Matériel : Octavo
SKU: BR.SON-606
ISBN 9790004802564. 9 x 12 inches.
Jean Sibelius overall composed more than 100 solo songs for voice and piano. Volume 4 mostly contains first editions. These songs were generally unknown. Only a few of them have been available for performers in manuscript copies and have also appeared on concert programs. The volume contains also the first printed Sibelius' work Serenad and in contrast to the other two volumes with solo-songs it contains arrangements for voice and piano for the first time. Sibelius arranged three types of works for voice and piano: songs from incidental music, works for voice and piano, and one choral work. The arrangements were not made for the purpose of producing rehearsal scores, but rather as genuine concert pieces to be used in recitals. Rarely are such arrangements simply reductions of the orchestral score, as rehearsal scores tend to be. Instead, Sibelius gave the piano parts of his arrangements the same dedication and seriousness as he gave his solo songs. The independance of his arrangements is especially pointed to the very virtuoso piano part of the ballad Koskenlaskijan morsiamet Op. 33.
SKU: HL.49046812
UPC: 196288026518.
The Wind Band is a completely new concept for class and group lessons with wood and brass players. It is aimed primarily at children of primary school age and is the result of intensive collaboration with music schools, wind bands and primary schools. The range is the same for all instruments, so that all songs and voices can be worked on together. Numerous exercises on approach, posture, intonation and register play, accompanying audio playbacks and a large pool of play pieces open up new perspectives for thewind class, from small group lessons to representative school preludes and concerts. With the brass band, we now have a well thought-out concept for young brass and woodwind players that promises methodologically meaningful and musically interesting class lessons. We can look forward to the continuation. (Lutz Gohmann, practicing & making music 6/09) 'Die Blaserbande' is an exciting concept for creative and practice-oriented music lessons in elementary schools and will certainly also offer many wind orchestras some new ideas for training their own offspring (Matthias Riedel, neue musikzeitung 11/09) Songs for every tonal space, mostly in German and generally in such a way that the children think it's cool, that is, they really see themselves as a gang - with real gang songs. [...] Above all, however, this is the essential characteristic of the brass band: the sound material is the same for all wind instruments! (Bernhard Gortheil, author of the brass band, practice & make music 2/10).
SKU: HL.49046955
ISBN 9781705172636. UPC: 196288090632.
Die Blaserbande is a completely newly developed concept for class and group lessons with woodwind and brass instruments. It is primarily aimed at children of primary school age and is the result of intensive cooperation with music schools, brass bands and primary schools. The tonal range is the same for all instruments, so that all songs and voices can be worked through together. Numerous exercises on approach, posture, intonation and register play, accompanying audio playbacks and a large pool of playing pieces open up new perspectives for the wind class, from small group lessons to representative school auditions and concerts. With the Blaserbande we now have a well thought-out concept for young brass and woodwind players that promises methodically meaningful and musically interesting class instruction. We can look forward to the sequel. (Lutz Gohmann, practicing & making music6/09) 'Die Blaserbande' is an exciting concept for creative and practice-oriented music lessons in elementary schools and will certainly offer many wind orchestras some new ideas for the training of their own offspring (Matthias Riedel, Neue musikzeitung 11/09) Songs for every tonal range, mostly in German and overall in such a way that the kids think it's cool, so they really see themselves as a gang - with real gang songs. [...] But above all, this is the essential characteristic of the wind band: the sound material is the same for all wind instruments! (Bernhard Gortheil, author of the Brass Band, practice & make music 2/10).
SKU: HL.49046890
UPC: 196288074427.
SKU: PR.164002950
ISBN 9781491114568. UPC: 680160633449. 9 x 12 inches.
Dan Welcher’s fascinating work for soprano sax is both a refraction of Mendelssohn’s music for A Midsummer Night’s Dream, and his own incidental music to Shakespeare’s comedy. The work’s title, AS LIGHT AS BIRD FROM BRIER, quotes from Oberon (King of the Fairies) invoking revelry at the play’s climactic wedding scene. Welcher’s fantasy skips among the most beloved themes of Mendelssohn’s Midsummer – giving the saxophonist quite a workout, and the listener a midsummer delight.AS LIGHT AS BIRD FROM BRIER is loosely based on Shakespeare’s play A Midsummer Night’s Dream, which has haunted me since I was nine years old. My parents subscribed me to The Children’s Record Guild, and every month a new 78rpm vinyl record would arrive in the mail. They were mostly fairy tales and “kids lit,” but in this case it was a very condensed performance of the actual play, with Mendelssohn’s music. I loved it immediately, and still do – I saw a performance in 2014 at the Stratford Festival that literally stalks my dreams.When I was commissioned by saxophonist Stephen Page to compose a work for soprano saxophone and piano two years later, I channeled Mendelssohn as an inspiration: specifically, the Overture, the Scherzo, the Intermezzo, the fairy’s song “You spotted snakes with double tongue,” and the Rustics’ Dance. But it’s not a pastiche – most of the music is completely my own, though attentive listeners will detect snatches of Mendelssohn’s haunting score throughout.This piece joins MILL SONGS and FLORESTAN’S FALCON among works honoring my favorite 19th-century composers (in those cases, Schubert and Schumann) without ripping them off. As Stravinsky did in his ballet Pulcinella, I have borrowed fragments of melody from a much-loved composer, and made a fabric of harmonies and scales that are genetically related to Mendelssohn, but unmistakably Welcher.In this work, the saxophonist is Puck – skittish, dazzlingly fast, and brilliant in the outer parts, and a mischievous Cupid in the long, central Love Song. (Remember how Puck anoints Titania’s eyes with the juice from a magic flower, which causes her to fall in love with Bottom the weaver, who has been bewitched and wears a donkey’s head?) The music traces Puck’s magic flight, the finding of the flower, Titania’s love-scene with Bottom and her fairies, and the rustic players – whose rehearsal of the funniest play-within-the-play in literature is interrupted by Puck’s dirty tricks.I greatly enjoyed the process of writing this piece, and often found myself quite moved even as I was writing it... which rarely happens. Stephen Page, who commissioned the work, is a consummate artist (and a bit of a Puck himself). The title comes from Oberon’s final speech in the play:Through the house, give glimmering light,By the dead and drowsy fire.Every elf and fairy spriteHop as light as bird from brier,And this ditty, after me,Sing, and dance it trippingly.
