9215
SKU: SU.25100140
A musical tribute to the far north of Europe - the ends of the earth in Greco-Roman culture (theultima Thule).Orchestra Duration: 12’ Composed: 2017 Published by: Gusthold Music Publisher Performance materials available on rental only:.
SKU: BT.ERBA-11268
SKU: BR.BV-487
ISBN 9783765104879. 6.5 x 9.5 inches.
The book by Constantin Floros is an expanded new issue of his 1979 Mozart-Studien I. The collection of papers and essays from 1963 to 1978 published at that time has been augmented by several more recent studies. Whereas the earlier texts concern Mozart's overtures, operas, and symphonies, together with especially the stylistic levels of his opera music and church music in general, the more recent articles deal with topics such as merriment and melancholy, tragedy and comedy or cantabile qualities, including stage aesthetics or questions of reception as well. The collected works document the Greco-German author's lifelong engagement with Mozart's music.
SKU: BT.AMP-028-140
The piece reflects the composer's fascination with the origins of the universe and deep space in general. The title comes from a theory, formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. (‘Harmonia’ in Ancient Greek, which means scale or tuning rather than harmony - Greek music was monophonic). He also believed that these ratios corresponded to the distances of the six known planets from the sun and that the planets each produced a musical note which combined to weave a continuous heavenly melody (which, unfortunately, we humans cannot hear). In this work, these six notesform the basis of the sections MUSIC OF THE SPHERES and HARMONIA. The pieces opens with a horn solo called t = 0, a name given by some scientists to the moment of the Big Bang when time and space were created, and this is followed by a depiction of the BIG BANG itself, as the entire universe bursts out from a single point. A slower section follows called THE LONELY PLANET which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, and the constant search for other civilisations elsewhere in the universe. ASTEROIDS AND SHOOTING STARS depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet, and the piece ends with THE UNKNOWN, leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction. Dit werk weerspiegelt de fascinatie van de componist voor het heelal. Het begint met een hoornsolo met de naam t = 0, waarmee sommige wetenschappers de oerknal aanduiden. Dan volgt een weergave van de oerknal zelf. Het volgendegedeelte, The Lonely Planet, is een meditatie over het ongelooflijke samenspel van omstandigheden dat leidde tot het ontstaan van de Aarde. Asteroids and Shooting Stars beschrijft objecten in de ruimte. Het werkeindigt met The Unknown, waarmee we in het ongewisse blijven over de gevolgen van onze verdere verkenning van het universum. In 2005 won Philip Sparke met Music of the Spheres de National Band Association/William D.Revelli Memorial Band Composition Contest.Dieses Werk handelt vom Weltall und unserem Platz im Universum, auf dem Weltbild von Pythagoras basierend. Am einfachsten lässt sich diese außergewöhnliche Komposition wohl als Filmmusik ähnliches Stück beschreiben ? Musik zu einem Science-Fiction-Film eines Ripley Scott oder Steven Spielberg oder auch Musik, wie sie ein John Williams oder Danny Elfman schreiben würde: absolut stimmungsvoll, brillant instrumentiert mit Klangfarben, Strukturen, Effekten und Timbres, gemischt mit fließenden musikalischen Linien, die die Substanz des Themas auf den Punkt treffen. Dieses atemberaubende neue Stück hebt Ihr Blasorchester auf ein höheres Niveau, sowohl im technischen als auchmusikalischen Sinn. La fresque Music of the Spheres (“La musique des sphèresâ€) souligne la fascination qu’éprouve le compositeur pour les origines de l’univers. L’orchestration est proche de la musique de film. Le climat musical est ample, sonore et contrasté. Music of the Spheres evidenza il fascino che le origini dell’universo esercitano su Philip Sparke. Il titolo proviene da una teoria del matematico greco Pitagora, secondo la quale il cosmo è retto dalle stesse leggi che governano i rapporti di frequenza tra le note della scala musicale. Questa composizione inizia con un assolo di corno chiamato t = 0, nozione che definisce il momento del big-bang. The Lonely Planet (Il pianeta solitario) è una meditazione sulle circostanze che hanno portato alla creazione della terra. Asteroids and Shooting Stars (Asteroidi e Stelle cadenti) descrive i molteplici oggetti che si muovono nello spazio e che rappresentano unrischio per il nostro pianeta. Le battute finali portano verso l’ignoto (The Unknown) sollevando una domanda la cui risposta resta in sospeso: la nostra continua avanzata nell’esplorazione dell’Universo porter un giorno alla scoperta o alla distruzione?
