SKU: DZ.DZ-4287
ISBN 9782898522048.
Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
SKU: HL.50593637
SKU: HL.49033270
ISBN 9790001136860. 9.25x12.0x0.3 inches.
The Jagdquartett (Hunt Quartet), which Jorg Widmann wrote as his third string quartet in 2003, following the Choralquartett, also begins with a visible gesture. After a short signal cry from the performers, the piece starts by quoting Robert Schumann's Papillons op. 2, and for its full duration retains this gesture, these starting sounds. The degrees of recognizability do change continuously, to be sure, in the furious, racing organism of the score. The contours change into forms on another level, yet now and then the begining material returns clearly to the fore, initiated anew by a cry from the performers, and is then digested or mutated as a rhythmic study into a field of harmonic experimentation. On rare occasions, there are moments of pause - as though the musicians were testing the atmosphere, as though they were sensing the weather, so as ultimately to continue playing the quartet across the fields an forests of notes. A hunt after joyful performance, a chase, the whip cracking, after the thing to be shot, the sound, its performer, perhaps the composer himself? - A last shout, morendo, dal niente... - The victim is not the audience, at any rate.When comparing the output of string quartets from the 18th century to thetime of Schumann, it appears to have dropped considerably. Schumann composed only three complete quartets, all of them in the so-called 'chamber music year' 1842. Jorg Widmann, who counts Robert Schumann among his greatest inspirations, finished a series of five string quartets in 2005, at the same age as Schumann. The quartets in the cycle form in themselves the characters of the movements of the classical quartet. Jagdquartett represents the fast middle movement, the scherzo. Widmann's work appears rough and wild in the style of Schumann's alter ego Florestan. His hunt begins in the tempo of 'allegro vivace assai' with the final theme of Schumann's Papillons which often appears or is cited in many of Schumann's compositions. Widmann eventually dismantles the thematic material of his fierce quartet, thus skeletonising his prey.
SKU: CA.5023500
ISBN 9790007087524.
SKU: HL.50589562
SKU: HL.50594318
SKU: LO.15-3843H
ISBN 9780787774004.
The delicate harmonic beauty of this piece is truly stunning. Though short in length, there is immense opportunity for magical expressive moments. With close harmonies weaving in and out of consonances and unisons and flowing passages paired with moments of rhythmic energy, there is so much music to be made. A repeating ending of layered melodies that gradually fades al niente will have your audience holding their breath. Composed as a set of three compositions, also look for Day of Fire and Sun (15/3898H) and Home–Thoughts, from Abroad (15/3844L).
SKU: HL.50499075
SKU: HL.14047339
ISBN 9788850720897.
SKU: BT.VOLMB360
ISBN 9788863883541. Italian.
Nella nuova collana di Quaderni di Musica, un quaderno per bambini, con pagine 32 pagine con pentagramma grande. Copertina a 4 colori, carta bianca anti trasparenza, prezzo super conveniente.
SKU: BT.EMBZ14690
9x12 inches.
This splendidly instrumented work successfully combines 20th-century musical language with the antique elements deriving from its theme - for example, in the first movement we immediately find an ancient Greek asymmetrical rhythm. The second movement takes us on an adventurous journey to those astonishing geological wonders, the Meteoras the third movement presents a picture of the Delphic dancers, in its title the fourth movement indicates the form used in it, which preserves the unity between the thousands-of-years-old building and its contrasting environment, echoing to the music of the bouzouki. In the suite the composer expertly exploits the possibilities of instrumentationoffered by the wind orchestra, this extremely effective work can be a rewarding concert piece for any ensemble. (Recorded by Mirasound on CD 'Salute from Hungary' wwm 500.009 for World Wind Music label - www.worldwindmusic.nl ). Dieses Werk von István Bogár ist eines der ungarischen Stücke für Blasorchester, welches in den letzten Jahrzehnten international einen großen Erfolg erntete. Es entstand im Auftrag des Ungarischen Rundfunks, seine Erstaufführung fand 1982 statt. Das grossartig instrumentierte Werk vereint erfolgreich die musikalische Sprache des 20. Jahrhunderts mit den vom Thema vorgegebenen, antiken Elementen. Ein Beispiel hierzu ist gleich im ersten Satz ‚Thessaloniki' ein altgriechischer, asymmetrischer Rhythmus. Der zweite Satz führt uns zu einem verblüffenden geologischen Wunder, den Meteoren, im dritten Satz wird das Bild der Delphi-Tänzer gezeichnet. Im vierten Teil (‚Athen') wird diegebrauchte Form schon im Titel angekündigt: Diese verewigt die kontrastierende Einheit der mehrere Jahrtausend alten Akropolis und ihr von Bouzouki-Musik lautes Umfeld (‚Plaka'). Der Komponist nutzt in der Suite die vom Blasorchester vermittelten Instrumentierungsmöglichkeiten meisterhaft aus. Thessaloniki (danse de Macédoine) • Meteora • Delphi (danse antique) • Athènes (Acropolis, le quartier Plaka) En composant son oeuvre Hellas, le compositeur hongrois, István Bogár, a renoué avec ses racines grecques. La superbe trame orchestrale combine le langage musical du XXe siècle avec des éléments de la musique grecque antique. Les quatre mouvements sont techniquement exigeants et exploitent toutes les possibilités d’une formation vent. Une oeuvre enrichissante !Un brano dalla splendida strumentazione, composto anche per ricordare le origini in parte greche del compositore, che abbina al linguaggio musicale del XX° secolo elementi antichi. I quattro movimenti Thessaloniki (Danza proveniente dalla Macedonia), Meteora, Delphi (Antica danza) e Athens compongono insieme un brano da concerto esigente ma allo stesso tempo molto gratificante.
