Voir toutes les partitions de Alan Menken
SKU: UT.ODH-35
ISBN 9790215322578. 9 x 12 inches.
L’amorosa caccia is a collection of 24 madrigals for five voices, created specially by as many composers originating from Mantua. All were distinguished professional people, working within the church, at court or in the Palatine basilica of Saint Barbara, and music lovers of noble birth from the area who were somehow connected to the Academy of the Invaghiti, or perhaps part of the same. Among the established musicians of the collection are to be mentioned: G.M. Bacchino, H. Baccusi, P. Cantino, A. Coma, G. Moro, S. Nascimbeni, A. Nuvoloni, N. Parma, G.B. Recalchi, F. Rovigo, A. Striggio, R. Trofeo. The lesser-known, however, seem to be: C. Accelli, E. Ceruti, S. Cressoni, P. Marni, A. Preti, while the following: H. Borelli, C. Ceruti, O. Grassi, P. Massari, G.B. Orto, F. Ramesini, C. Zucca have become known as composers only thanks to L’amorosa caccia. The realization in score of the madrigals has made it possible to bring to light this collection, establishing its actual musical value and proving the remarkable mastery of madrigal writing of these 24 musicians and offering the opportunity to highlight each one’s different skill as a composer. If some of them have proved to be completely in line with the practices of the time, verging on Augenmusik, others stand out for the wide variety of their harmonies, melodies and rhythms, seeking the best musical expressions to express the affetti contained in the text. There are no major breakthroughs, but, if the contrapuntal procedures are as to be expected, the body of voices, the experimentation, the interplay between the parts and the harmonic sensitivity show familiarity with the vocal virtuosity of the concerti di dame of Ferrara and Mantua, bringing out what was most modern at the time. The possibility that these madrigals may actually have been performed by that very group of talented singers is enchanting and entirely plausible.
SKU: BT.DHP-1185968-070
ISBN 9789043156707. English-German-French-Dut ch.
Con te partirò, which also became famous under the title Time to Say Goodbye, has burned itself into the collective musical consciousness above all in the interpretation by the blind Italian tenor, Andrea Bocelli. In the 1990s this song raced up the singles charts and has since become almost indispensable at farewell celebrations, especially in the world of sports. Thanks to Anthony Grögersâ?? expressive arrangement, string quartets now have the opportunity to let this wonderful song ring out on suitable occasions, guaranteed to awaken the emotionsâ?¦Con te partirò, ook bekend onder de titel Time to Say Goodbye, heeft in de versie van de blinde Italiaanse tenor Andrea Bocelli een plek in ons collectieve muzikale geheugen veroverd. In de jaren negentig van de vorige eeuw bestormde het nummer de hitlijsten, en sindsdien is het bij afscheidsceremonies, met name in de sportwereld, nauwelijks nog weg te denken. Dankzij Anthony Grögers expressieve bewerking hebben strijkkwartetten nu ook de mogelijkheid om dit prachtige lied bij passende gelegenheden ten gehore te brengen en daarmee ongetwijfeld een gevoelige snaar te raken.Con te partirò, auch unter dem Titel Time to Say Goodbye berühmt geworden, hat sich vor allem in der Interpretation durch den blinden italienischen Tenor Andrea Bocelli in das kollektive Musikgedächtnis eingebrannt. In den neunziger Jahren des 20. Jahrhunderts stürmte der Titel die Single-Charts und ist seitdem bei groÃ?en Abschiedsveranstaltungen, insbesondere im Sport, kaum noch wegzudenken. Dank Anthony Grögers ausdrucksvollem Arrangement haben nun auch Streichquartett-Formation en die Möglichkeit, bei passenden Anlässen das wunderschöne Lied erklingen zu lassen. Da sind die Emotionen garantiert â?¦La chanson « Con te partirò » (« Avec toi je partirai ») est un véritable succès international gr ce son interprétation par le ténor italien Andrea Bocelli, qui lâ??a popularisée au Royaume-Uni sous le titre « Time to Say Goodbye ». Montée en flèche au hit-parade dans les années 1990, cette chanson est devenue incontournable lors des cérémonies dâ??adieux, notamment lors dâ??événements sportifs. Lâ??arrangement expressif dâ??Anthony Gröger permet aux quatuors cordes de faire sonner cette merveilleuse mélodie évocatrice lors dâ??événements appropriés.