SKU: BT.AMP-028-130
The piece reflects the composer's fascination with the origins of the universe and deep space in general. The title comes from a theory, formulated by Pythagoras, that the cosmos was ruled by the same laws he had discovered that govern the ratios of note frequencies of the musical scale. (‘Harmonia’ in Ancient Greek, which means scale or tuning rather than harmony - Greek music was monophonic). He also believed that these ratios corresponded to the distances of the six known planets from the sun and that the planets each produced a musical note which combined to weave a continuous heavenly melody (which, unfortunately, we humans cannot hear). In this work, these six notesform the basis of the sections MUSIC OF THE SPHERES and HARMONIA. The pieces opens with a horn solo called t = 0, a name given by some scientists to the moment of the Big Bang when time and space were created, and this is followed by a depiction of the BIG BANG itself, as the entire universe bursts out from a single point. A slower section follows called THE LONELY PLANET which is a meditation on the incredible and unlikely set of circumstances which led to the creation of the Earth as a planet that can support life, and the constant search for other civilisations elsewhere in the universe. ASTEROIDS AND SHOOTING STARS depicts both the benign and dangerous objects that are flying through space and which constantly threaten our planet, and the piece ends with THE UNKNOWN, leaving in question whether our continually expanding exploration of the universe will eventually lead to enlightenment or destruction. Dit werk weerspiegelt de fascinatie van de componist voor het heelal. Het begint met een hoornsolo met de naam t = 0, waarmee sommige wetenschappers de oerknal aanduiden. Dan volgt een weergave van de oerknal zelf. Het volgendegedeelte, The Lonely Planet, is een meditatie over het ongelooflijke samenspel van omstandigheden dat leidde tot het ontstaan van de Aarde. Asteroids and Shooting Stars beschrijft objecten in de ruimte. Het werkeindigt met The Unknown, waarmee we in het ongewisse blijven over de gevolgen van onze verdere verkenning van het universum. In 2005 won Philip Sparke met Music of the Spheres de National Band Association/William D.Revelli Memorial Band Composition Contest.Mit diesem großartigen Werk, das dem Auftraggeber der Yorkshire Building Society Band am Europäischen Brass Band Wettbewerb 2004 in Glasgow als Selbstwahlstück zu einem weiteren Titel verhalf, beweist Philip Sparke einmal mehr seine außergewöhnlichen kompositorischen Fähigkeiten. Dieses Werk über die Ursprünge des Universums führt uns vom Urknall, vorbei an einsamen Planeten, Asteroiden und Sternschnuppen schließlich ins Unbekannte - die ungewisse Zukunft. Ein Glanzstück und eine echte Herausforderung für jeden Spitzen-Brass Band!La fresque Music of the Spheres (“La musique des sphèresâ€) souligne la fascination qu’éprouve le compositeur pour les origines de l’univers. L’orchestration est proche de la musique de film. Le climat musical est ample, sonore et contrasté. Music of the Spheres evidenza il fascino che le origini dell’universo esercitano su Philip Sparke. Il titolo proviene da una teoria del matematico greco Pitagora, secondo la quale il cosmo è retto dalle stesse leggi che governano i rapporti di frequenza tra le note della scala musicale. Questa composizione inizia con un assolo di corno chiamato t = 0, nozione che definisce il momento del big-bang. The Lonely Planet (Il pianeta solitario) è una meditazione sulle circostanze che hanno portato alla creazione della terra. Asteroids and Shooting Stars (Asteroidi e Stelle cadenti) descrive i molteplici oggetti che si muovono nello spazio e che rappresentano unrischio per il nostro pianeta. Le battute finali portano verso l’ignoto (The Unknown) sollevando una domanda la cui risposta resta in sospeso: la nostra continua avanzata nell’esplorazione dell’Universo porter un giorno alla scoperta o alla distruzione?