Matériel : Conducteur et Parties séparées
SKU: CL.024-3849-01
A work composed for concert and festival performance for the developing band, Prevailing Winds begins with a bold statement introducing the first theme. The piece continues with energy and motion based on additional thematic material providing multiple teaching opportunities throughout. Following the development and transition, the composer combines the melodic themes is a powerful statement bringing the piece to a very exciting conclusion. Highly recommended for your next concert/festival performance!
SKU: CF.CY4020F
UPC: 680160907045. 9 x 12 inches.
SKU: HL.44010655
UPC: 884088510404. 9x12 inches. English-German-French-Dut ch.
This new work by Philip Sparke was commissioned to celebrate the 40th anniversary of the Australian Army Bands Corps. “The Roaring Forties” is what seamen call the region between the 40th and 50th degrees of latitude in the southern hemisphere (due to the boisterous and prevailing westerly winds). A fanfare, chorale and an energetic vivo all capture this untameable region. Duration: 5:45.
SKU: HL.50600900
ISBN 9790080149980. 10.25x14.25x0.429 inches. Laszlo Tihanyi.
The title of the work refers to the ornament-like musical motifs of the solo part. These open the piece and later, during the elaboration of the form, they provide for building blocks. The composition, lasting approximately 12 minutes, includes 13 small formal sections. The first three of them serve as an introduction; the presentation of the solo viola, accompanied by percussion istruments, is broken by the interjection of the winds and the piano. The strings appear in Section 4, the first pure Tutti for the first time: the solo instrument is silent here. This is followed by two longer joint sections of the solo and the ensemble; in these a classical, responding-contrapuntal relationship comes to effect between soloist and ensemble players. Section 7 is the first cadenza of the viola, answered by the ensemble alone in Section 8. The next section is a sort of an accompanied Toccata, featuring the rapid figurations of the solo instrument. Sections 10 and 12 are further viola cadenzas, with a Tutti between them, accompanied by the viola. In the concluding section musical ideas with farewell or coda-like character, played by the full ensemble, prevail.(Laszlo Tihanyi).
SKU: BT.EMBZ14998
The title of the work refers to the ornament-like musical motifs of the solo part. These open the piece and later, during the elaboration of the form, they provide for building blocks. The composition, lasting approximately 12 minutes, includes 13 small formal sections. The first three of them serve as an introduction the presentation of the solo viola, accompanied by percussion istruments, is broken by the interjection of the winds and the piano. The strings appear in Section 4, the first pure Tutti for the first time: the solo instrument is silent here. This is followed by two longer joint sections of the solo and the ensemble in these a classical, responding-contrapuntalre lationship comes to effect between soloist and ensemble players. Section 7 is the first cadenza of the viola, answered by the ensemble alone in Section 8. The next section is a sort of an accompanied Toccata, featuring the rapid figurations of the solo instrument. Sections 10 and 12 are further viola cadenzas, with a Tutti between them, accompanied by the viola. In the concluding section musical ideas with farewell or coda-like character, played by the full ensemble, prevail.(László Tihanyi)The piece was premiered by Péter Bársony and the THReNSeMBLe (conducted by the composer) on 3rd May 2016 in Budapest.
SKU: BR.OB-3210-30
ISBN 9790004300749. 10 x 12.5 inches.
Johannes Brahms' first Piano Concerto was the fruit of a complex, protracted, and extremely trying creative process. Its origin goes back to a sonata in D minor for two pianos conceived in spring 1854. The impulse for the creation of the main subject was however a shocking event: According to Joseqph Joachim, the theme originated after hearing about Schumanns suicide attempt. A few months earlier, Schumann had revealed Brahms to the musical world in his essay New Paths. In this article, Brahms is extolled as the musician who is called to give expression to the feeling of his times in an ideal fashion. The unusually rapid genesis of the D-minor sonata and its prevailingly dark, monumental mood can be interpreted as an impassioned compositional response to Schumann's suicide attempt. However, the year-long struggle to arrive at the final form of the work should perhaps also be seen in the context of the resounding praise of Schumann's prophetic article. Brahms undoubtly felt a growing inner pressure to live up to the expectations aroused therein.Together with Clara Schumann, Brahms played the three so far existing movements of the sonata, but he was very self-critical. He felt that he had not been able to realize the monumentality he had envisioned, and which Clara Schumann felt, by merely doubling the piano sound. He soon decided to transform the sonata into a symphony (his first orchestral project). However, this idea did not seem to fit his vision either. Only in spring 1855 did he strike upon the definitive solution: a piano concerto. With Brahms as soloist, this concerto premiered in 1859, though he initially had little success. He wrote to Joachim about one of the first performances that the concerto was a brilliant and unmistakable - failure. This hardly surprised Brahms, for he was undoubtedly aware of the newness of the work, which surpassed the expectations of the audience. The work's complex structure and symphonic dimensions, the solo part's rejection of showy, elegant brilliance, and the uniquely Brahmsian orchestral density it maintains throughout; all of these qualities inevitably exasperated audiences at first - until they raised this work to the ranks of the most celebrated concertos of all time.
SKU: SU.27040240
A work to be programmed alongside the infamous Mozart and Brahms clarinet quintets—the latter of which appropriates thematic materials from the former. This work is based on thematic materials found in both, sometimes in very subtle ways. A predominately diatonic harmonic vocabulary prevails throughout and is set in a single-movement form consisting of three main sections: a spirited and brisk middle section offsets the elegiac and melancholic mood of the two outer sections.Clarinet and Sting Quartet Duration: 10' Composed: 2010 Published by: Hutter Music.