SKU: GI.G-9915
ISBN 9781622774371.
In the world of music conducting there exist fundamental practices shared by all conductors regardless of the type of ensemble they conduct. Foundations of Conducting Technique is a comprehensive beginning conducting text—complete with pictures, online videos, and supplemental conducting etudes—to facilitate the development of a clear and expressive conducting technique. In this volume, author Frank Eychaner addresses three major areas for beginning conductors: gestural technique, score study, and leadership. For gestural technique, the text details a number of technical skills, including the appropriate use of the body, the roles of the right and left hand, basic conducting patterns and their derivatives, an application of Laban movement analysis, the importance of the conducting planes, and conducting with varied articulations (staccato, legato, and marcato), among others. Using direct language, Eychaner details clear cause and effect relationships between gesture and sound. In addressing score study, Eychaner states that all conducting gestures must be guided by an accurate and artistic aural image of a musical work. Rather than advocating for one particular approach, this volume presents a number of possible score study methods for the student to explore. The author also includes a convenient and complete score study checklist. Finally, the text addresses how to be an effective and ethical leader from the podium. Eychaner presents the transformational leadership model—a holistic and dynamic approach to leadership—as a positive pathway for improving the conductor’s effectiveness on and off the podium. Supplementing the text are music etudes to help students develop the technical skills of the conductor. The exercises are intentionally simple, consisting mostly of rhythmic materials and folk-like melodies, so that conductors can focus on mastery of gestural skills. Foundations of Conducting Technique is a major contribution to conducting pedagogy and an extraordinary resource that distills the essence of effective conducting gesture. An ideal text for undergraduate conducting courses, it is also a practical reference for anyone employed in the field, including music educators, church musicians, leaders of community ensembles, and professional conductors of all ensembles. Frank Eychaner, an international leader in conducting pedagogy, has been an educator and conductor for twenty-five years, working in public schools as well as with professional, collegiate, community, and church ensembles. He is currently Director of Choral and Vocal Studies at The University of Texas of the Permian Basin, where he teaches conducting, choral methods, and choral pedagogy, and conducts the Chamber Choir, Concert Choir, and Men’s and Women’s Choirs. Figure 29.5. Duruflé Requiem. Figure 29.6. Handel's Messiah. Of the Father's Love Begotten Give Thanks Appendix A: Conducting Evaluation Form Extended Bibliography.
SKU: BR.BV-481
Institutionen, Klangideale und Repertoires im Umbruch
ISBN 9783765104817. 6.5 x 9.5 inches.
Choral singing, together with organ music, was considered in the 18th and 19th centuries the church-music form of expression per se. So, choral singing and choral music played a dominant role in the 19th century for the Bach revival. Though in many places the political and social upheavals of the Napoleonic era brought some traditional musical institutions to an end, the St. Thomas School with its music boarding school at Leipzig was able to hold its ground and - thanks to a lengthy reorganizational process - dovetail with the Gewandhaus Orchestra, which had in turn arisen from a middle-class society. For the 800th anniversary in 2012 of the Leipzig St. Thomas Choir, a symposium was devoted to the institutional and musical transformation of choral traditions during this time period. The volume presents the results of this conference in an expanded and revised form: Examined from various perspectives are performance-practice aspects, such as the instruments available, the age at which the voice breaks, or the changes in vocal style, and discussed are institutional questions such as the conducting by prefects, the autonomous self-education, or the St. Thomas students' choice of repertoire.Instit utionen, Klangideale und Repertoires im Umbruch.