SKU: BT.AMP-377-010
9x12 inches. English-German-French-Dutch.
England enjoys a rich folk song tradition. Composers such as Cecil Sharp and Vaughan Williams rekindled an interest in this heritage at the beginning of the 20th century by arranging numerous songs, some of which were transcribed for the _x001F_first time. Philip Sparke selected three songs from the 18th and 19 century for his Three Folk Song Miniatures: the _x001F_shermanâ??s song Dance to Your Daddy, the love song O Waly, Waly and Bobby Shafto, a song from the northwest of England.Engeland heeft een rijke traditie op het gebied van volksmuziek die door de jaren heen een beetje in de vergetelheid raakte. Componisten als Cecil Sharp en Vaughan Williams brachten hierin verandering door voor het eerst talloze liederen bundelen en soms zelfs voor het eerst tenoteren in modern notenschrift. Philip Sparke koos voor dit werk drie liederen uit de 18e en 19e eeuw: het visserslied Dance to Your Daddy, het liefdeslied O Waly, Waly en Bobby Shafto, een lied uit het Noord-Westen van Engeland.England kann auf eine lange Volkslied-Tradition zuru?ckblicken. Komponisten wie Cecil Sharp und Vaughan Williams weckten Anfang des 20. Jahrhunderts erneut das Interesse an diesem Erbe, indem sie zahlreiche Lieder sammelten und teilweise erstmals notierten. Philip Sparke wählte fu?r seine drei Volkslied-Miniaturenâ?? drei Lieder aus dem 18. und 19. Jahrhundert: das Fischerlied Dance to Your Daddy, das Liebeslied O Waly, Waly und Bobby Shafto, ein Lied aus dem Nordwesten Englands.Comme beaucoup dâ??autres pays, lâ??Angleterre jouit dâ??une longue tradition de chansons traditionnelles transmises oralement au _x001C_fil des siècles. Three English Folk Song Miniatures rassemble trois airs populaires (Dance to you Daddy, O Waly, Waly et Bobby Shafto), prodigieusement arrangés pour orchestre junior ou formation incomplète. Comme dans toutes les publications de degré de diffi_x001F_culté 1 1 ½ des éditions Anglo Music, les parties des registres ténor et basse peuvent être jouées par diff_x001B_érents instruments, ce qui permettra aux orchestres incomplets de toujours produire un son ample et généreux.Lâ??Inghilterra è una nazione ricca di canti popolari. Allâ??inizio del XX secolo, compositori quali Cecil Sharp e Vaughan Williams risvegliarono lâ??interesse verso questa preziosa eredit raccogliendo e in parte arrangiando numerosi canti. Philip Sparke ha scelto per le sue â??tre miniatureâ?, altrettanti canti del XIII e XIX secolo: la canzone dei pescatori Dance to Your Daddy, O Waly, Waly, una canzone dâ??amore e Bobby Shafto, un canto proveniente dalla parte nord-occidentale del paese.
SKU: BO.B.3672
Written during the winter of 2007, this work is a metaphor of the three stages of a short but intense love story.The first movement is called Poniente. This is the name of a rainy wind that comes from west. In this sense, west is not only the place where the sun sets, but where night begins. The first movement represents the beginning, the happiness and freshness of something new. The violin evokes freshness and spontaneity over the constant rhythm of the guitar, which plays the higher voice. While the violin signs happily, the guitar, instead of being just its accompaniment, plays the role of a counterpoint with its rhythmical and constant theme.The second movement is called Largo-Balada-Largo and it's divided in two different parts. In the first one, guitar plays alone, reflexive and slow, representing the moments of loneliness of the one that waits for the lovers reunion. In the second movement, violin and guitar begin a dialogue where the violin plays a sweet yearning ballad, while the guitar answers as a baroque counterpoint. At the end, calm comes back, as in the first part of the second movement.The third movement is called Danza ritual and it is the most violent of the three parts. It represents the lovers reunion, the resolution of all the controlled excitement. It's the flame that consumes quickly but intensely. At the end of this part, the violin reintroduces the main theme of the first movement, but with a variation, more intense and dramatic. This dramatic and intense quality is also due to the guitar ostinato, which ends in a hysteric trill. This leads us again to the first part, ending the third movement and this work in a sudden setback, as an interrogation tag.
