/ Divers
SKU: HP.C6267
UPC: 763628162672.
Popular praise song by Gloria Gaither, Phil McHugh & Sandi Patty Ideal for Palm Sunday, this popular praise song sets the tone as it tells the story of Jesus, the man from Galilee, entering Jerusalem. The familiar refrain brings it all together: there is strength in the Name of the Lord. Blessed is he who comes in the Name of the Lord!Orchestrations: Conductor's Score, Flute, Oboe(or Soprano Sax or Clarinet), Clarinet, Horn (or Alto Sax or Clarinet), 2 Trumpets (or Alto Sax), 2 Trombones (or Tenor Sax or Baritone T. C. ), Percussion, Piano, Acoustic Guitar (w/separate Capo Guitar Pt. ), Electric Bass, Drums, Violins 1 & 2, Viola (or Clarinet), Cello/Bassoon (or Bass Clarinet).
SKU: FZ.5948
ISBN 9790230659482. 24.00 x 33.00 cm inches.
These early music methods are in facsimile in four books. Volume 1 (Ref. 5941): Francois Henri Joseph CASTIL-BLAZE - Joseph FETIS (1) - J. KUFFNER - Etienne OZY (1) - Antoine REICHA. Volume 2 (Ref. 5942): Frederic BERR - BLUMER - Alexandre Etienne CHORON (1-2) - Francois Joseph FETIS (2) - Jean Georges KASTNER (1 a 4). Volume 3 (Ref. 5943): Hestor BERLIOZ - Victor CORNETTE - Charles DUPART - Etienne HERAL et OZY - Etienne OZY(2) - J. WILLENT et J. B. BORDIGNI. Volume 4 (Ref. 5944): Eugene JANCOURT. Table of contents: Volume 1: Ozy Etienne: Nouvelle methode de basson - 1803. Reicha Antoine: Cours de composition musicale - 1816. Castil-Blaze Francois Henri Joseph: Dictionnaire de la musique moderne - 1821. Fetis Francois Joseph: Revue musicale - 1828. Kuffner J. : Principes elementaires - 1828. Volume 2: Berr Frederic: Methode complete de basson - 1836. Choron Alexandre Etienne: Manuel complet de musique - 1836. Choron Alexandre Etienne et Lafage Juste Adrien Lenoir: Nouveau manuel de musique - s. d. Kastner Jean Georges: Traite general d'instrumentation - 1836. Fetis Francois Joseph: Manuel des compositeurs - 1837. Kastner Jean Georges: Cours d'instrumentation - c. 1837. Kastner Jean Georges: Supplement au cours d'instrumentation - c. 1837. Kastner Jean Georges: Supplement au traite d'instrumentation - after 1837. Blumer: Nouvelle methode facile et progressive - 1840. Volume 3: Ozy Etienne: Methode de basson - 1843. Berlioz Hector: Grand traite d'instrumentation - 1844. Willent J. et Bordogni J. B. : Methode complete pour le basson - 1844. Cornette Victor: Methode de basson - c. 1854. Dupart Charles: Methode polyphonique - 1859. Heral et Ozy Etienne: Petite methode de basson - s. d. Volume 4: Jancourt Eugene: Methode theorique et pratique - 1847. Collection supervised by the musicologist Jean Saint-Arroman, professor at the Conservatoire National Superieur de Musique et de Danse of Paris and at the CEFEDEM Ile de France (Training Centre for Music Teachers). He is the author of the majority of our prefaces and has also been involved in library searches. Facsimiles of copies from: - National Library of Paris (France). - British Library of London (England). - Hector Berlioz Library, National Conservatory of Paris (France). Anne Fuzeau Classique propose the complete theoretic documentation, methods, classical music scores on the bassoon.
SKU: HL.49016219
ISBN 9790001146449. UPC: 884088202538. 9.0x12.0x0.195 inches.
The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of 'twilight': air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this 'motto-like' opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, 'arcane' bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the 'elastic' character of the middle section.Benjamin Schweitzer.
