100 facili melodie da 3 a 8 note di autori classici. Play Happy is a collection of 100 pieces from the classical repertoire arranged for beginners at their first steps in playing an instrument. Piano accompaniments included.
SKU: MA.EMR-33834
Possible instrumentations:Violoncello & CD Play Back / Play AlongVioloncello & Organ (+ Play Back / Play Along CD optional)Violoncello & Piano (+ Play Back / Play Along CD optional).
SKU: PR.11441271S
UPC: 680160587094. 8.5 x 11 inches. Poem by Du Fu (712-770 in Tang Dynasty).
It's like the welcome rain on a quiet spring night that nurtures the budding seeds, our new society is pushing us forward to the new future. This music reflects the scenes and the expression according to the meaning of the poem when it's being unfolded line by line. Although the tempo is set 60-70 quarter notes per minute throughout (played vividly, never slow down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehersal A and B (measures 1 - 41) represents the first four lines of the poem. The woodwind instruments response to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high piano gestures. The music in Rehersal C and D (measures 42-87) represents the next two lines of the poem. It's so dark, a little light in the boat is shimmering on the lake... The breathy key slaps on the flute creates a mysterious atmosphere, in a dialogue with other instruments. The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics. The music in Rehersal E, F, G (m 88 - 161) is a toccata, starting with the piano, which builds up a big shape, to reach the climax in m. 116, and keeps the vivid scene towards the coda (Rehersal H, m. 162 - the end), which stands on the energetic peak at the end of the piece.Commissioned by the Music From Copland House ensemble, supported by a grant from the NYSCA’s Composer’s Commissions program in 2002, my mixed ensemble piece Happy Rain on a Spring Night is written for all five instruments in the ensemble: flute, clarinet, violin, cello and piano, and premiered on Oct. 18, 2004, at Merkin Hall in New York.  The musical imagination came from an ancient Chinese poem with the same title, written by Du Fu (712-770) in the Tang Dynasty. Happy Rain on a Spring Nightby Du Fu (712-770 in the Tang Dynasty) Happy rain comes in time,When spring is in its prime.With night breeze it will fall,And quietly moisten all.Clouds darken wild roads,Light brightens a little boat.Saturated at dawn,With flowers blooming the town. (English translation by Chen Yi from the original poem in Chinese) It’s like the welcome rain on a quiet spring night that nurtures the budding seeds; our new society is pushing us forward to the new future.  The music reflects the scenes and the expression according to the meaning of the poem when it’s being unfolded line by line.  Although the tempo is set 60-70 quarter notes per minute throughout (played vividly, never slowing down), the tension is being built up from the quiet background in the beginning, to the sustained climax towards the end. The musical image in Rehearsal A and B (measures 1-41) represents the first four lines of the poem.  The woodwind instruments respond to the rustling of fast moving notes on muted string triplets, decorated by occasional strokes produced by metallic string sound and high piano gestures.  The music in Rehearsal C and D (measures 42-87) represents the next two lines of the poem.  It’s so dark, a little light in the boat is shimmering on the lake...  The breathy key slaps on the flute create a mysterious atmosphere, in a dialogue with other instruments.  The cello glissandi recite the poem in the tone of Mandarin, echoed by the string harmonics.  The music in Rehearsal E, F and G (m 88-161) is a toccata, starting with the piano, which builds up a big shape, to reach the climax in m. 116, and keeps the vivid scene towards the coda (Rehearsal H, m. 162-192), which stands on the energetic peak at the end of the piece. According to the principle of the Golden Section, I have constructed the piece with two large parts (m. 1-115 and m. 116-192).  The GS falls onto the beginning of the climax section of the piece, which is exciting and loud.  All subdivisions of the structures coincide with the numbers of proportions based on the GS principle.  The music has textures changed according to the proportional arrangement throughout the piece. First Part (m. 1-115, total 115 measures), including two sectionsSection I (m. 1-69, total 69 measures), including two divisionsFirst Division (m. 1-41, total 41 measures), including two subdivisions:Subdivision I (m. 1-25, total 25 measures)Rehearsal A, violin triplets + cello metalic sound in small intervals, followed by woodwinds.Subdivision II (m. 26-41, total 16 measures)Rehearsal B, cello triplets + violin metallic sound in small intervals, overlapped by woodwinds.Second Division (m. 42-69, total 28 measures)Rehearsal C, breathy key slaps on flute, in dark.Section II (m. 70-115, total 46 measures), including two divisionsFirst Division (m. 70-87, total 18 measures)Rehearsal D, soft cello reciting, followed by string harmonics & woodwind “echo†passages.Second Division (m. 88-115, total 28 measures)Rehearsal E, starts to buildup the excitement, with piano toccata in the beginning. When it reachesthe patterns on the top of the keyboard, the lowest passages on piano and cello punch in, andreview the pitch material with small intervals.Second Part (m.116-192, total 77 measures), including two sectionsSection I (m. 116-161, total 46 measures), including two divisionsFirst Division (m. 116-133, total 18 measures)Rehearsal F, the excitement reaches the climax, GS located. All instruments join in.Second Division (m. 134-161, total 28 measures)Rehearsal G, combination of E and F, continue to buildup.Section II (m. 162-192, total 31 measures)Rehearsal H, coda, keep the excitement on the peak.
SKU: MA.EMR-50578
1. Winner's Glory / 2. Spring Joy / 3. Sirtaki / 4. Tune For Happy Hours / 5. Gospel.
SKU: BO.B.3340
ISBN 9788480207591.
Engl ish comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentari os del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