SKU: BO.B.2450
ISBN 9788480207010.
Comentarios del Espanol:Este pequeno volumen se publica con el proposito de llenar el hueco producido por la carencia de textos dedicados al estudio y, sobre todo, la practica del Acompanamiento tal como esta programado en los Conservatorios espanoles. Es por esto que, despues de unas someras consideraciones relativas a cada tipo de trabajo, hemos procurado abundar en ejercicios que permitan al alumno, bajo la supervision del profesor, adquirir gradualmente la vision rapida y la soltura necesaria para la correcta e interesante realizacion de aquellos. No hablamos aqui de la repentizacion ni de la transposicion instrumental, porque ambas cosas pueden hacerse con diversos tipos de partituras musicales, no necesitando mas que una practica de dificultad progresiva y, para la transposicion, el conocimiento de todas las claves, adquirido ya a traves de los cursos de Solfeo. Supuestos, por otra parte, los imprescindibles conocimientos de Armonia, nos abstendremos de explicar las reglas armonicas tradicionales, tanto por lo que se refiere a la formacion y encadenamiento de los acordes como a las duplicaciones, preparaciones y resoluciones de algunas notas; sin embargo, no dejaremos de recordarlas cuando lo creamos conveniente. Como es logico, la practica del Acompanamiento solo es posible en un instrumento polifono y preferentemente de teclado. No ha de extranar, por lo tanto, que nos refiramos siempre al piano en nuestro trabajo, dado que, por razones obvias, lo consideramos el instrumento mas idoneo.
SKU: BT.EMBZ14690SET
SKU: BT.DHP-1084555-400
ISBN 9789043130615. 9x12 inches. English-German-French-Dutch.
Different Colours contains pieces in popular styles together with works in the style of world music. It features various sound colours, rhythms and time signatures from other countries and cultures, such as Hungary, India and Arabia. A versatile and colourful book! Different Colours bevat zowel stukken in populaire stijlen als wereldmuziek. Hierin komen diverse klankkleuren, ritmes en maatsoorten uit andere landen en culturen aan bod: onder meer Hongarije, India en Arabië. Een veelzijdigen kleurrijk boek!In Different Colours sind zwölf Stücke in populären Stilen von Boogie bis Pop sowie von fernen Ländern wie Ungarn, Indien und Arabien inspirierte Musik zu entdecken. Vielseitigkeit in Klangfarben, Rhythmen und Taktarten ist ein essentielles Merkmal dieser Sammlung - das grö�te Anliegen des Autors war jedoch, Klavierschülern, die meist vorwiegend klassische Literatur spielen, auch einmal andere Stile und Genres vorzustellen. Ein buntes Buch, das jede Menge Spielspa� verspricht!Auf der CD werden alle Stücke vorgespielt - das bedeutet extra Unterstützung und Motivation beim �ben!I dodici brani riuniti in questo volume fanno parte sia della categoria della musica moderna, sia di quella proveniente da tutto il mondo. Le dinamiche, i ritmi e le misure raccontano un paese, una cultura, una tradizione: l'Ungheria, l'India o l'Arabia Saudita. Different Colours è una pubblicazione per girare il mondo suonando!
SKU: HL.48185277
UPC: 888680858858. 9x12 inches.
For alto (or baritone) saxophone and piano.
SKU: HL.14039190
SKU: BT.MI0435
Questo metodo si rivolge a tutti coloro che desiderano affrontare le scale della chitarra in maniera semplice, rapida e confortevole. Che sia per impararle e lavorarci sopra seriamente, oppure per averle giusto a portata di mano, senza assimilarle veramente. Ognuno vi trover quindi il proprio tornaconto poiché l’accento è posto sull’aspetto visivo e decisamente grafico delle scale. In breve, poche chiacchiere e schemi a profusione! Ma attenzione, non si tratta di schemi qualsiasi. In effetti vi sono presentati esattamente come appaiono sulla tastiera della chitarra quando suonate, rispettando cioè la prospettiva e l’angolo di vista, la larghezza dei tasti, lo spessore dellecorde, i segnatasti, il posizionamento delle dita, ecc. Utile, vero? Prenderete perciò confidenza con le scale da conoscere assolutamente, ossia la scala maggiore, la scala minore (naturale), la pentatonica maggiore, la pentatonica minore e la scala blues. Troverete quindi in questo metodo tutti gli schemi di queste scale essenziali su tutta la tastiera (dalle corde a vuoto fino al 22esimo tasto) e per tutte le tonalit (ce ne sono 12 per scala). Nientemeno! Il CD MP3 allegato al metodo propone numerosi playalongs (basi musicali) per allenarsi e divertirsi con ognuna delle 60 scale presentate (5 scale in 12 tonalit ) in diversi stili musicali come il blues, il rock ed il jazz… ossia 14 ore di musica registrata a disposizione!
SKU: BO.B.3727